Area
Women composers A-Z
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Maddalena Laura Lombardini Sirmen
* 09.12.1745 in Venedig † 18.05.1818 in Venedig
Maddalena Laura Lombardini Sirmen (1745-1818), born in Venice, was a musical polymath renowned in her day for her singing, violin playing, and compositions. As befits a touring virtuosa, her most popular compositions were her concerti but she also published trios, sonatas, and, in Paris in 1769, a set of six string quartets. Dating from about the same time as Haydn's Op. 9, Sirmen's quartets betray the divertimento origins of the genre.
Peter Carter, first violinist of the Allegri Quartet in 1994, finds the works "at least as appealing as the early Haydn's." They are all two-movement works, with an opening allegro in a rudimentary sonata form and a slower second movement. The two played here a pleasant, graceful works less showy and more ensemble oriented than one would expect.

Werke:

String quartets No. 1, 2, 3, 4, 5, and 6
Annäherung VIII - an sieben Komponistinnen
Conzert for Violin and Orchestra op. 3 Nr. 4 C-major
Conzert for Violin and Orchestra op. 3 Nr. 4 C major (VocSc)
String quartet No. 1 E flat major
String Quartet No. 2 in B flat major
String Quartet No. 3 in G minor
String Quartet No. 4 in B flat major
string quartet No. 5 f minor
String Quartet No. 6 E major

Martha von Sabinin
* 30.05.1831
Martha (von) Sabinin (russisch: Marfa Stepanowna Sabinina, 1831–1892) wurde in Dänemark geboren, wuchs in Deutschland auf, war in der europäischen Kultur sozialisiert, verbrachte ihr halbes Leben in Russland und starb auf der Krim. Musik bestimmte die erste Hälfte ihres Lebens, der Dienst am Nächsten die zweite, und zwischen den Eckpfeilern Weimar und Odessa entfaltete sich ihre facettenreiche und ungewöhnliche Biographie.
Als fünftes von insgesamt 12 Kindern wuchs das Mädchen in einem Haushalt auf, in dem der fehlende materielle Wohlstand durch geistigen Reichtum aufgewogen wurde. Ihr Vater, Stepan Karpowitsch Sabinin (1789–1863), war als russisch-orthodoxer Geistlicher nicht nur Beichtvater der nach Weimar verheirateten Zarentochter Maria Pawlowna von Sachsen-Weimar-Eisenach (1786–1859), sondern als Theologe, Historiker, polyglotter Sprachwissenschaftler und Mitglied der dänischen und der russischen Altertumsgesellschaft auch ein wichtiger Vermittler zwischen Ost und West. Gemeinsam mit seiner Frau, Alexandra Timofejewna geb. Weschtscheserowa (1807–1882), die in den Bereichen Malerei, Klavierspiel und Literaturübersetzungen aktiv war, führte er im Zentrum von Weimar ein gastfreies Haus. Dort wuchsen die Kinder in einem vielfältigen und kulturell aufgeschlossenen Umfeld auf, in dem Interessen und Neigungen individuell gefördert und musische Begabungen unterstützt wurden. Insgesamt veröffentlichte Martha Sabinin insgesamt 22 Lieder und eine Ballade für Stimme und Klavier (op. 1 bis 4 und zwei Einzellieder auf Texte des russischen Dichters Fjodor Tjutschew) sowie eine Sammlung von elf Klavierstücken. Weitere Manuskripte und die Entwürfe einer Oper müssen heute als verschollen gelten. Was im Druck erschien, wurde durchweg zustimmend rezipiert. Eine zeitgenössische Rezension ihres Liederhefts op. 1 in der »Neuen Zeitschrift für Musik« (43/1855, S. 167f.) kommt zwar nicht darum herum, zeittypisch das stereotype Problemfeld einer komponierenden Frau zu umreißen, gelangt bei Martha Sabinin aber zu einem bemerkenswerten Ergebnis: »Mit bescheideneren Erwartungen gingen wir an die Durchsicht dieser Lieder,“ beginnt die Besprechung, „denn einmal berechtigte die Bezeichnung Op. 1 zu nachsichtigerer Beurtheilung, anderen Theils ist das Werkchen aus der Feder einer Dame geflossen, und mit nicht allzuvielen Ausnahmen hat das schöne Geschlecht auf dem Gebiete der musicalischen Composition bisher die Stufe des Dilettantismus nicht überschritten.« Der Rezensent muss jedoch beeindruckt feststellen, dass diese Musik einer anspruchsvollen Betrachtung standhält, und kommt letztlich zu einer ausgesprochen positiven Einschätzung: »Ein nur flüchtiger Blick auf die für Mezzo-Sopran geschriebenen acht Lieder zeigt jedoch schon, daß man sie mit einem höheren Maaßstab messen muß, daß sie die Beachtung und Anerkennung der Kritik verdienen. Die Componistin hat wirkliches Talent, die Form der Lieder spricht für ein tieferes Eingedrungensein in das Wesen der Kunst, die Behandlung der Singstimme wie des Pianoforte bethätigt [sic!] eine geübtere Hand – kurz das Op. 1 ist künstlerisch reifer, als nicht wenig andere Erstlingswerke selbst begabter Componisten.«

Werke:

Acht Lieder op. 1 (1855) for medium voice and piano

Alice Samter
* 11.06.1908 in Berlin † 20.03.2004
Alice Samter was born in Berlin June 11, 1908. Her father, Georg Samter, was Jewish. How did she survive there? "With hardships, like everyone else," she explained in a telephone interview from her home on Friedbergstraße. Her father "did not live through the Nazi era," having died in 1927, and her mother, Susanna (née Rothe), who died in 1952, was Protestant [Evangelisch], the religion in which Alice was brought up.
This did not, however, prevent her from accepting honorary membership in, and having her chamber music featured in the concerts of, the Jüdischer Musiktheaterverein Berlin--at Berlin's Jüdisches Gemeindehaus, Amerikahaus, Künstlerhaus Bethanien, and elsewhere, in 1984-86. And her partially Jewish background can hardly be considered irrelevant regarding her choices of texts to set, especially Nelly Sachs and Mascha Kaléko. http://home.t-online.de/home/samter/asamter/alice_samter.htm

Werke:

Annäherung I - an sieben Komponistinnen.
Eskapaden
Mobile
Nelly-Sachs-Trio

Margrit Schenker
* 04.02.1954
Born 1954, lives in Zurich, Switzerland Singer, accordionist, performance artist, composer. Artist in Residence at the Pauline Oliveros Foundation in Kingston, U.S.A.
fifty songs : 50 short pieces for accordion and voice and performance. Musikpodium der Stadt Zürich. Performances with Pauline Oliveros: Bucknell University, Pennsylvania, Swiss Institute New York, Accordionfestival Krems, Austria. Holy and Crazy one woman show. Teufelhof Baasel, Burgbachkeller Zug. Geschichten for choir a capella commisioned and premiered by the women choir Singfrauen Zürich. KRAK CD with the swiss clarinet player Valentin Vecellio. Benedicta for mixed choir commisioned and premiered by contrapunkt Basel.

Werke:

Baumklang
Benedicta
Geschichten

Iris Ter Schiphorst
* 22.05.1956 in Hamburg
Iris Ter Schiphorst wurde 1956 in Hamburg geboren. Sie ist als KomponistinAutodidaktin. Nach der Ausbildung zur Pianistin an der Hochschule für Musik/Bremen beschäftigte sie sich zunächst mit Rock- und Elektronischer Musik und spielte als Bassistin und Schlagzeugerin in diversen Rockbands. In diesem Umfeld entwickelte sie ihre ersten eigenen Stücke. 1984 siedelte sie nach Berlin über und fing an, sich mit Neuer Musik zu beschäftigen.
Sie besuchte Seminare u.a. bei Dieter Schnebel, Luigi Nono und Helga de la Motte. 1990 gründete sie das elektroakustische Ensemble intrors, in dem sie selbst Klavier und Keyboard spielt, und das ausschließlich ihre eigenen Werke aufführt.

Werke:

Annäherung IX - an sieben Komponistinnen

Theresia Schlechtriem
* 11.09.1940 in Leverkusen
Die Komponistin Theresia Schlechtriem wurde als Theresia Grümmer am 11. September 1940 in Leverkusen geboren. Während der Schulzeit war sie Jungstudentin in Violine, Klavier und Harmonielehre am Düsseldorfer Robert-Schumann-Konservatorium.
Von 1960-1963 studierte sie Schulmusik an der Musikhochschule in Köln mit abschließendem Staatsexamen für das künstlerische Lehramt an höheren Schulen. Schon damals galt ihre besondere Vorliebe dem Fach Gesang. 1962 heiratete sie den Schulmusiker Karl-Heinz Schlechtriem, zwei Jahre später wurde ihr Sohn Michael geboren. Mit ihrem Ehemann leitet sie seit 1963 den Leverkusener Kinder- und Jugendchor.

Werke:

Es ist Mai
Christmas Carols by women composers vol. 1

Mia Schmidt
* 1952 in Dresden
born in Dresden, lives in Freiburg/Germany she likes music theatre, paintings and music, electronical music, working together with other artits, chamber music interest in gender senses

Ruth Schonthal
* 27.06.1924 in Hamburg † 11.07.2006 in Scarsdale, New York
Ruth Schonthal was born in Hamburg in 1924. She began composing at five and became the youngest student ever accepted to the Stern Conservatory in Berlin where she received piano and theory-lessons. In 1935, because of her Jewish heritage, she was banished from the Conservatory. The persecution of Jews by the Nazi regime in Germany forced the family into exile and to settle in Stockholm. Because of her exceptional talent she was accepted at the Royal Academy of Music in Stockholm, in spite of not meeting the standard regulations for admission, a fact, that the Swedish press noted and duly protested. At the Academy Ruth Schonthal studied piano with Olaf Wibergh and composition with Ingemar Liljefors.
In 1941 the political situation became again too dangerous and the family had to flee a second time, this time settling in Mexico City. There Ruth Schonthal continued her studies of composition with Manuel M. Ponce. At age nineteen, she was the soloist at the world premiere of her own Piano Concerto in the Palacio de Bellas Artes. In 1946 she met Paul Hindemith, who was on a concert tour in Mexico City. She accepted his offer to study with him at the Yale University on a scholarship that Paul Hindemith procured for her. She graduated in 1948, one of the few who graduated with honors. Ruth Schonthal never followed the prevalent contemporary aesthetic fashions. At a time when Anton Webern and John Cage were the American role models, she followed her own musical path, never denying her own classic-romantic heritage. The extraordinarily varied impressions she absorbed in the course of her life in different parts of the world provided the foundation of her musical style. Ruth Schonthal has received commissions for chamber music, operas, symphonic works as well as for compositions for piano and organ. In 1994 she was the recipient of the ”Heidelberger Künstlerinnenpreis“ and was honored by the Prinz Carl am Kornmarkt Museum in Heidelberg with an exhibition about her life and work. Also in the USA she was the recipient of many honors and awards, amongst them ”Meet the Composer grants“ and ”ASCAP awards“. She was a finalist in the New York City Opera Competition with her opera “The Courtship of Camilla” (A. A. Milne) and a finalist in the Kennedy-Center-Friedheim Competition with her “In Homage of ...” (24 Preludes). In addition she received a „Certificate of Merit“ from the Yale School of Alumni Association for outstanding service to music and an ”Outstanding Musician Award“ from New York University as well as numerous honors and awards from local Arts and Cultural organizations. Ruth Schonthal died on July 10, 2006 in Scarsdale, New York. Since 1997 the publishing house Furore Verlag is Ruth Schonthal’s exclusive publisher.

Werke:

2 Fanfares for 2 trumpets, Fanfare for 3 trumpets, 2 Trumpets and a Drum
25 plus piano solo. 27 works by contemporary women composers
65 Celebrations
A Bird over Jerusalem
A Bird’s song about ...
Abendruhe mit süßem Traum
Annäherung II - an sieben Komponistinnen
Bells of Sarajevo
Bodas de Sangre (Operatic cradle song)
Bouquets for Margret. Five Duets for piano four hands
Collagen
Drei Liebeslieder
Evening Music
Fantasia in a Nostaligic Mood
Fantasy - Variations on a Jewish Liturgical Theme
Fiestas y Danzas
Five Oceanic Preludes
Fourteen Inventions
Glockenläuten (Bildnis einer frommen Frau)
Heidelberger Fanfare with Variations
Homage à Garcia Lorca
Improvisation for Solo Cello
Improvisations in three interconnected Sections
In Homage of ...
Japanese Sketches
Jocasta
Jocasta. Opera
Short impressions for very young piano students vol. 1
Short impressions for very young piano students vol. 2
Little Suite
Miriam's Song (Volume 1)
Music for Horn & Chamber Orchestra
Music for Horn & Piano
Nachklänge (Reverberations)
Nine lyric dramatic Songs
Ode to a departing Swan
Piccolo Concerto
Princess Maleen
Princess Maleen
Seven Songs of Love and Sorrow
Six Times Solitude
Sonata Breve
Sonata Concertante
Sonata Concertante
Sonata Concertante for Cello and Piano
Sonata in e
Sonata in two Movements
Sonata quasi un ‘Improvvisazione’
Sonatensatz
Sonatina in A (1939)
String Quartet No. 3 In Memoriam Holocaust
String Quartet No. 1
String Quartet No. 2
Suite
Tango for two and Duo
The Canticles of Hieronymus (1986)
The Solitary Reaper
The Temptation of St. Anthony
The beautiful day of Aranjuez
The courtship of camilla
Theme and Variations
Three elegies
Toccata and Arietta
Totengesänge
Trompetengesänge
Two Duets
Two short Divertimenti, Little Suite
Wildunger Liederzyklus Band I
Wildunger Liederzyklus Band II
for mascha. Organ solo
pian é forte. Music for piano

Eva Schorr
* 28.09.1927 in Crailsheim † 20.01.2016
Eva Schorr has made a name for herself thanks to her twin talents as a composer and painter. She started learning music at the age of five, at the age of eight she was performing her own compositions at school concerts. As a young woman Eva Schorr took first prizes at composition and organ competitions.
She continued her drawing and painting studies while studying Composition with Johann Nepomuk David and the Organ with Anton Nowakowski at the State University of Music in Stuttgart. Eva Schorr has won many awards in composition competitions, including the gold medal at the 4th International Competition in Buenes Aires. Her compositions are performed in Germany and elsewhere by well-known soloists and ensembles; her paintings can be seen in exhibitions on their own or together with those of artists. Eva Schorr lives in Stuttgart and is a member of the Freie Akademie der Künste (Free Academy of the Arts) in Mannheim.

Werke:

Annäherung I - an sieben Komponistinnen.
Fantasie, Choral und Fuge
In der Welt habt ihr Angst
Mixed Suite für Flöte und Gitarre
Pas de Trois (score and parts)
Pas de Trois (parts)
Pas de Trois (pocket score)
Ritornell

Corona Schröter
* 14.01.1751 in Guben † 23.08.1802 in Ilmenau
The lifetime position of court singer that Corona Schröter (1751–1802) held in Weimar after 1776 allowed her artistic independence. Goethe, who had admired her earlier, arranged the appointment and was her close friend and artistic collaborator in the court theater. In the first performance of his Iphigenie auf Tauris (1779), Schröter acted the title role opposite Goethe as Orestes.
She composed the music to his Singspiel Die Fischerin (1782), first performed outdoors at Tiefurt Palace, and sang the role of Dortchen, created specially for her. Her setting of "Erlkönig" from the Singspiel became the first of many settings of this popular ballad. She published this song and one additional Goethe setting in her collection of Fünf und Zwanzig Lieder (twenty-five songs; Weimar, 1786).

Werke:

Inspired by Goethe. Songs by women composers of the 18.th and 19.th Centuries

Fémine Schults
This Dutch composer/musician seems to have been connected to Amsterdam, as her music was edited by an Amsterdam company (de Algemene Muziekhandel v/h Stumpff & Koning, Muziek en Instrumentenhandel K. van der Meer & van Rosmalen). In 1883–1885 she is recorded as setting the Dutch/Amsterdam writer M. G. L. van Loghem’s “Een Liefde in het Zuiden” (A love in the South) to music, 1901 Van het starrekijn, and Tien Liederen from 1928, dedicated to Anke Schierbeek, a Dutch mezzo-soprano who was active from 1912–1952. These seem all the works that presently survive, or are obtainable via the archives (“Nederland Muziek Instituut”) from this musician.
She writes well for the piano, expressing the text with late 19th century harmonic shifts and appropriate musical devices. The melodic line for the voice is well and creatively written, again suitably expressing the text.

Werke:

Christmas Carols by Women Composers Vol. 4

Clara Schumann
* 13.09.1819 in Leipzig † 20.05.1896 in Frankfurt am Main
The young Clara Schumann, née Wieck (1819–1896) played for Goethe in Weimar shortly after her twelfth and his last birthday. Weimar was the first stop on her first concert tour arranged by her father, Joseph Wieck. On 1 Oct. at midday, they had an audience with the 83-year old Goethe. "Clara had to sit next to him on the sofa. Soon his daughter-in-law [Ottilie] came with her two intelligent looking children. [...] Clara was now requested to play, and since the chair at the piano was too low, he himself got a pillow from the foyer and adjusted it for her." Clara also played a public concert in Weimar and a second time for the poet. Impressed by her performance, Goethe remarked that "She plays with as much strength as six boys". As a sign of appreciation, Goethe gave Clara a bronzen portrait-medallion, on the back of which he had inscribed a note: "For the gifted artist Clara Wieck."
A highly complimentary review of her Weimar performance appeared in the Allgemeine musikalische Zeitung in March 1832, the same month Goethe died. In light of her early memorable meeting with Goethe, it is surprising that only one song setting of his poetry remains. Yet Clara and Robert Schumann considered setting additional Goethe texts, as is clear from the entries in their "Abschriften von Gedichten zur Komposition" (transcriptions of poems to compose). Clara entered twelve Goethe poems, including "Das Veilchen", the only one she composed, while Robert entered two more.

Werke:

Annäherung V - an sieben Komponistinnen
Praeludium I und II
Praeludium und Fuge g-Moll op. 16.1
Praeludium und Fuge B-Dur op. 16.2
Praeludium und Fuge d-Moll op. 16.3

Margarete Schweikert
* 16.02.1887 in Karlsruhe † 13.03.1957 in Karlsruhe
Margarete Schweikert (1887 – 1957)

Margarete was born on 16 February 1887 in Karlsruhe. After studies at the Grand Ducal Conservatory in Karlsruhe and at the Royal Conservatory in Stuttgart as well as several concert tours throughout southern Germany she had lived her life in her hometown. There she died on 13 March 1957.

Margarete Schweikert composed more than 100 songs. She also created songs for choir, organ and compositions for piano as well as chamber music with particular emphasis on her instrument, the violin. Furore will publish the following works:
Chamber Music
1. Serenade auf dem Meer (Text: Isolde Kurz) 1909 for Soprano, Violine, Englishhorn, Piano
2. Psalm 104, op.4 – Lobe den Herrn (Altes Testament) for Tenor, Violin, Piano (Organ)
3. Menuett im alten Stil for Violin and Piano Novelette for Piano
4. Sonata: Allegro con brio, Andante ma non troppo und Presto for Violin and Viola
5. Romanze for Violin (Cello) and Piano

Lieder:
1. Six Lieder op. 3 for Soprano and Tenor and Piano: (Texts: 1. Lied: Erich Enke, 2. Gustav Falke, 3. J.W.v. Goethe, 4. Margarete Sachse, 5. Johannes Schlaf, 6. Gustav Falke)
2. Four Goethelieder op. 11 for Tenor und Piano
3. Two late Lieder - Leid (Text: Ludwig Jungmann) 1946 und Einem Vorangegangenen (Text: Auguste Supper) 1947 for Soprano and Piano
4. Four Flower Songs (Blumenlieder) (Vergissmeinnicht (Text: Richard Dehmel) (Tenor/Piano), Morgens send ich Dir die Veilchen (Text: Heinrich Heine) (Soprano/Piano), Mit drei roten Rosenblättern (Text: Fritz Römhild) (Soprano/Piano) sowie Er gab mir die Rose (Text: Otto Michaeli) (Soprano/Piano)
5. Three Wolkenlieder (Text:Theowill Übelacker) für Soprano and Piano


Werke:

CD: Songs and Chamber Music
Lobe den Herrn nach Worten des 104. Psalms op. 4 (4’) for soprano, violin and piano
Novellette for piano
Romanze (Romance) for Vc (Va/Vl) and piano
Serenade auf dem Meer (um 1907) (Serenade on the Sea)
Wolken-Lieder, Späte Lieder for voice and piano

Ethel Smyth
* 23.04.1858 in Sidcup † 08.05.1944 in Woking
Ethel (Mary) Smyth was born in 1858 in Sidcup, the daughter of a British considered typical Victorian family. She spent her youth at a time when creative power of women was flatly denied and chastity and decency should be the highest ideals of a woman. At nine, she received her first piano lessons from a German governess, who graduated in Leipzig to study music. It was with Carl Reinecke that Ethel Smyth began her composition lessons at the Leipzig Conservatory in 1877 as the first female student in his class. Soon afterwards, she chose Heinrich von Herzogenberg – who was completely under the spell of the overpowering Johannes Brahms – as her personal teacher and friend. Herzogenberg provided helpful guidance for her studies and work up until 1884. At the same time began their close friendship to the family von Herzogenberg.
Smyth began taking private lessons in composition from Heinrich Aloysius von Herzogenberg. Even then, there were prejudice, the quality of her compositions was reduced because they were written by a woman. Quite a number of compositions by Ethel Smyth were printed and performed in her lifetime. Another previously unpublished work – the string trio in D major op. 6 – now appears in print, so that her name will be “known” and spread further. After both Ludwig van Beethoven, despite his three large-scale experiments in op. 9 (around 1797), and Franz Schubert, after his one and only finished string trio of 1817 (D 581), had turned their attention to the string quartet as a compositional challenge, the genre of the classical string trio, with its highly virtuosic basic concept of what was intended as three completely equal parts for violin, viola and cello, lived on only on the fringes for a long time. Wolfgang Amadeus Mozart, in his great late Divertimento in Eb major (KV 563), written in 1788, had recreated the musical characteristics of the string trio and at the same time exhausted its considerable possibilities almost completely. A whole century passed before a further development of this genre began in equivalent works, by Max Reger, Paul Hindemith and Anton von Webern in particular. At the start of this newly awakened interest we find three string trios in particular which were all written in Leipzig: the two string trios op. 27, nos. 1 and 2 by Heinrich von Herzogenberg (1843–1900) published in 1879 and the string trio in C minor op. 249 by Carl Reinecke (1824–1910) composed in 1898. It is here that this string trio in D major op. 6 by Ethel Mary Smyth (1858–1944) belongs. It was with Carl Reinecke that Ethel Smyth began her composition lessons at the Leipzig Conservatory in 1877 as the first female student in his class. Soon afterwards, she chose Heinrich von Herzogenberg – who was completely under the spell of the overpowering Johannes Brahms – as her personal teacher and friend. Herzogenberg provided helpful guidance for her studies and work up until 1884. The idea of composing for study purposes not only a number of string quartets but also a string trio, with its special compositional characteristics, most probably came from Herzogenberg.

Werke:

Annäherung III - an sieben Komponistinnen. Kerstin Thieme, Ethel Smyth, Mia Schmidt, Wen-Hui Tu, Ver-dina Shlonsky, Elisabeth Kuyper, Jacqueline Fontyn
Shout up with your song! Songs from the Women’s Movement
String Quartet c minor
String trio D op. 6
String trio op. 6
The March of the Women

Brunhilde Sonntag
* 1936 in Kassel † 2004
Biographical circumstances have an influence on artistic inspiration. On the other hand the creative frame of mind helps to develop personality. Biographical experiences, which have turned into composition, help to overcome anxiety and tension. Brunhilde Sonntag is known as a composer, musicologist and music teacher.
She has been professor of composition an music theory at the University of Wuppertal. During the 10. symposium of artistic therapy in november 1992 in Münster/Westfalen she gave a lecture on "music and effect - minimal music and ritual listening", which is published in Music-, Dance- and Art Therapy number 2, 1994 page 65-68 . More Information: www.musik.uni-osnabrueck.de/lehrende/muessgens/Sonntag/B_Sonntag.htm

Werke:

Aber ich sage Euch, Liebet Eure Feinde
Annäherung I - an sieben Komponistinnen.
Fünf Lieder
Vier Klavierstücke für H.

Margarete Sorg-Rose
* 1960 in Remscheid
Margarete Sorg-Rose began learning the piano as a five-year-old and sang in a number of choirs. She started studying Musicology and Classical Philology in Mainz and Tübingen in 1979 and Piano Education, Choir Leadership and Composition in Mainz in 1983. She took an active part in summer courses and continued her training in orchestra leadership.
Margarete Sorg-Rose has worked as co-repetiteur with the Bach Choir in Mainz, as a music journalist for the theatres in Wuppertal, for the Schott music publishing house and for the ZDF in Mainz. She also studied composition in master classes with Prof. Hans Werner Henze and Prof. Krzysztof Meyer at the University of Music in Cologne and obtained a diploma there in 1994. Her works, which have received several awards, are frequently performed at international music festivals. Margarete Sorg-Rose has worked as a free-lance composer since 1993 and is about to complete her doctorate in musicology. At Furore: Non Perpetuum Mobile, see fue 4660 25 plus piano solo

Werke:

25 plus piano solo. 27 works by contemporary women composers

Lena Stein-Schneider
* 05.01.1874 in Leipzig † 17.06.1958 in München
Lena Stein-Schneider, who was born Helene Meyerstein in Leipzig where she studied piano and voice, suffered a deeply moving fate. During the Nazi era she had to contend with systematic ostracism and a performance ban as a musician, composer and writer. In 1942 she was deported to the Theresienstadt concentration camp which she left with the transport of the Swiss delegation after her liberation in a state of complete exhaustion. She returned to Berlin from Switzerland and, after decades of gruelling compensation proceedings, received a small compensation payment shortly before her death.
Originally composed for cello, the salon piece Nocturno is ideally suited for concert program-mes dedicated to this genre, or for those which require a short piece to provide light contrast.

Werke:

Miriam's Song (Volume 1)

Joanna Stepalska-Spix
* 1967 in Krakau, Polen
After studying the Flute (with Distinction) from 1988 to 1992 at the Academy of Music in Cracow she also studied Composition, Electronic Music and Computer Music there from 1990 to 1993. She then continued her studies at the University of Music in Cologne, where she gained her Diploma in 1994
Even during her Composition studies Joanna Stepalska-Spix took part in numerous courses for Composition and Electronic Music. From 1994 to 1995 she took a course in Sinology at the Royal Conservatory in Den Haag. The composer is a member of the Association of Polish Composers (ZKP). Her works are performed in Poland, Germany, Austria, the Netherlands, France, the Slovak Republic, the Ukraine and Italy. Joanna Stepalska-Spix lives and works in Düsseldorf. At Furore: Non Perpetuum Mobile for piano, see fue 4660 25 plus piano solo

Werke:

25 plus piano solo. 27 works by contemporary women composers

Adele Stöcker
* 1875 in Gummersbach † 1978
The violin player Adele Bloesch-Stöcker was born in Gummersbach (Germany) in 1875. She was a successful soloist amongst others in Leipzig and Berlin. She played together with Max Reger and interpreted his solo sonata for violin.
From 1903 on she performed repeatedly under Fritz Brun in Bern and settled down in Bern in 1908 when she married the librarian of the city of Bern. Portraits of this time show an elegiac-beautiful young woman. In 1920 she founded the Bern chamber orchestra. In 1928 she took charge of the musical part of the swiss exhibition for women work (SAFFA). Already in her early years she was not able to perform due to a rheumatic disease. In 1935 and 1936 she conducted her late romantic violin concert in Burgdorf and Bern. The solo violin player was Marguerite Siebenthal, who still lives in Gstaad. She reported that this piece had to be played “with heart”. Adele Bloesch-Stöcker wrote down her memories on Max Reger when she was 98 years old. (Zürich: Bollmann 1973): His genius was depicted as lovingly, his consum of alcohol was depicted as dramatically. She died in the age of 103 in Winterthur where the manuscript of her violinconcert was found again. Patricia Kopatchinskaja played this violin concert on the 50 th anniversary of the Bern chamber orchestra´s new foundation on 29.10.2002.

Marianne Stoll
* 01.08.1911 † 28.01.2012 in Tübingen
Marianne Stoll was born in 1911 in Stuttgart. She studied music at the Musikhochschule in Stuttgart. After her final exam 1934, she studied church music in Stuttgart and Leipzig.
Later on she worked in Lustnau and Stuttgart and the last eight years as an organist at the Jakobuskirche in Tübingen (James church). At the local music school she had a teaching job in piano, flute and chamber music. After her retirement, she founded a senior citizen orchestra in Tübingen in order, as she said, to give older people the opportunity to make music together. She died on 28 January 2012 in Tübingen.

Werke:

Quartett für 4 Violoncelli
Quartett für 4 Violoncelli (parts)
Quartett für 4 Violoncelli (pocket score)
Sonate für Flöte und Klavier
Sonate für Gitarre und Cembalo

Barbara Strozzi
* 06.08.1619 in Venedig † 11.11.1677 in Padua
Barbara Strozzi was born in Venice in 1619, and baptized on August 6. She died in Padua, Italy in 1677 at the age of 56. Strozzi was born into a world of creativity, intellectual fervency and artistic freedom. Strozzi’s father, Giulio Strozzi, was an important Venetian poet who wrote librettos for many operas, including works by Monteverdi. Barbara grew up in a household frequented by the greatest literary and musical minds of the age. She was one of the most prolific composers of secular chamber music in the 17th century.
Her compositons are mostly cantatas or arias for solo voice. The theme in Strozzi’s secular works is almost invariably the suffering caused by unrequited love, presented across the full range of emotions, from ironic mockery to weeping melancholy. Possibly because she was a woman working in a man's field, Strozzi came under much criticism, rumour, speculation and slander. However, as a busy composer, mother of 4 children and performer, she had little time to be concerned about the gossip surrounding her. She lived with and took care of her aging parents in their house until they died. Given the few bits of information we now have about her private life, we have a picture of an extraordinary woman of talent, beauty, intellect, and business savvy, who published 125 pieces of vocal music in her lifetime.

Werke:

14 Arien aus op.2
Il Primo Libro de Madrigali
L’Astratto. Aria from op. 8

Maria Szymanowska
* 14.12.1789 in Warschau † 24.07.1831 in Sankt Petersburg
Szymanowska’s childhood in Warsaw was consumed by music-making in the home. Her father, Franciszek Wołowski, a wealthy brewery owner, and her mother, Barbara Lanckorońska Wołowska, a descendant of an ancient Polish aristocratic family, were leading patrons of the arts. Together, they encouraged the young Szymanowska’s interest in music. At the age of eight she began her musical studies in piano with the well-known Warsaw pianist, Antoni Lisowski, and at 15 she pursued studies in theory and composition with the pianist and composer Tomasz Gremm. Szymanowska had ample opportunity to acquaint herself with contemporary performance and compositional styles, and she took advantage of the informal lessons these visiting artists provided to resident musicians.
By the age of twenty-one she was an active participant in public and private concerts in Warsaw and the rest of Europe. In 1810, after presenting a series of concerts in Warsaw and Paris, she married Józef Teofil Szymanowski. Within a period of two years she gave birth to three children. Ten years later, in 1820, the marriage foundered and Józef petitioned for a divorce; Szymanowska retained her maiden name and the custody of their children and resumed her professional career. The publication dates of her works indicate that they were published immediately after she composed them, and illustrate the marketability of her keyboard works as teaching pieces and solo concert works.

Werke:

Six Romances and Romance à Joséphine
pian é forte. Music for piano

ADMINPANEL
Benutzername
Passwort