ENGLAND
England's period of musical greatness has been said to be the past and
the future. During the contrapuntal epoch her music flourished as never
before or since, and side by side with the Shakespearian period in
literature came an era of musical glory scarcely inferior to it. During
the Restoration, too, music still held its own, thanks to the genius of
Purcell in opera. But no names of women are recorded, and it is only in
the eighteenth century, and the latter half at that, that they begin to
appear on the roll of fame.
The year 1755 witnessed the birth of two women who were gifted enough to
leave worthy works behind them,--Maria Parke and Mary Linwood. The
former was the daughter of a famous oboist, who gave his child an
excellent training. She became well known as a pianist and singer, and
among other works produced songs, piano sonatas, violin pieces, and
even a concerto for piano, or rather harpsichord. Miss Linwood devoted
herself more entirely to vocal compositions, and published a number of
songs and the oratorio, "David's First Victory." Two operas by her were
left in manuscript.
Mrs. Chazal, who flourished at a still earlier date, won reputation as
an orchestral conductor. This work is hardly deemed to come within
woman's sphere, but the many choral and orchestral festivals of England
offered her a better chance in this direction than her sisters in other
lands could obtain. Mrs. Chazal's works included overtures and an organ
concerto, as well as piano and violin music. Organ compositions seem to
have been fairly numerous in England a hundred years ago, and we find
Jeanne Marie Guest, daughter and pupil of a well-known organist, writing
a number of voluntaries and other selections, also some manuscript
concertos and some piano music. Other instruments were not neglected, as
may be seen from Ann Valentine's "Ten Sonatas for Harpsichord and
Violin," published in 1798. Another good organist was Jane Clarke, who
issued a setting of psalms, as sung at Oxford, in 1808.
Coming nearer to our own times, Elizabeth Stirling, who died in 1895,
was considered one of the very best of English organists. Her works for
that instrument include two grand voluntaries, a half-dozen excellent
pedal fugues, eight slow movements, and many other pieces. She has done
much unselfish labour in arranging selections of Bach and the other
great organ masters, besides publishing songs, duets, and piano works of
her own. In 1856 she tried for a musical degree at Oxford, presenting an
orchestral setting of the 130th Psalm; but, although the work won high
praise, no authority existed for granting a degree to a woman. Marian
Millar, a composer of songs and orchestral-choral works, met with more
success in hunting for the coveted "Mus. Bac." and obtained it by
applying to Victoria University. Augusta Amherst Austen, another
organist, has written songs and hymn tunes, while Elizabeth Mounsey,
also a performer, has published songs and piano pieces as well as organ
works.
Ann Shepard Mounsey (1811-91), afterward Mrs. Bartholomew, a sister of
Elizabeth, is mentioned by Spohr as a child prodigy. She was a friend of
Mendelssohn, who wrote his "Hymn of Praise" for her sacred concerts in
London. A set of "Thirty-four Original Tunes and Hymns" may be classed
as organ work, but her greatest effort took the shape of an oratorio,
"The Nativity." She also wrote a sacred cantata, and many lesser vocal
works, including excellent solo and ensemble songs. Emma Mundella
(1858-96) received an education both long and broad, and brought forth
part-songs, piano pieces, church music, and an oratorio, "The Victory of
Song." Elizabeth Annie Nunn (1861-94) also produced religious works,
and, besides songs and various church music, published a Mass in C.
In the early part of the nineteenth century, the mechanical skill of
Sebastian Erard made the harp extremely popular. At that time English
households contained harps much as they do pianos at present.
Excellently adapted as it was for women's performance, it is not
surprising to find women composing for it also. Elizabeth Anne Bisset,
Hannah Binfield, and Olivia Dussek, afterward Mrs. Buckley, were three
famous examples of female skill in writing for the instrument.
Of song composers there have been a multitude. Among the early ones,
Ellen Dickson (1819-78), under the _nom de plume_ of Dolores, won a wide
reputation. Her works are still sung, the most popular being her setting
of Kingsley's brook song, "Clear and cool." Frankly simple in style, but
full of pretty melodies, were the songs of Mrs. Charles Barnard
(1834-69), who became widely known under the pseudonym of "Claribel."
With her may be classed the ballad writers, such as Mrs. Jordan (Dora
Bland), who composed the "Blue Bells of Scotland," or Lady Scott (Alicia
Anne Spottiswoode), the author of "Annie Laurie" and other well-known
songs. Mary Ann Virginia Gabriel (1825-77) was best known by her many
tuneful songs, but wrote also part-songs, piano pieces, and a number of
cantatas and operettas. Charlotte Sainton-Dolby (1821-85), the famous
singer and friend of Mendelssohn, was also most widely appreciated
because of her songs, though her cantatas, "The Legend of St.
Dorothea" and "The Story of the Faithful Soul," were often performed.
Sophia Julia Woolf (1831-93) won fame by her piano pieces and her opera,
"Carina," as well as through her songs.
Kate Fanny Loder, not content with songs and the opera "L'Elisir
d'Amore," has composed an overture for orchestra, two string quartettes,
a piano trio, piano and violin sonatas, minor piano pieces, and some
organ works. Caroline Orger (1818-92) was another talented composer
whose work possessed sincerity and artistic value, and was above the
merely popular vein. Among her productions, which have been often
performed, are tarantellas, a sonata, and other piano pieces, a 'cello
sonata, a piano quartette and trio, and a piano concerto.
Alice Mary Smith (1839-84) seems to have been on the whole the foremost
woman composer that England has yet produced. A pupil of Sterndale
Bennett and Sir George A. Macfarren, she devoted herself wholly to
composition, and made it her life-work. Her music is clear and well
balanced in form, excellent in thematic material, and endowed with an
expressive charm of melodic and harmonic beauty. Among her orchestral
works are two symphonies, one in C minor and the other in G; four
overtures, "Endymion," "Lalla Rookh," "The Masque of Pandora," and
"Jason, or the Argonauts and Sirens;" a concerto for clarinet and
orchestra, and an "Introduction and Allegro" for piano and orchestra.
Her chamber music is also successful. It consists of four quartettes for
piano and strings in B flat, D, E, and G minor, also three string
quartettes. With the orchestral works should go two intermezzi for "The
Masque of Pandora," finished later than the overture. Her published
cantatas include "Rüdesheim," "Ode to the Northeast Wind," a strong
work, "The Passions" (Collins), "Song of the Little Baltung" (Kingsley),
and "The Red King" (Kingsley). Her many part-songs, duets, and solos are
imbued with rare melodic charm, as may be seen from the famous duet,
"Oh, that we two were maying." Her career, though none too long in
years, was one of constant creative activity.
There are a number of English women who have done excellent work in the
large orchestral forms, if we may count festival performances as a
measure of success. Edith Greene has composed a symphony, which was well
received at London in 1895. To her credit may be placed many smaller
works of real merit, among them a worthy violin sonata. Amy Elsie
Horrocks, born in Brazil, brought out her orchestral legend, "Undine,"
in 1897. She has also composed incidental music to "An Idyl of New
Year's Eve," a 'cello sonata, variations for piano and strings, several
dramatic cantatas, a number of songs, and many piano and violin pieces.
Besides doing this, she has won fame as a pianist. Mrs. Julian Marshall,
born at Rome, has produced several orchestral works, as well as several
cantatas, an operetta, a nocturne for clarinet and orchestra, and a
number of songs. Oliveria Louisa Prescott, a native of London and a
pupil of the Royal Academy of Music, is responsible for two symphonies,
several overtures, a piano concerto, and some shorter orchestral pieces,
besides vocal and choral work.
Dora Bright, born at Sheffield in 1863, another student of the Royal
Academy, is one of England's most gifted musicians at the present time.
She became assistant teacher of piano, harmony, and counterpoint, and
won many prizes, being the first woman to obtain the Lucas medal for
composition. Her two piano concertos are praised by critics for their
"bright and original fancy and melodious inspiration of a high order,
coupled with excellent workmanship." The orchestral colouring is said to
be thoroughly exquisite. A fantasia for piano and orchestra was given at
the London Philharmonic Concerts in 1892, the first instance of a
woman's composition being given by that orchestra. Her string quartettes
have won notice, also her piano duos, a violin suite, some flute and
piano pieces, and several piano solos and songs.
Alice Borton has published an "Andante and Rondo" for piano and
orchestra, as well as several piano works (suite in old style) and a
number of songs. Edith A. Chamberlayne has composed two symphonies, as
well as a manuscript opera, a sextette for harp, flute, and strings, and
various harp, organ, and piano music. Edith Swepstone has had some
movements of an unfinished Symphony performed, also an overture, "Les
Tenebres," at London in 1897. She has written a piano quintette and a
string quartette, besides short cantatas and the usual lesser pieces for
violin, piano, and voice. Marie Wurm, born at Southampton in 1860, is a
successful pianist as well as composer. Her concerto in B minor is
highly praised for excellent workmanship, originality, and melodic
strength and charm. Among her other works are a concert overture, a
string quartette, violin and 'cello sonatas, some five-voiced madrigals,
with various piano pieces and songs.
Rosalind Frances Ellicott has won a place of honour among women
composers. She was born in 1857, and is a daughter of the Bishop of
Gloucester. Her music is not especially ecclesiastic in vein, but
includes many notable secular compositions. Among her important works
are dramatic, concert, and festival overtures, and a fantasia for piano
and orchestra, all given at various English festivals. Of her various
cantatas, the "Birth of Song," "Elysium," and "Henry of Navarre" have
met with the most success. She has written two piano trios, a string
quartette, and much music for 'cello, piano, and voice.
Ethel M. Smyth, who recently was brought into notice in America by the
performance of her opera, "Der Wald," is one of England's talented
musical women. In purely orchestral vein she has produced a serenade in
D and the overture "Antony and Cleopatra," both being given at the
Crystal Palace in 1890. She has shown originality in other than
operatic fields, and her greatest work is a Mass in D. This is a
composition of decided merit, and is full of sustained dignity and
breadth of style. It is intensely modern in quality, and its expressive
feeling is somewhat reminiscent of Gounod, but it is not in any sense an
imitation of the great Frenchman. Her string quintette has been
performed at Leipsic. She has written a violin sonata and the usual
number of minor pieces and songs. Her opera has received much praise,
but the final verdict rates it as rather confused and undramatic, in
spite of much good music in the score.
Many women have attempted opera, but none have met with more than
temporary success. In England, owing to the example of Gilbert and
Sullivan, light operas and operettas have flourished to a considerable
degree. Mary Grant Carmichael met with some success through her
operetta, "The Snow Queen," but like Miss Smyth gave the world a more
important work in the shape of a mass. Ethel Harraden, sister of the
novelist, had her opera, "The Taboo," brought out at the Trafalgar
Square Theatre, London, with excellent results. She has composed an
operetta, "His Last Chance," besides vocal, choral, and violin pieces.
Harriet Maitland Young has completed several operettas, of which "An
Artist's Proof" and the "Queen of Hearts" were successfully performed.
Annie Fortescue Harrison witnessed the production of her "Ferry Girl"
and "Lost Husband" at London. Louisa Gray's "Between Two Stools" has
been given at many places. Ida Walter's four-act opera, "Florian,"
received a London performance in 1886. Florence Marian Skinner has made
Italy the scene of her work. Her "Suocera," in serious vein, appeared at
Naples in 1877, while her "Mary, Queen of Scots," after being given at
St. Remo and Turin, received a London hearing.
England is preëminently a land of musical festivals, at which choral
work plays an important part. London and the larger cities have their
regular series of concerts, and the size of the capital attracts outside
artists, but many of the smaller towns have annual occasions, at which
local talent is sure to receive a full appreciation. This accounts for
the prevalence of cantatas in the English musical repertoire. Subjects
of all sorts are used, and dramatic, romantic, or even simple pastoral
themes appear to delight the British ear when set to music and given by
some singing society.
Among the many women who have attempted this form of composition, some
have already been mentioned, but a number have been satisfied with it
for their only efforts in extended style. Lizzie Harland produced her
dramatic cantata, "C[oe]ur de Lion," in 1888, following it with the
"Queen of the Roses" for female voices. Ethel Mary Boyce, winner of
various prizes, has composed "Young Lochinvar," "The Sands of
Corriemie," and other cantatas, as well as a March in E for orchestra.
Miss Heale, another London aspirant, is credited with "Epithalamion,"
"The Water Sprite," and other choral works. Emily M. Lawrence has
produced "Bonny Kilmeny" and "The Ten Virgins," both for female voices,
while Caroline Holland has written the cantata, "Miss Kilmansegg," and
the ballad, "After the Skirmish," for chorus and orchestra. Miss Holland
has won laurels as a conductor, besides being known as a composer. All
of these have done a greater or less amount of work in the small forms,
for piano, voice, or violin.
Still longer is the list of women who have worked wholly in the shorter
forms. Yet the absence of ambitious work must not be taken to indicate a
lack of musical genius, for many of England's best known musical women
rest their fame upon a few short pieces. There is a vast difference
between good music and great music, and a song of real worth often
outlasts an ambitious but overswollen symphony that is laid on the shelf
after one hearing.
In the field of violin music, there are many women deserving mention.
Margaret Gyde, after taking prizes and scholarships, produced two
excellent violin sonatas, besides piano pieces, songs, and some organ
music. Contemporary organists, in passing, are well represented by Kate
Westrop, who has published four short voluntaries for organ. Laura
Wilson Barker, wife of Tom Taylor, has entered the classical arena with
a violin sonata, and has done more ambitious work in the music to "As
You Like It" and the cantata "[OE]none." Caroline Carr Moseley has
produced several pieces for violin and 'cello, and has written one or
two dainty works for toy instruments. Mrs. Beatrice Parkyns, born of
English parents at Bombay, has several charming violin compositions to
her credit, and the same may be said for Kate Ralph, a native of
England. Emily Josephine Troup is another violin composer, who has also
tried her hand at songs and piano pieces. Maggie Okey, at one time wife
of the pianist De Pachmann, and now married to Maître Labori, famous as
the advocate of Dreyfus, has composed a violin sonata, a violin romance,
and several piano pieces. Kate Oliver is responsible for some concerted
music, while Alma Sanders has produced a piano trio, a violin sonata,
and a piano quartette. To-day Ethel Barns heads the list of violin
composers among women.
[Illustration: MAGGIE OKEY]
By far the most important name in this field of woman's work is that of
Agnes Zimmermann. Born in Cologne in 1847, she received her musical
education in London. At the Royal Academy of Music she studied piano
under Pauer and Potter, afterward attaining high rank as a performer. In
composition, her teachers were Steggall and George Macfarren. She won
the silver medal of the Academy, and obtained the king's scholarship
twice, in 1860 and 1862. In the next year she made her London début, and
a year later appeared with the Gewandhaus orchestra at Leipsic. Her fame
as a classical pianist was soon established, and her excellent work in
editing the sonatas of Beethoven and Mozart bore added testimony to her
musical knowledge. Her compositions include a piano trio, three violin
sonatas, a suite and other pieces for piano, and a number of songs. Her
clear style and thorough musicianship have given these works more than a
passing value, and she is reckoned to-day as one of England's leading
women composers.
Still more numerous than the violin composers are the women who have
shown their ability merely in the form of a few piano pieces. Almost
every eminent performer is at some time tempted to express his own
musical thoughts in writing. Such has been the case with Arabella
Goddard, the famous pianist. Born near St. Malo, in 1838, she played in
her native place at the age of four. At six she was studying with
Kalkbrenner at Paris. At eight she played before Queen Victoria, and
published six piano waltzes. Among her maturer works are an excellent
ballade and several other piano selections. Dora Schirmacher, born in
1862, was less precocious, but won the Mendelssohn prize at Leipsic,
where she studied under Wenzel and Reinecke. Her works consist of a
suite, a valse-caprice, a sonata, a serenade, a set of tone pictures,
and so on. Amina Beatrice Goodwin was another child prodigy, first
playing in public at the age of six. She studied with Reinecke and
Jadassohn at Leipsic, Delaborde at Paris, and finally with Liszt and
Clara Schumann. She has published many piano selections, besides
founding a pianoforte college and publishing a good book of practical
hints on technique and touch. She is married to an American, Mr. W.
Ingram-Adams. The list of piano composers might be extended much
further, but these are the most representative names.
Of the long list of song composers, but few have produced anything of
marked artistic value. Foremost among these at present is Liza Lehmann,
who has recently become famous through her song cycle, "In a Persian
Garden." She came of a gifted family, for her father, Rudolph, was an
excellent artist, and her mother a composer of songs, which were
modestly published over the initials "A. L." Her grandfather was Robert
Chambers, famed by his Encyclopædia. Born in London, she studied singing
with Randegger, and composition afterward with Freudenberg, of
Wiesbaden, and the Scottish composer, MacCunn. She expected to make a
career as a singer, but found herself so extremely nervous whenever
appearing that she was forced to abandon the idea. She persevered
awhile, however, and has been frequently heard in Great Britain and
Germany.
In 1894 she retired and married Mr. Herbert Bedford. Only then did she
begin those efforts in composition that have since met with such great
success. She has published a number of songs and some piano and violin
pieces, but is always thought of in connection with her cyclic setting
of the Persian poet, Omar Khayyam. When she composed this, she was
little known, and fortune as well as fame was a stranger to her. Oddly
enough, all the London publishers refused this work, which has since
then charmed two continents. Finally it was sung at her house by a
gathering of musical friends, the performers being Ben Davies, Albani,
Hilda Wilson, and David Bispham. They were so delighted with it that
they brought it out at the Monday "Pops," and after that its success was
assured. There are other song cycles by this composer, notably "In
Memoriam," but none equal the "Persian Garden." It is full of rich
passages of exquisite beauty, moving pathos, and strong expression.
Frances Allitsen passed a lonely childhood in a little English village.
She would improvise warlike ballads for amusement, though her later
works and her character are marked by gentleness of thought. She hoped
to make a name by singing, but unfortunately lost her voice. Her family
were all hostile to a musical career, and regarded her tastes as most
heinous. She describes the scene of her youth as a place "where, if a
girl went out to walk, she was accused of wanting to see the young men
come in on the train; where the chief talk was on the subject of
garments, and the most extravagant excitement consisted of sandwich
parties." Domestic misfortunes and illness left their mark on her, but
could not hinder her musical progress. She finally sent some manuscripts
to Weist Hill, of the Guildhall Music School, and with his approval came
to London. Her days were spent in teaching, to earn money with which to
pay for her studies in the evening, but she braved all difficulties,
and finally won success. She is best known in America by her songs,
which are really beautiful settings of Browning, Shelley, Longfellow,
Heine, and other great poets. But she is a master of orchestral
technique as well. Her overture, "Slavonique," was successfully
performed, and a second one, "Undine," won a prize from the lady
mayoress. Her room is a delightful gallery of photographs of artists and
musicians. She has a picture of Kitchener, whose example, she says,
ought to cure any one of shirking; hence the mistaken anecdote that she
could not work without a picture of Kitchener on her desk.
Mrs. Rhodes, known in the musical world as Guy d'Hardelot, was of French
ancestry and birth. She spent her childhood in a Norman castle, and her
youth in Paris and London, studying music. After marriage she met with
reverses, and was forced to earn a living by teaching. She studied
composition with Clarence Lucas, and gives him great credit for
developing individuality. She has three excellent guiding
maxims,--"Avoid familiar things, choose words so clear that people can
see the picture, and be sure that the climax comes at the end."
Her songs succeed in combining the elegance and lightness of the French
school with the appealing simplicity of the English. Her reputation was
established with her first publication, the melancholy and dramatic
"Sans Toi." Her many succeeding lyrics range from liveliest humour to
deepest pathos, and all are thoroughly artistic. Widely known are "Sans
Toi," "Mignon," "Vos Yeux," "Say Yes," "Chanson de Ma Vie," "La
Fermière," "Valse des Libellules," and many others. Her favourite poets
are Victor Hugo and Ella Wheeler Wilcox, a rather strange mixture. Her
only attempt in larger form is the operetta "Elle et Lui." She is a
great friend of Mme. Calvé, who is especially fond of her songs. She has
accompanied Calvé on an American tour, and has appeared with her before
Queen Victoria at Windsor. She sings herself with a light but attractive
voice and the most perfect diction. Of late she has composed for Calvé
some acting songs, such as "The Fan."
Maude Valerie White takes rank among the very best of England's song
writers. Born at Dieppe in 1855, she entered the Royal Academy at the
usual age, completing her studies at Vienna. During her student days she
produced a mass, and at various times she has composed violin and 'cello
pieces, but she has won most fame, as well as much money, by her songs.
Grove considers the best of these to be the settings of Herrick and
Shelley; he gives high praise to her setting of the latter's "My soul
is an enchanted boat," and considers it one of the finest songs in our
language. Her other lyrics include such gems as "To Mary," "Ophelia's
Song," "Ave Maria," and so forth, besides a number of exquisite German
and French songs. Her careful attention to the metre and accents of the
words, combined with the excellence of the poetry she chooses and the
real worth of her music, have won the admiration of all music lovers.
Florence Gilbert, a sister of the well-known dramatist, has won some
renown as a ballad composer. She studied harmony and composition with
Stainer and Prout, and after this excellent training spent much time in
creative work. For a long time she let her songs remain in manuscript,
out of diffidence as to their value. Finally Mme. Helen Trust, the
singer, came upon them, and obtained permission to bring out the
"Message to Phyllis." Its success was pronounced, and the composer was
easily persuaded to issue her other works.
One of the older group of song composers is Clara Angela Macironi, whose
work has been known many years. Born in 1821, she studied in the
Academy, and became one of its professors. Her suite for violin and
piano is well written, but she is known to the general public chiefly by
her part-songs. Some of these have been sung by three thousand voices
at the Crystal Palace. She has published many songs for solo voice also,
but these are hardly equal in musical worth to the productions of the
more recent geniuses.
Less high in standard, but vastly popular, are the songs of Hope Temple,
of whose works "My Lady's Bower" and "In Sweet September" are probably
familiar in many households. Edith Cooke has found a vein of dainty
playfulness in "Two Marionettes" and other similar songs. The
productions of Kate Lucy Ward are graceful and musicianly, while
Katharine Ramsay has written some admirable children's songs. Without
enumerating more, it may be worth mentioning that the famous Patti has
tried her hand at composing songs, and that Lady Tennyson has set some
of her husband's lyrics, although he is said to have been tone-deaf and
unable to appreciate any music.
The Irish songs of Alicia Adelaide Needham are said to be exceptionally
good, and thoroughly new and local in flavour. Ireland is also
represented among women composers by Christina Morison, who produced a
three-act opera, "The Uhlans," and wrote many songs; Lady Helen Selina
Dufferin, whose songs are widely known, especially the "Lay of the Irish
Emigrant;" and Lady Morgan, born in the eighteenth century at Dublin,
and known through her operetta, "The First Attempt."
Scotland can show no great woman composer. There are a few ballad
writers besides those already mentioned, but they are of little
importance. Wales can boast one musical daughter in Llewela Davies, who
won a large collection of prizes while at the Royal Academy. Her works
include three sketches for orchestra, a string quartette, a number of
songs, and a violin sonata that received a London performance in 1894,
and was highly praised by the critics.[6]