GERMANY
It is only natural that the country whose composers have led the world
for more than two centuries should produce many musical women. The list
excels not only in point of length, but in merit and priority. It begins
with the nun Roswitha, or Helen von Rossow, who flourished at the end of
the tenth century, and won renown by her poetry, some of which she set
to music. But in modern times many important names are found in Germany
at a time when few or none appear in other countries.
Music was considered a proper relaxation for royalty, and in the
eighteenth century every petty court aimed to keep its orchestra and
performers, while very often the exalted hearers would try their own
hands at playing or composing. Frederick the Great was especially fond
of music, and played the flute with much skill and persistence, and his
sister, the Princess Anna Amalie, was as gifted as her brother in a
musical way. She wrote many compositions, of which an organ trio has
been published in a Leipsic collection, while her cantata, "Der Tod
Jesu," represents a more ambitious vein. Contemporary with her was Maria
Antonia, daughter of the Emperor Charles VII., and pupil of such famous
men as Porpora and Hasse. Her musical aspirations took the form of
operas, of which two, "Il Trionfo della Fedelta" and "Talestri," have
been published recently. Amalia Anna, Duchess of Saxe-Weimar, composed
the incidental music for Goethe's melodrama, "Erwin and Elmira," and won
flattering notices, though part of their praise may have been due to her
rank. Maria Charlotte Amalie, Duchess of Saxe-Gotha, published several
songs, and wrote a symphony for an orchestra of ten instruments.
Coming into the nineteenth century, we find the Princess Amalie of
Saxony possessed of considerable talent. Her skill showed itself in the
form of various pieces of church music and no less than fourteen operas,
best among them "Die Siegesfahne" and "Der Kanonenschuss." The Empress
Augusta herself, wife of Kaiser Wilhelm I., besides always fostering the
art of music, was gifted with a talent for composing, even in the larger
forms. Among her works are an overture, the ballet "Die Maskerade," and
several marches, of which one is on the German army lists at present.
Princess Charlotte of Saxe-Meiningen, who lived but twenty-four years,
found time to compose several marches and a number of songs and piano
pieces.
Among living composers, Princess Beatrice of Battenberg is the author of
a number of melodious songs, also an orchestral march and some church
responses. Saxe-Meiningen seems to hold its own in the present as well
as the past. Princess Charlotte, daughter of the Emperor Frederick III.,
has composed some military and Turkish marches, also a tuneful "Cradle
Song" for violin and piano. Marie Elizabeth, of the same principality,
counts among her works an "Einzugsmarsch" for orchestra, a Torch Dance
for two pianos, a number of piano pieces, and a Romanze for clarinet and
piano.
One of the most notable female figures in German music was Maria Theresa
von Paradies. Born at Vienna in 1759, she met with an accident when
three years old, and became blind for life. Even with this drawback,
however, her musical aptitude was so great that her parents were
justified in letting her begin regular studies and procuring the best
teachers for her. At the age of eleven she appeared in public, singing
the soprano part of Pergolesi's Stabat Mater, and playing her own
accompaniment on the organ. This interested the Empress Maria Theresa,
who procured the best of teachers for her. She made such rapid progress
in piano that at her first concert she was able to arouse the utmost
enthusiasm by her expressive and sympathetic performance. She made a
number of concert tours, winning plaudits everywhere. In Paris, where
she stayed six months, she appeared at the Concerts Spirituelles, and
played frequently before Marie Antoinette. After various royal audiences
in England and Germany, she returned to Vienna, where she soon retired
from public life, and devoted herself to teaching and composition.
Her memory was something phenomenal. It is said that she was able to
play no less than sixty concertos with the most absolute accuracy,
besides knowing any number of smaller piano works. Her power of
concentration is also made evident by the fact that she would dictate
her own compositions, note by note, without the slightest alteration.
Very few, even among the great composers, have possessed this faculty.
Wagner and Mendelssohn were perhaps the most gifted. Beethoven's great
works were the result of much careful correction, and in some cases
represent as many as six or eight revisions.
Her compositions have won praise from the greatest musicians, and show
merit of a high order. Among her dramatic works, the most successful in
point of performance are "Rinaldo and Alcina," a fairy opera
(appreciated in its day much as "Hansel and Gretel" is in our own), the
melodrama "Ariadne and Bacchus," and the pastoral operetta "Der
Schulcandidat." Her other works include a piano trio, a number of
sonatas and variations for piano, several songs and other vocal works,
besides a few cantatas. Her remarkable gifts won her the friendship of
the foremost musicians of her time. Among others Mozart admired her
greatly, and dedicated a concerto to her.
Another figure of musical importance was Marianne Martinez. Born at
Vienna in 1744, she began her musical studies while still a child. Her
first efforts at composition were made when she was twelve years old,
and met with a most favourable reception, though of course they cannot
compare with her later productions. She was an excellent pianist, or
what would correspond to a pianist in our day, and among her teachers on
the harpsichord was Haydn himself. She became equally proficient in
singing, under the great teacher, Porpora, and the historian Burney
speaks of her vocal accomplishments with unstinted praise.
Among the works of her maturer period, her church music ranks highest
of all. Her oratorio "Isacco," with words by Metastasio, is her
worthiest production, and met with deserved success when performed at
Vienna in 1788. Besides this work, she composed two other oratorios, a
successful mass, a four-part Miserere, a number of psalms for four and
eight voices, with orchestral accompaniment, several motets, and many
other pieces of a religious character. The list of her works does not
end here, but comprises symphonies, overtures, and other orchestral
numbers, including several piano concertos. Taken as a whole, her works
entitle her to a worthy place among women composers of all time.
Leaving the eighteenth century, the next woman composer of note is
Emilie Zumsteeg. Born at Stuttgart in 1796, she soon showed that she had
inherited the musical taste of her father, himself a well-known
composer. On his death, six years later, the widow supported herself by
keeping a music-store, where the growing daughter absorbed much
knowledge of the art. Soon she began regular study, and won her way into
notice by her singing and piano-playing. Her sight-reading abilities
were something phenomenal, and she could play from full instrumental
scores with ease. Her home became the centre of a brilliant circle,
including Weber, Hummel, Lindpaintner, and poets as well as musicians.
She was much prized as a teacher of piano and singing, and a personal
favourite in her native city. Of her compositions, the most ambitious is
an overture to the play "Die Geister Insel." She wrote also several
piano pieces, among them three polonaises. But according to German
authority,[7] it is her songs that have made her memory honoured. Her
originality and her skill in metrical treatment have won her high
praise, and many of the songs achieved wide popularity.
Leopoldine Blahetka, the Austrian pianist, was one of the most prolific
of women composers. Born near Vienna in 1811, she made such rapid
progress under her mother's tuition that by Beethoven's advice she was
placed under Czerny in her fifth year. She pursued composition as well
as piano, and when twelve years old was able to appear in Vienna and
play a set of variations with her own orchestral accompaniment. Among
her later teachers were Moscheles, Kalkbrenner, and Sechter. She made
frequent tours, and met with universal success. The criticisms of her
work include an extremely favourable notice by Schumann. In 1840 she
settled in Boulogne, where she became renowned as a teacher, and led a
successful career until her death in 1887.
Of her many works, the most ambitious are a piano concerto, the
"Souvenir d'Angleterre" for piano and orchestra, and two sets of piano
variations with orchestral accompaniment. Among her numerous examples of
chamber music are found variations for string quartette and piano, two
piano quartettes, a piano trio, several violin sonatas, a polonaise, and
sets of variations for 'cello, violin, and flute with piano. She has
composed a grand duet and a number of solos for piano, also numerous
vocal duets and songs. Her operetta, "Die Räuber und die Sänger," was
successfully produced at Vienna.
One of Germany's greatest women composers was Emilie Mayer. Hers was a
fortunate position, for she was always well provided for, and could
exercise her powers without the need to think of the financial result.
She was born in Friedland in 1812, her father being "Apotheker," a
position of far more importance in German towns than that held by our
pharmacists. Emilie showed the usual signs of musical talent, and was
given the best of teachers. After advanced work with Carl Loewe, the
great ballad composer, she entered the musical life of the German
capital. Here she gave a concert as her introduction, playing the piano
herself, and making the programme entirely of her own compositions. On
this occasion were given a concert-overture, a string quartette, Psalm
118 for voices and orchestra, and two symphonies, the "Militaire" and
the B minor. This was an imposing array, but it was only a beginning,
and her productive career continued until her death in 1883.
Not all of her works have been published, but all show good thematic
material and an unusual sense of musical form. The list includes many
dances and songs, two string quartettes, two piano quartettes, two
quintettes, ten piano trios, eight violin sonatas, twelve overtures,
Psalm 118 with orchestra, seven symphonies, and an operetta. This is
certainly an extensive catalogue for any composer. Among the printed
works, the best are the "Faust" overture, Op. 46; the violin sonatas,
Op. 17 and 21, also the nocturne, Op. 48, an expressive work; the 'cello
sonata, Op. 47; the piano trio, Op. 13; and for piano solo an allemande,
Op. 29, that is full of masculine power and energy.
Agnes Bernouilly, a native of Berlin, was another woman who devoted
herself to orchestral productions. Her works in the larger forms have
been given often by the Saro orchestra and others, while her songs and
piano works have received much praise from the critics. Another composer
of renown was Aline Hundt, one of Liszt's best pupils, who was born in
1849, and died at the early age of twenty-four. In her short career she
wrote a march for orchestra, a "Champagnerlied" for tenor solo, chorus,
and orchestra, selections for viola and violin with piano, a number of
male choruses, and several songs and piano pieces. Theresa Schaeffer has
composed a festival overture for grand orchestra, besides many piano
pieces and songs. Anna Benfey-Schuppe wrote an overture for "Götz von
Berlichingen," as well as incidental music to other plays and various
chamber works. Nanette von Schaden, a native of Salzburg, composed two
piano concertos, as well as numerous sonatas and rondos for piano.
Constanze von Buttenstein, besides issuing a number of songs and piano
works, has published an "Ave Maria" for alto voice, with an orchestral
accompaniment that is sometimes reduced to organ and string quartette.
Among other symphonic writers, Nina von Stollewerck, a native of
Austria, is credited with two symphonies. She has written other
ambitious works, besides songs and male choruses of some merit. Agnes
Tyrell is another Austrian, having been born at Brunn in 1848. She
pursued her studies at Vienna, where she became an excellent pianist as
well as a composer. Among her works are a symphony, three overtures, and
a number of smaller orchestral selections, as well as some worthy piano
pieces.
Louisa Adolpha Lebeau, born at Rastatt in 1850, is undoubtedly one of
the most gifted of living women composers, not only in her own country,
but in the entire world. Her teachers include such famous names as Clara
Schumann and Kalliwoda for piano, and Rheinberger in composition. She is
an excellent pianist, and has made frequent and successful tours to all
the great cities of Germany. Her appearance at the Gewandhaus concerts
in Leipsic is in itself a proof of her superior attainments in this
direction. She often performs her own works, which are always
successful.
[Illustration: LOUISA ADOLPHA LEBEAU]
With the exception of symphony and opera, her compositions include
practically every form used in modern music. Her Concert Overture, Op.
23, first performed in 1882, has been repeatedly given in Germany. Her
Festival Overture, also, has met with a warm reception. Her piano
concerto, Op. 37, is another work that is frequently heard, while the
Fantasia, Op. 25, for piano and orchestra, practically another concerto,
is rich in musical beauty, and contains a _finale_ of exceptional
strength. Among orchestral works with chorus, her oratorio, "Ruth," Op.
27, is a work of extreme beauty, and one which has been heard in all the
important cities of Germany, Austria, and Holland. The cantata
"Hadumoth" is another valuable work, showing great dramatic strength and
an excellent handling of large choral effects. A concert aria for
baritone and orchestra, "Im Sängersaal," is also worthy of mention.
It is her chamber music, however, that is responsible for her greatest
triumphs. This is marked by the utmost clearness of thought and theme,
and shows a most pleasing originality. It has been highly complimented
by such a great musician as Lachner, and one of her pieces for 'cello
and piano carried off first prize in a competition at Hamburg, in 1882,
in which many noted composers had entered. Of great merit is a
quartette, Op. 28, for piano, violin, 'cello, and viola. Another worthy
work is the string quartette, Op. 34. Her trio, Op. 15, for piano,
violin, and 'cello, the 'cello sonata, Op. 17, and the violin sonata,
Op. 10, have been classed with the very best examples of their kind. Her
other works include a number of piano pieces, among them some excellent
fugues, three solos for the humble and seldom-heard viola, and a lovely
romance for violin and piano.
A number of other German women have attained prominence through their
concerted music. Josephine Kanzler, born at Tolz in 1780, wrote two
string quartettes, besides piano sonatas and songs. She was a pupil of
the famous Abt Vogler. Helene Liebmann, about fifteen years later,
produced several quartettes of the same sort, as well as two piano trios
and a number of violin sonatas, piano pieces, and songs. Clementine
Batta has published a Melodie Religieuse for voice, piano, 'cello, and
organ. Louise Kern has shown a fondness for combining violin, organ, and
piano. Louise Langhans (maiden name Japha), born at Hamburg in 1826, is
usually given an honourable place in the German lists of women
composers. She studied with Robert Schumann, at Düsseldorf, and became
famous as a pianist. Her compositions, not all published, include
several string quartettes, a piano trio, sonatas, choral works,
fragments of an opera, and a number of effective piano pieces. Among
contemporary composers, Mathilde von Kralike has published a piano trio
of some interest.
Of the women who have attempted large choral works, there are several
besides those already mentioned. Baroness Bertha von Bruckenthal has
received high praise for her "Grand Messe Solennelle," and for some
four-voiced numbers with organ accompaniment. She has also written
pieces for violin, 'cello, voice, and piano. Angelica Henn, one of
Kalliwoda's best pupils, is credited with a "Missa Solemnis," also an
opera, "The Rose of Lebanon," and some songs and instrumental works.
Anna Pessiak-Schmerling, born in Vienna, was for many years teacher of
singing at the conservatory there, and won more than a local reputation
through the performance of her masses. Johanna Kinkel is responsible for
a "Bird Cantata," as well as an operetta and many popular songs. Hers
also is the well-known quartette, "The Soldier's Farewell." Agathe
Plitt, a child prodigy in her early years, is still an excellent
pianist, and has entered the lists in composition with a number of
successful cantatas, psalms, motets, and other sacred works. Hermine
Amersfoodt-Dyck won fame by producing the cantata, "Gottes
Allgegenwart."
In the operatic field, Josepha Müller-Gallenhofer, born at Vienna in
1770, seems the pioneer. Besides her opera, "Der Heimliche Bund," she
published a string quartette and many pieces for the harp, upon which
she was an excellent performer. Caroline Wiseneder, of Brunswick,
deserves notice for her aid to the blind, for whom she started a
successful music school. Her two operas and several melodramas were
published after her death. Auguste Goetze, born at Weimar in 1840, grew
up to success as a singer of German _Lieder_, and founded an opera
school at Dresden. Of her operas, "Susanna Monfort," "Magdalena," and
"Eine Heimfahrt," have been frequently performed. Elise Schmezer has
composed the opera "Otto der Schütz," besides a number of songs. Thekla
Griebel has had her opera, "Schön Karen," produced twice within recent
years. Elise Bachmann published a melodrama, "Die Macht der Musik," also
some songs and piano pieces in popular vein. Among less important works,
the Countess of Ahlefeldt issued the ballet, "Telemach und Calypso," in
1794. Julie von Pfeilschifter, born in 1840, is author of the grand
ballet, "Vöglein's Morgengruss" and the dramatic _scena_, "Agneta,"
which have pleased Wiesbaden audiences; also a number of piano
selections and songs.
Among those who have written for the violin, Francesca Lebrun, one of
the earliest, was born at Mannheim in 1756. A remarkably great singer
and accomplished pianist, she won laurels in composition by her
musicianly piano trios and her sonatas with violin accompaniment.
Pauline Fichtner, born in 1847, became one of Liszt's pupils, and won
many public triumphs as a pianist. Her works, mostly piano pieces and
songs, contain two fantasies for violin and piano. Marie Hendrich-Merta,
five years younger, is the author of an excellent piano trio, besides
the usual song and piano selections. Mary Clement has written a violin
sonata and shorter pieces that have won encomiums from no less a man
than Max Bruch. Henrietta Heidenreich has composed a number of violin
pieces, and Mathilde Heim-Brehm has done the same. The Countess
Stephanie Vrabely Wurmbrand wrote a violin sonata, also several piano
works and incidental music to "Die Schöne Melusine."
In the field of piano music, Emilie Belleville-Oury is worthy of
mention. Born at Munich in 1808, she made that city her residence until
her death in 1880. She became extremely proficient as a pianist, and won
many public triumphs. In one of Robert Schumann's criticisms is an
interesting comparison between her work and that of Clara Schumann.
"They should not be compared," says the great critic. "They are
different mistresses of different schools. The playing of Madame
Belleville is technically the finer of the two; Clara's is more
impassionate.... Madame Belleville is a poetess, Clara is poetry
itself." The works of this virtuoso are largely made up of
transcriptions and arrangements, but contain some excellent compositions
of her own.
Though not credited with any composition in larger form than songs or
piano pieces, Josephine Lang won a high artistic rank among the women
composers of Germany. Born at Munich in 1815, she began her piano
studies when five years old, and made progress enough to allow a public
appearance in her eleventh year. Four years later Mendelssohn met her
and became her teacher in counterpoint and thoroughbass. He was charmed
by her gifted and poetic nature, and calls her "one of the loveliest
creatures I have ever seen. She has the gift," he continues, "of
composing songs, and of singing them, in a degree that I have never
known before." To help support her parents, she did some teaching, and
sang in the royal chapel with such success that she was named for the
post of royal court singer. In 1842 she married Christian Köstlin, who
obtained a law professorship at Tübingen, and there she passed fourteen
happy years. The death of her husband was followed by the loss of her
three sons, and she was forced once more to struggle for a living. In
this later period of trial and success, she published most of her
compositions. The songs, amounting to a hundred and fifty in number, are
remarkable for their strong feeling and expressive power, while her
piano works are stamped with originality and depth of conception. Among
the latter are the great "Deutscher Siegesmarsch," two mazurkas, and an
impromptu, "In the Twilight." Her eulogistic biographer calls these
pieces "Real pearls among piano works."
[Illustration: ADELE AUS DER OHE]
Delphine von Schauroth was another brilliant pianist, much praised by
Schumann and excessively admired by Mendelssohn. A Sonata Brilliant and
a Capriccio are among her best works. Minna Brinkmann is a voluminous
writer of pieces in lighter vein. Lina Ramann has won fame by her
literary work, but has published several worthy compositions also.
Constanze Geiger, who appeared at Vienna as an infant prodigy when six
years old, has written several piano pieces, also an Ave Maria for
soprano, chorus, and organ. Marie Wieck, Clara Schumann's younger
sister, has composed a few excellent piano pieces and a number of songs.
Sophie, Countess of Baudissin, has published variations, études,
nocturnes, and other piano works. Josephine Amann is another German
piano composer. More familiar to the American public is Adele Aus Der
Ohe, a pupil of Liszt and Kullak, who has established her reputation as
a pianist. She has composed several piano suites and a concert étude,
besides a number of successful songs. Adele Lewing is another pianist
residing in America who has produced vocal and instrumental pieces.
Among other composers of songs may be mentioned Louise Reichard, whose
father was Chapelmaster to Frederick the Great. Her works are mostly
sacred in character. Marie Börner-Sandrini, who lived at Dresden before
entering on her career as a famous opera singer, wrote a popular Ave
Maria, besides other melodious songs. In the domain of sacred music,
Louise von Vigny has done some good work. Ida Becker has won
well-deserved success with her children's songs, which are inimitable in
their way. Her cantata, "Die Heilige Nacht," for soloists and chorus, is
often heard. Marie Hinrichs Franz, wife of the great composer, was
herself a song-writer of exceptional merit, and deserves more than a
passing mention.
In the field of organ music, Clotilde Kainerstorfer is the leader
to-day. Her works, which are all of a high standard, consist of numerous
hymns and some choral numbers, all with organ accompaniment. Marianne
Stecher is another successful organist and composer, and her many fugues
earn her a high rank for musicianship. Of earlier date was Judith
Bachmann, who flourished at Vienna near the close of the seventeenth
century. She is credited with a number of organ fugues, as well as a
piano sonata.
Coming to the less usual instruments, Ottilie Heinke, who lives in
Berlin, has composed two 'cello romances, besides worthy piano music.
Sophie Seipt, of Cologne, has also published a number of 'cello pieces.
Caroline Krämer became a virtuoso on the clarinet, and wrote a good many
pieces for that instrument. Therese Winkel was a famous harp player of
the early nineteenth century, and published three sonatas for harp and
violin. Nina Eschborn has composed a number of pieces for the harp,
besides songs and duets. Fanny Christ and Ida Zaubiter have become noted
as zither players, and have written many compositions for that
instrument.