Woman's Work in Music Part 7

In the operatic field, Josepha Muller-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 Schutz," besides a number of songs. Thekla Griebel has had her opera, "Schon 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, "Voglein'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 Schone 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 impa.s.sionate.... 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 thoroughba.s.s. 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 Kostlin, who obtained a law professors.h.i.+p at Tubingen, and there she pa.s.sed 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."

[Ill.u.s.tration: 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, etudes, 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 etude, 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 Borner-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 pa.s.sing 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 musicians.h.i.+p. 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 Kramer 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. f.a.n.n.y Christ and Ida Zaubiter have become noted as zither players, and have written many compositions for that instrument.

CHAPTER VIII.

FRANCE

Famous among women composers of all nations is Cecile-Louise-Stephanie Chaminade. She was born at Paris in 1861, of a family that was well endowed with musical taste. In childhood, she made the piano her favourite companion, and while other girls were devoted to their dolls, she would try to express in tones the simple emotions that moved her.

There are some gifted mortals who can think in music, whose joys and sorrows translate themselves naturally into melody. Cecile Chaminade was one of these.

[Ill.u.s.tration: CeCILE-LOUISE-STEPHANIE CHAMINADE]

So earnestly did she devote her childish days to music that before the age of eight she was already able to show some attempts of her own at composition. These juvenile works, which consisted of sacred pieces, were of such interest to the composer Bizet that when he heard them he advised her parents to give her a complete musical training, and predicted a brilliant future for her. In spite of their fondness for the art, the parents had no inclination to see their child upon the th.o.r.n.y and toilsome path of a musical career. Meanwhile the young girl devoted herself to the piano with utmost ardour, and continued her efforts at composing. When at last some of her pieces were judged worthy of performance in the church at Vesinet, her parents were persuaded to let her follow her inclinations. Her father insisted, however, that her general education should not be sacrificed, and the result was several years of hard work.

Her teachers were LeCouppey in piano, Savard in harmony, counterpoint, and fugue, Marsick in violin, and Benjamin G.o.dard in composition. Under these she made rapid progress, and, in fact, the latter part of her education consisted in playing chamber music with Marsick and Delsarte.

Her own debut as pianist took place when she was eighteen, and gave a chance for the performance of a few of her compositions. These were so effective that they occasioned the often-quoted remark of Ambroise Thomas,--"This is not a woman who composes, but a composer who happens to be a woman."

Her career has been one of constant progress and constant triumph. Her talents as a pianist have won public hearings for her in London, Berlin, Leipsic, and many other cities besides her native Paris. She has been especially in demand for the performance of her own concerto, which has been given in the Gewandhaus and London Philharmonic concerts, as well as those of Lamoureux and Colonne in Paris. Her works have become widely known, and her name is now a familiar one, not only in France, but in England, Continental Europe, and America.

Her most ambitious compositions are "Les Amazones," a lyric symphony with choruses; a one-act ballet, "La Sevillane," still in ma.n.u.script; and the grand ballet and symphonic _scena_ ent.i.tled "Callirrhoe,"

successfully given at Ma.r.s.eilles and Lyons, and now published in many different arrangements. Her concerto for piano and orchestra has received high praise from the critics, who seem always ready to laud its refined melodic charm and graceful delicacy of sentiment. The one defect seems to be an excess of vigour and virility in certain of the later movements. Her other orchestral works consist of two suites, one of them being arranged from "Callirrhoe."

Of lesser instrumental music, she has written two successful trios. Her piano pieces are many in number, and excellent in quality. Among them is a group of four and eight-hand works for two pianos, as well as duets for a single instrument. Among her most important solo works are a sonata, an _etude Symphonique_, a Valse Caprice, a Guitarre, an Arabesque, six etudes de Concert, five Airs de Ballet, containing the well-known Scarf Dance, six Romances Sans Paroles, and six humourous pieces. She has also written a few selections for violin and piano.

It is undoubtedly her songs that have made her fame so widespread. She has published over sixty in all, nearly every one endowed with the delightful charm that is a.s.sociated with her name. These songs are full of the rarest and most piquant melodic beauty, and the accompaniments are rich in colour and originality. A well-known critic writes: "Her music breathes the true spirit of romance shown in the poems that inspire it. Her themes are never commonplace or affected, and are gracefully supported by fluent, appropriate, and finely blended harmonies." Among her most recent compositions are some choral works, three of these, for orchestra in old style, being of especial interest.

Her "Pardon Breton," "Noel des Marins," and "Angelus," for orchestra, are also worthy of mention, as well as her set of six "Poemes Evangeliques." She is now at work upon a three-act lyric drama.

Augusta Mary Ann Holmes was born at Paris in 1847. Of Irish parentage, she afterward became naturalized as a Frenchwoman. Her family were much opposed to a musical career, and insisted on her giving it up. They did not approve of any artistic pursuit for her, but allowed her to take up painting as the lesser evil. Her love for music overcame all obstacles, and she soon began to appear as a child-prodigy in public and private concerts. Her early compositions took the form of songs, but when only eleven she conducted a quickstep of her own, played at Versailles by an artillery band. Her really great works, however, did not appear until many years later.

[Ill.u.s.tration: AUGUSTA MARY ANN HOLMES]

Her first opera, "Hero et Leandre," was successfully produced in 1874, and the psalm, "In Exitu," appeared at about the same time. In the next year she became a pupil of Franck, whom she considers her real master, and after that great works came thick and fast. An Andante Pastorale from an unpublished symphony met with a favourable reception. Then came the symphony "Lutece," which was second only to works of Dubois and G.o.dard in a Paris compet.i.tion. This was followed by the symphonic poem, "Pologne." Meanwhile she made another effort to win a prize with her lyric drama "Les Argonautes." Out of twenty-four votes, she received nine, her partisans being the best-known musicians on the jury. Next came the symphonic poem, "Irlande," the "Vision de Sainte Therese," for voice and orchestra, the symphonic ode, "Pro Patria Ludus," inspired by a painting of Puvis de Chavannes, and the great "Ode Triomphale," given at the Exposition in honour of the centenary of 1789.

The success of the Triumphal Ode was so marked that the composer's fame reached foreign lands, and the city of Florence ordered from her the cantata, "Hymne a la Paix," in celebration of the Dante festival. Her impressions of Italy are recorded in her next suite, "Au Pays Bleu,"

which charmed all hearers by its expressive interest. Her other choral works include the "Hymne a Apollo," and the allegorical cantata, "La Vision de la Reine." Her latest symphonic poem, "Andromede," produced a marked effect. Her last opera, "La Montagne Noire," was not especially successful, though given with Alvarez, Breval, and other great artists in the cast. The operas, "Astarte" and "Lancelot du Lac," are in ma.n.u.script.

Mlle. Holmes has composed a number of songs, all endowed with an unusual share of beauty. She writes her own words in almost all cases, as she is able while doing this to hear in a vague way the music which she afterward sets to them. Hers is a virile genius. "These women seem preoccupied, first of all," says one critic, "to make people forget that they are women.... Whatever Mlle. Holmes may do, or whatever she may wish, she belongs to the French school by the vigour of her harmony, her clearness, and the logic of her conception and exposition." Imbert, who has written a biographical sketch of her, says: "The talent of Augusta Holmes is absolutely virile, and nowhere in her works do you find the little affectations which too often disfigure the works of women. With her, n.o.bility of thought and sentiment take first place. She wors.h.i.+ps the beautiful, and her Muse has sung only subjects that are worthy of being sung. She is masterly in her ease, and all the resources of orchestration are known to her."

Maria Felice Clemence de Reiset, Vicomtesse de Grandval, is another name as famous as it is extensive. Born in 1830, she showed innate taste for music, and her career was devoted to it. She received instruction from Flotow at first, doing more valuable work afterward with Saint-Saens.

For a time she was able to take lessons of Chopin. Her works include practically all forms of composition, but she has shown especial apt.i.tude for dramatic work and church compositions.

Of her many dramatic works that have been successfully produced, "Le Sou de Lise" appeared first, in 1859. Among the operas brought out at a later date are "Les Fiances de Rosa," "La Comtesse Eva," "La Penitente,"

"Piccolino," and "Mazeppa." A lyric scene, "La Foret," for soloists, chorus, and orchestra, met with a successful production in 1875. Among her vocal compositions are many songs, some with violin and organ accompaniments.

Her sacred music takes rank with the very best that modern writers can show. Her two ma.s.ses have been frequently given at Paris. Her two oratorios, "Sainte Agnes" and "La Fille de Jaire," met with a similar favourable reception. Her Stabat Mater contains an effective "March to Calvary" and a beautiful "Juxta Crucem," and received the enthusiastic homage of the critics when first brought out. Several smaller works, for voices, organ, and piano, are no whit behind the larger compositions in musical worth. She has also written a grand overture, "Esquisses Symphoniques," a piano trio, a violin sonata, a suite for flute and piano, and many other violin and piano pieces. She deserves to rank among the foremost women composers of our time.

Jeanne Louise Farrenc was another Parisian woman who won fame by composing. Born in 1804, her career falls in the earlier part of the nineteenth century. Pursuing the usual studies, harmony with Reicha, and piano with Hummel and Moscheles, she began to write ambitious works at an early age. Such merit did some of these works show that Schumann, who reviewed them, was at first inclined to doubt her ability to write them unaided. She deserves credit for making a remarkable collection of old clavichord and piano music, and writing a clear summary of the terms and abbreviations employed by the early musicians.

Her own compositions have been often performed, even the larger orchestral numbers. Chief among them are two symphonies and three overtures. Her chamber music includes a nonette and s.e.xtette for strings, two quintettes, several piano trios, in two of which clarinet and flute replace the usual violin, a number of sonatas and other pieces for violin and piano, several 'cello sonatas, some flute and piano pieces, and numerous piano works and songs. Her daughter, Victorine Louise, was another gifted musician, but died after a brief career, leaving a heritage of piano works and songs.

Louise Angelique Bertin, born in 1805, was one of those impatient creatures who are eager to read books before learning the alphabet. In taking up painting, she wished to start in at once with canvas and brush, regardless of preliminary training. In her musical studies the same tendency showed itself, and immediately on beginning her work in composition with Fetis, she commenced writing operatic airs and scenes.

Apparently she was able to estimate her own talents justly, for success crowned her efforts. Her first opera, "Guy Mannering," was performed in private, but "Le Loup Garou" made a marked public success. Her "Faust,"

a later work, met with a like favourable reception, although "Masaniello" and "William Tell" had already taught the Paris public to be exacting. "Esmeralda" was another successful work, but "Notre Dame,"

written to a libretto of Victor Hugo's own arrangement, proved a failure. Mlle. Bertin won further musical fame by her string quartettes and trios, as well as her choruses and songs. She was also a poetess of some renown, and her collection of verse won a prize from the French Academy.

Pauline Viardot-Garcia was one of a remarkable musical family. Her father, Manuel Garcia, was a singer and teacher of note, and, like her elder sister, Mme. Malibran, she received the benefit of his tuition.

One of her earliest memories of his singing was connected with an unexpected appearance in America, when a band of Mexican robbers, not content with relieving them of the proceeds of their tour in this hemisphere, added insult to injury by insisting upon hearing the great tenor sing. Pauline became renowned in opera, and, after the early death of her sister, held the foremost place on the European stage. She was able to impersonate and create roles of the most diverse nature, ranging from the lightest of Italian heroines to the most dramatic characters of Meyerbeer. After a career of fame and honour, she left the stage and devoted herself to teaching, and it is in that period of her life that her compositions appear. Her house in Baden-Baden was the centre of attraction for a circle including not only musicians, but artists, poets, and n.o.bility of the highest rank. There she produced her operettas, "Le Dernier Sorcier," "L'Ogre," and "Trop de Femme." At first arranged for private performance, they succeeded so well that they were given to the public. Of her other works, twelve romances for piano, twelve Russian melodies, and six pieces for violin and piano are the most important. She numbered many famous names among her pupils, and her singing exercises are of unusual value.

Her sister, Marie Felicitas, at first wife of M. Malibran, and afterward married to the violinist De Beriot, was one of the world's greatest singers, and her career is too well known to need description. Her fame as a composer rests on a number of attractive romances and chansonettes, of which an extensive collection was published in Paris. Louise Pauline Marie Viardot, afterward Mme. Heritte, was a daughter of Pauline Viardot, and possessed all her mother's talent for composition if not for singing. After a sojourn at the Cape of Good Hope, where her husband was consul, and a four-years' term as professor in the St. Petersburg Conservatory, she settled down to teaching and writing in Paris. Among her many works are the operas, "Lindoro" and "Bacchus Fest," and the cantatas, "Wonne des Himmels" and "Die Bayadere." Her chamber music includes four string quartettes and two trios. In the lesser forms she produced a number of songs, vocal duets, and piano pieces. Another member of this famous family, Manuel Garcia, is still living. He is a brother of Malibran and Pauline Viardot.

Gabriella Ferrari is another gifted French composer of orchestral works.

She is a pupil of such men as Dubois and Gounod, and has done much in the larger forms. Among her works are a number of orchestral suites, many piano pieces and songs, and the comic opera, "Le Dernier Amour."

Mme. Renaud Maury is another composer who is able to handle large ma.s.ses of instruments. She drew attention to herself by carrying off the prize for fugal work at the Conservatoire, at a time when women were expected to take a more modest place in composition. Her "Fantasie Symphonique" and "Jeanne D'Arc" are often given before French audiences.

The Marquise Haenel de Cronenthal, one of the older generation, has produced several symphonies, a number of sonatas, a string quartette, numerous piano works, and the opera, "La Nuit d'Epreuve," which won a gold medal at the Exposition of 1867. Celanie Carissan has produced the operetta, "La Jeunesse d'Haydn," and the oratorio, "Rebecca," besides other choral works and many songs and piano pieces.

The roll of operatic composers in France is long and honourable. Just as England seems the home of cantatas, and Germany of orchestral work, so France is especially devoted to opera, and her women have held their own well in this field. As far back as the seventeenth century, Elizabeth Claude de la Guerre upheld the glory of her s.e.x by playing and improvising in a masterly fas.h.i.+on. One of her greatest admirers was the king, Louis XIV., himself. Besides a number of sonatas, she wrote a "Te Deum" to honour the king's recovery from illness, and a number of cantatas. Her opera, "Cephale et Procris," was successfully given at the Academic Royale in 1694. Another composer of the same century was Mme. Louis, whose operetta, "Fleur d'Epine," met with a good reception.

In the eighteenth century, Henriette de Beaumesnil was one of the foremost musical women in France. Endowed by nature with a fine voice, she became one of the leading artists in the Paris Grand Opera Company.

When her voice failed, she took up composition, and succeeded in that also. Most popular among her many operas were "Anacreon," "Les Legislatrices," and "Les Saturnales." Emilie Candeille was the daughter of a dramatic composer, from whom she received a solid musical education. Her works include piano trios, sonatas, and songs with piano and harp, besides the operetta, "La Belle Fermiere," and the comic opera, "Ida." Mlle. Duval was another grand opera singer, and author of the ballet, "Les Genies." Mlle. Kercado, of later date, produced the operetta, "La Meprise Volontaire." Lucille Gretry, daughter of the famous composer of that name, produced "Le Mariage d'Antonio" when only sixteen years, and followed it up with "Toinette et Louis." Her career was cut short in her twenty-fourth year by an untimely death.

Edme Sophie Gail-Garre, who flourished at the beginning of the nineteenth century, won some renown by her very popular songs and piano pieces, but was known chiefly by her successful operas. Among these were "Les Deux Jaloux," "Mlle. de Launay," "La Meprise," and "La Serenade."

Mlle. Guenin, another youthful aspirant for fame, produced "Daphnis et Amanthee" in her seventeenth year. Louise Puget wrote romances and chansons that were remarkably pretty and popular, if not very ambitious, and produced the operettas, "Le Mauvais Oeil" and "La Veilleuse,"

besides the opera, "Beaucoup de Bruit pour Rien." Helene Santa Colona-Sourget, author of some beautiful songs and a string trio, produced a one-act opera, "L'Image," in 1864.