The Forgotten Women Of Classical Music

Name a female composer you admire. Hard to think of anyone?

Classical music has long been dominated by names like Bach, Beethoven and Mozart – the great musicians whose contributions have shaped the history of the genre. But what about the women composers in the shadows, whose music has often been marginalized or forgotten?

In an era when social norms dictated that they remain anonymous and submissive, these female composers chose to defy them, creating music as bold and confident as their male counterparts. Yet despite their undoubted talent and creativity, history has not exactly been on their side. In this article, we explore the rich legacies of six of these female heroines lost in the shadows of time.

Funny Mendelssohn Hansel (1805-1847)

Funny Mendelssohn Hansel, elder sister of the famous composer Felix Mendelssohn, was a gifted composer and pianist all too often overshadowed by her brother’s fame. Although her own family discouraged her from pursuing a career in classical music, insisting that it was unsuitable for a woman of her status, Funny composed over 460 pieces, including works for piano, songs and chamber music.

One of her most notable works is the ‘Piano Trio in D minor, Op. 11’, a composition that manages to express her lyrical style and deep emotional expression. As is perhaps to be expected, for many years many of her compositions were published under her brother’s name, which further hindered the recognition of her contribution to the classical repertoire. It was only at the end of the 20th century that her works began to receive well-deserved recognition.

Clara Schumann (1819-1896)

Born Clara Wieck, Clara Schumann was one of the most esteemed pianists of the 19th century, but she was also a composer of considerable talent. The fact that her works were often overshadowed by the work of her husband, Robert Schumann, did not stop her from composing a significant number of piano concertos, chamber music, songs and character pieces for piano.

“Clara’s ‘Concerto for Piano and Orchestra in A minor, Op. 7’, composed when she was just 14, demonstrates her virtuosity as a pianist and her refined approach to composition. Despite her success as a performer, Clara struggled with social pressures that limited her creativity. Illness and the death of her husband made her the sole source of income for their family, further reducing the time she could devote to composition.

Amy Beach (1867-1944) 

Amy Beach was America’s first major American composer of art music and one of the leading figures of the late 19th and early 20th centuries. Born in New Hampshire, Amy was largely a self-taught composer. “Gallic Symphony, Op. 32” premiered by the Boston Symphony Orchestra in 1896, was the first symphony composed and published by an American woman.

Its music is characterized by lush harmonies and rich structures, often drawing on folk songs and incorporating elements of American musical traditions. Despite the challenges of being a woman in a male-dominated field, Amy Beach’s work was highly respected during her lifetime, and she became a prominent figure in Boston’s musical scene.

Louise Farrenc (1804-1875)

Louise Farrenc was a French composer, pianist and teacher at the Paris Conservatoire, where she was the only woman professor for much of her career. Despite her considerable talents, her work was often dismissed or ignored in favor of male contemporaries. But this did not stop her from composing three symphonies, numerous chamber works and a variety of piano works that were well praised by critics of the time.

“Symphony No. 3 in G minor, Op. 36” is a powerful and well-structured work that stands out for its melodic richness and orchestral color. Farrenc’s music fell into obscurity after her death, but recent efforts have been made to revive interest in her compositions, highlighting her as one of the most important composers of the 19th century.

Ethel Smyth (1858-1994)

Ethel Smyth was a British composer and a staunch supporter of women’s rights, often remembered as much for her activism as for her music. Smyth composed in a variety of genres including operas, orchestral works and chamber music. Her opera “The Wreckers” is considered her masterpiece, combining powerful music with a dramatic narrative that transcended its era.

Her involvement in the women’s suffrage movement greatly influenced her work. “March of the Women,” which became the anthem of the suffragette movement, is a vibrant piece that reflects her commitment to social change. Ethel Smyth’s boldness and defiance of traditional gender roles made her a trailblazer in both music and activism.

Florence Price (1887-1953) 

Florence Price was the first African-American woman whose symphony was performed by a major American orchestra. Born in Little Rock, Arkansas, Price blended the traditions of classical music with African-American spirituals and folk music to create a unique and innovative sound. “Symphony No. 1 in E minor”, premiered by the Chicago Symphony Orchestra in 1933, marked an important milestone in the history of American music.

The composer’s music, though celebrated in her time, was largely forgotten after her death. In recent years, however, her work has made a comeback, with orchestras and musicians rediscovering the richness of her compositions.

The stories of these women illustrate a broader problem in the history of classical music: the systematic marginalization of women composers. The gender bias of the times in which these women lived prevented many of them from receiving the education, opportunities and recognition they deserved. Their music was often attributed to male composers, dismissed as amateur or simply forgotten due to lack of institutional support.

Today, efforts are being made to correct this historical oversight. Musicologists, performers and record labels are working to bring the music of these women back into the public eye. Modern performances, recordings and academic research are helping to ensure that these composers are no longer forgotten. And so are we!

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Akordaj is a platform created in the framework of the Spotlight on Music project, through the Erasmus+ program, funded by the European Union. The views and opinions expressed, however, are those of the author(s) alone and do not necessarily reflect the views and opinions of the European Union or the ANPCDEFP. Neither the European Union nor the ANPCDEFP can be held responsible for them.