We're a bit behind with composer studies this year. However, I'm excited about the composers we will be learning about and hearing their music. I am choosing more composers who are women this year since, in the past, they have been predominantly men.
This month, we focused on Amy Beach.
According to Wikipedia, Amy Beach was born on September 5, 1867, and died on December 27, 1944. She was both an American composer and pianist, and the first successful female composer of large-scale art music. "Her 'Gaelic' Symphony, premiered by the Boston Symphony Orchestra in 1896, was the first symphony composed and published by an American woman.
"She was one of the first American composers to succeed without the benefit of European training, and one of the most respected and acclaimed American composers of her era. As a pianist, she was acclaimed for concerts she gave featuring her own music in the United States and in Germany."
One thing that is impressive is that Amy could sing forty songs accurately by age one, she could improvise counter-melody by age two, and taught herself to read at age three. At four years old, during one summer, she composed three waltzes for piano without having a piano. She was able to mentally compose the pieces and then played them when she returned home from her stay at her grandfather's farm.
Wikipedia stated, "A major compositional success came with her Mass in E-flat major, which was performed in 1892 by the Handel and Haydn Society orchestra, which since its foundation in 1815 had never performed a piece composed by a woman.
"Her father, Charles Cheney, had died in 1895. Beach felt unable to work for a while. She went to Europe in hopes of recovering there. In 1912, she gradually resumed giving concerts, Her European debut was in Dresden, October 1912, playing her violin and piano sonata with violinist "Dr. Bülau," to favorable reviews....Demand arose for sheet music of Beach's songs and solo piano pieces, beyond the supply that Beach's publisher Arthur P. Schmidt had available for German music stores."
Amy was the first American woman who could compose music of excellence reminiscent of European music. In 1914, she returned to America, not long after the beginning of World War I.
Using her status as the top female American composer, she furthered the careers of young musicians. During the early 20th century, Amy worked as a music educator. She coached and gave feedback to young composers, musicians, and students. Wikipedia said, "Given her status and advocacy for music education, she was in high demand as a speaker and performer for various educational institutions and clubs, such as the University of New Hampshire, where she received an honorary master's degree in 1928. She also worked to create "Beach Clubs," which helped teach and educate children in music. She served as leader of some organizations focused on music education and women, including the Society of American Women Composers as its first president.
"Despite her fame and recognition during her lifetime, Beach was largely neglected after her death in 1944 until the late 20th century. Efforts to revive interest in Beach's works have been largely successful during the last few decades."
Below are six pieces that Amy Beach composed and Olivia's thoughts about them.
Four Sketches, Op. 15: Fire Flies
- It didn't really remind me of fireflies. It sounded more like bumblebees - like "Flight of the Bumblebees" when it went really fast - except like maybe not as as fast. This was more soft. It was still a bumblebee, but not nearly as fast.
- The part where it changes in the middle - it was like the bumblebee or firefly was settling down and taking a little break.
- I think it would be easy in notes - especially during the really fast part - it repeats a lot. There's a chord that you are going up and down on. It would be hard in terms of rhythm and counting, and that both hands lined up.
- I liked this one. It was nice.
Olivia thought:
- I think I have heard this one before...or maybe it has the same name, but it is done by a different composer.
- It is like something you'd hear during a ballet.
- At about 2:30, it sounds like people hopping down the stairs.
- It is very different than the first one. It is much slower. It is a much more soothing melody.
- It's pretty. It reminds me of something I may have played...but not the full thing.
- Very mystical.
- Sounds like something you'd hear at the beginning of the orchestra or a play...like the background story of a character.
- One part sounds like it's sad...like a sad march or procession.
- Not really a fan of the opera. I don't really care for it.
- The beginning part was fine...until they started singing.
Olivia thought:
- I don't really care for this one because it seems like it is meant to be really sad.
- It is going a little slow in parts and it's in minor keys.
- In one part, it's just repeating a lot of the same notes.
- Towards the end, it is getting better. It seems like it is a little bit happier because it changed positions on the piano or maybe it's just because it's louder.
From Grandmother's Garden, Op. 97: Honeysuckle
Olivia thought:
- The beginning part sounds like "Fireflies."
- The middle part seemed a little bit more relaxing. I can picture someone sitting in a patio or gazebo with the trellises of flowers around them.
- I could see myself playing this one - I think it sounds kind of the same as "Fireflies" - but it sounds like it is a bit easier.
- It sounds like it goes from one time signature to another and then back to the first one.
Piano Concerto in C-sharp Minor, Op.45, Mvt. 3, Largo
Olivia thought:
- The beginning sounds dismal.
- It is interesting - not sure what the chords are doing. It sounds like it is descending in several parts. I'm not sure what they were supposed to do.
- It sounds like something you'd hear when the prince finds the princess and is walking up to her to see if he can wake her up again. It doesn't sound like he's been able to wake her up yet.
- I'm liking it better - a little bit.
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