Book contents
- The Cambridge Companion to Women Composers
- Cambridge Companions to Music
- The Cambridge Companion to Women Composers
- Copyright page
- Dedication
- Contents
- Figures
- Music Examples
- Contributors
- Acknowledgements
- Abbreviations
- Prologue
- Part I Themes in Studying Women Composers
- Part II Highlighting Women Composers before 1750
- Part III Women Composers circa 1750–1880
- 9 Did Women Have a Classical Style?
- 10 Women, Song, and Subjectivity in the Nineteenth Century
- 11 Women, Pianos, and Virtuosity in the Nineteenth Century
- Part IV Women Composers circa 1880–2000
- Bibliography
- Index
- References
11 - Women, Pianos, and Virtuosity in the Nineteenth Century
from Part III - Women Composers circa 1750–1880
Published online by Cambridge University Press: 23 May 2024
Book contents
- The Cambridge Companion to Women Composers
- Cambridge Companions to Music
- The Cambridge Companion to Women Composers
- Copyright page
- Dedication
- Contents
- Figures
- Music Examples
- Contributors
- Acknowledgements
- Abbreviations
- Prologue
- Part I Themes in Studying Women Composers
- Part II Highlighting Women Composers before 1750
- Part III Women Composers circa 1750–1880
- 9 Did Women Have a Classical Style?
- 10 Women, Song, and Subjectivity in the Nineteenth Century
- 11 Women, Pianos, and Virtuosity in the Nineteenth Century
- Part IV Women Composers circa 1880–2000
- Bibliography
- Index
- References
Summary
In her 1880 memoir, the American pianist Amy Fay described the sheer virtuosity and professional ambition of the numerous young women pianists she encountered.
- Type
- Chapter
- Information
- The Cambridge Companion to Women Composers , pp. 205 - 226Publisher: Cambridge University PressPrint publication year: 2024
References
Primary Sources
Hopkins, Nicholas, ed. Women at the Piano: Solo Works by Female Composers of the Nineteenth Century (New York: Carl Fischer, 2019).Google Scholar
Glickman, Silvia and Schleifer, Martha Furman, eds. Women Composers: Music Through the Ages (New York: G. K. Hall, 1996–2006, vol. 6 (Composers Born 1800–1899: Keyboard Music) and vol. 8 (Composers Born 1800–1899: Large and Small Instrumental Ensembles).Google Scholar
Secondary Sources
Kanneh-Mason, Isata. Romance: The Piano Music of Clara Schumann. Decca 2850020 (2019).Google Scholar
Ferris, David. ‘Public Performance and Private Understanding: Clara Wieck’s Concerts in Berlin’, Journal of the American Musicological Society, 56/2 (2003), 351–408.CrossRefGoogle Scholar
Latham, Edward D. ‘Gapped Lines and Ghostly Flowers in Amy Beach’s “Phantoms”, op. 15, no. 2’, in Analytical Essays on Music by Women Composers: Secular and Sacred Music to 1900, ed. Parsons, Laurel and Ravenscroft, Brenda, vol. 1 (New York: Oxford University Press, 2018), 229–42.Google Scholar
Leppert, Richard. ‘Sexual Identity, Death, and the Family Piano’, 19th-Century Music, 16/2 (1991), 105–28.Google Scholar
Plantinga, Leon. ‘The Piano and the Nineteenth Century’, in Nineteenth-Century Piano Music, ed. Todd, R. Larry, 2nd ed. (New York: Routledge, 2004), 1–15.Google Scholar
Raykoff, Ivan. Dreams of Love: Playing the Romantic Pianist (New York: Oxford University Press, 2014).Google Scholar