Women, Pianos, and Virtuosity in the Nineteenth Century

doi:10.1017/9781108774079.012

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

Joe Davies and

Alexander Stefaniak

Edited by

Matthew Head and

Susan Wollenberg

Show author details

Matthew Head: Affiliation:
King's College London
Susan Wollenberg: Affiliation:
University of Oxford

Book contents

Get access

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 - 226

DOI: https://doi.org/10.1017/9781108774079.012 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

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

Trio, Neave. Her Voice: Beach, Clarke, Farrenc. Chandos 20139 (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.CrossRef Google 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