Marie Franz published one opus of six songs in 1846, under her maiden name Hinrichs, and then, after marrying the composer Robert Franz, stopped writing music. Or so the story went: it turns out that a collection of fifteen song manuscripts is housed in the Handel House in Halle, Germany,
Nadia Boulanger was one of the most renowned composition teachers of the twentieth century—or of any century. Her students are a who’s who of famous musicians, spanning seven decades: Virgil Thomson, Marion Bauer, Aaron Copland, Elliot Carter, Quincy Jones, Thea Musgrave, Philip Glass, and John Eliot Gardiner, to name only
Irene Britton Smith was a Black American composer (also of Crow and Cherokee descent) who wrote only thirty-six compositions, including nineteen pieces of vocal music. Her compositional output was limited because she composed not as a vocation but as an avocation: she worked as an elementary school teacher and only
Rebecca Clarke was one of most distinguished and gifted British composers in the first half of the 20th century. Born to an American father and a German mother, she learned the violin at a young age, later switching to viola at the suggestion of the composer Charles Villiers Stanford, with
Fanny Hensel was one of the most prolific and original song composers of the nineteenth century. She composed almost 250 songs, among which are some of the most pathbreaking and affecting songs of her era. Only a handful of these songs were published during her lifetime, but thankfully, all of
Clara Faisst was a composer, pianist, and poet who spent the bulk of her life in Karslbad, Germany. In her twenties she studied music in Berlin, learning composition from the composer Max Bruch and music theory from Clara Schumann’s half-brother Woldemar Bargiel. She settled in Karlsruhe and made her living
The music by these composers has not been recorded very often, in some cases not at all. This is why one of the purposes of the ASA is to offer quality video recordings of this overlooked repertoire.
Fanny Hensel’s op. 1 (a collection of six songs) was published in the summer of 1846, less than a year before she died of a stroke at the age of 41.
Marie Vespermann appeared in public concerts as young as age nine and began composing songs at age twelve.
Marie Franz composed a stirring setting of Goethe’s poem “Meine Ruh ist hin,” which is even more turbulent than Franz Schubert’s immortal 1814 setting of the same text — “Gretchen am Spinnrade.”
Mary Wurm was a gifted piano teacher. In 1914, she published a collection of music designed for the teaching of preschool-age children, The ABCs of Music (Das ABC der Musik).
Stephen Rodgers is the Edmund A. Cykler Chair in Music and Professor of Music Theory and Musicianship at the University of Oregon, where he has been teaching since 2005. Rodgers’s research focuses on the relationship between music and poetry in art songs from the nineteenth century to the present day, especially art songs by underrepresented composers.
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