Undine Smith Moore was a composer and educator who left a lasting impact on twentieth-century music. For over forty years she taught music theory, piano, and organ at Virginia State College (later Virginia State University), mentoring many students who went on to become celebrated musicians and composers, including jazz pianist
Elise Schmezer was a singer, pianist, and composer who published about forty songs between 1848 and 1856. Little is known about her life. She was born around 1810—where she was born, however, isn’t clear—and she grew up in Graz, Austria. Her father taught trumpet, French horn, and trombone at a
Connie Converse was one of the first singer-songwriters, but she toiled in obscurity, and her music didn’t become widely known until the first decade of this century. She recorded a small number of songs in the 1950s (in her small Greenwich village studio and in the home of an animator
Marie Vespermann was a quintuple threat: a pianist, singer, composer, poet, and dramatist, who showed prodigious musical gifts as a child. Born into an artistic Munich family—her father was an actor and her mother was a famous singer—she published songs throughout her life. Her earliest songs appeared under her maiden
Composer and pianist Margaret Bonds grew up in a musically rich environment in Chicago—her mother was a gifted organist, and in high school Bonds studied piano and composition with Florence Price. Like Price, Bonds was a pathbreaker. In 1934, she became the first Black soloist to play with the Chicago
Mary Howe was an American pianist and composer. In 1922, at the age of forty, married with three children, she completed an artist diploma in composition at Peabody Conservatory with Gustav Strube. Having studied piano in Germany at a young age, she returned to Europe to study composition with Nadia
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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