Elizabeth Maconchy was a fiercely individual Irish-English composer who wrote music that was often highly dissonant, contrapuntal, intense, even disturbing—and far from the more pastoral, lyrical music of fellow Britons such as Gustav Holst and Ralph Vaughan Williams (who taught her composition at the Royal College of Music and remained
Adolphus Hailstork is a prolific composer who has written over 250 works in just about every genre imaginable: symphonies, operas, cantatas, concertos, chamber music, choral pieces, songs, and more. A native of upstate New York, he currently resides in Virginia Beach, Virginia, and is professor emeritus of composition at Old
French composer and pianist Cécile Chaminade wrote approximately four hundred works, including 125 songs. Almost all of her works were published in her lifetime—rare for a woman of her day. She toured extensively, especially in England and the United States, performing her pieces for enthusiastic audiences. Her music was so
Born in Peoria, Illinois, Mary Turner Salter went to high school just across the Mississippi River in Burlington, Iowa, before moving east to study music at the New England Conservatory of Music in Boston. She was a gifted mezzo-soprano and pianist, and she sang professionally in Boston and New York
Josephine Lang was a prolific composer of songs. She was born into a deeply musical family—her father was a violinist and her mother (who first taught her piano) was an opera singer—and she showed a talent for composition at a very young age. Felix Mendelssohn gave her lessons in harmony
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
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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