Joaquín Rodrigo was one of the most significant figures in 20th-century Spanish music. A gifted composer, pianist, academic, and music critic, he cultivated a neoclassical style that blended Classical idioms with the rhythms, textures, and colors of Spanish music; he wrote music that was, in his words, “faithful to tradition.”
Rodrigo Ruiz is a Mexican-American composer who writes vocal, chamber, and orchestral music that has been described as “unabashedly tonal.” His music sounds by turns like Beethoven, Bach, Schubert, and Brahms. But Ruiz isn’t trying to mimic the styles of these composers, as a fledgling painter might mimic the work
Mary Wurm was a pianist and composer, born in England to German parents. She grew up in a musical family: her father was a music teacher, her mother was a violinist, and her younger sisters Adele, Alice, and Matilde also went on to have considerable careers as pianists. As a
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,
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
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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