"The question of allowing women to compose, if they wish to do so, is
hardly one that needs any extended debate. Yet it is only in the last
few decades that woman's inalienable right to compose has been fully
established. The trials of Carlotta Ferrari in getting her first opera
performed are an example in point. The opposition of Mendelssohn to the
publication by his sister of even a few minor works is another instance
of the attitude formerly taken by even the greatest composers. The life
of Chaminade affords still another case of this opposition. When
Rubinstein heard a few of her early compositions, upon which he was
asked to pass an opinion, he could not gainsay their excellence, but
insisted on adding that he thought women ought not to compose. The time
has gone by when men need fear that they will have to do the sewing if
their wives devote themselves to higher pursuits. The cases of Clara
Schumann, Alice Mary Smith (Mrs. Meadows-White), and Ingeborg von
Bronsart afford ample proof, to say nothing of our own Mrs. Beach.
(...)
Taking the work of women as a whole, there are worthy examples of all
the large forms to be found among their compositions. In the field of
orchestral work, including symphonies, symphonic poems, overtures, and
suites, we find such names as Augusta Holmes, Chaminade, Louisa Lebeau,
Emilie Mayer, Mme. Farrenc, Comtesse de Grandval, Elfrida Andrée, Edith
Chamberlayne, Mrs. Meadows-White, Aline Hundt, Oliveria Prescott, and in
our own country Mrs. Beach and Miss Lang; and the list is but a partial
one at that. The recent success of "Der Wald," to mention only one case,
proves that women may safely attempt the highest form of opera. This
work, although it has a drawback in the shape of a confused libretto, is
to be retained permanently on the Covent Garden repertoire in London. In
oratorio, a worthy place must be accorded to the works of Mme. Grandval,
Célanie Carissan, Mrs. Bartholomew, and Rosalind Ellicott. Among women
composers of successful masses may be reckoned Mrs. Beach, Mme.
Grandval, Mary Carmichael, and Maude Valerie White. In other directions
women have more than held their own, and their work shows excellence, in
quality as well as quantity, in cantatas, string quartettes, and other
chamber music, violin sonatas, and even in large concertos. The list of
women who have written piano music and songs extends to ample
proportions.
(...)
In closing, it may not be amiss to express the wish that the
compositions of women composers could be heard more frequently than they
are at present. There is no doubt that some of our quartette clubs would
find much to interest themselves and their audiences among the works of
the famous musical women. According to Nero, music unheard is
valueless, and all musicians would rejoice to see the fullest possible
value thus placed, by frequent performance, upon Woman's Work in Music."
ELSON, Arthur. Woman's work in Music. Boston: Colonial Press, 1908.
