Classics of Women Composers Revisited Outside the Textbook

Listen to how freely the soloist changes the orchestral theme after the initial entrance. In the first listen of ‘Clara Schumann Piano Concerto 1st Movement — Isata Kanneh-Mason & Royal Liverpool Philharmonic,’ follow the guided points, and in the second, broaden your scope to include the bass and inner voices. This way, the structure of Piano Concerto in A Minor, Op. 7: I and the phrasing chosen by Isata Kanneh-Mason, Royal Liverpool Philharmonic Orchestra & Holly Mathieson will be revealed together. Instead of waiting for the famous section, marking the moments when the tone color changes will help you maintain the direction of the piece.

The track connected to ‘Clara Schumann Piano Concerto 1st Movement — Isata Kanneh-Mason & Royal Liverpool Philharmonic’ is an actual recording included in ‘Romance – The Piano Music of Clara Schumann’ and it has been introduced in alignment with the selection criteria of ‘Classics of Women Composers Revisited Outside the Textbook.’ For this performance, Isata Kanneh-Mason, Royal Liverpool Philharmonic Orchestra & Holly Mathieson is indicated on Apple Music, and the release year is 2019. This date may differ from when Clara Schumann composed the work, so we use it purely as recording information in ‘Classics of Women Composers Revisited Outside the Textbook.’ When looking for other versions of works like ‘Clara Schumann Piano Concerto 1st Movement — Isata Kanneh-Mason & Royal Liverpool Philharmonic,’ you should check the work title, performer, and recorded albums together to avoid confusion with the same recording and reissue, and also to confirm the context of ‘Classics of Women Composers Revisited Outside the Textbook.’

Follow the moment when all four instruments chase the same rhythm and then scatter. In ‘Fanny Mendelssohn String Quartet 4th Movement — Quatuor Ébène,’ check if the returning motifs differ in range and emphasis. Quatuor Ébène's performance presents the larger flow of String Quartet in E-Flat Major: IV through the connection of each part rather than exaggerating it. At the end, return to the beginning of ‘Fanny Mendelssohn String Quartet 4th Movement — Quatuor Ébène’ to compare what has changed from your first impression, clarifying the structure.

The track connected to ‘Fanny Mendelssohn String Quartet 4th Movement — Quatuor Ébène’ is an actual recording included in ‘Mendelssohn, Felix & Fanny: String Quartets’ and has been introduced in alignment with the selection criteria of ‘Classics of Women Composers Revisited Outside the Textbook.’ The performance indicated on Apple Music for ‘Fanny Mendelssohn String Quartet 4th Movement — Quatuor Ébène’ is by Quatuor Ébène, released in 2013. This date may differ from when Fanny Mendelssohn Hensel composed the work, so we use it purely as recording information in ‘Classics of Women Composers Revisited Outside the Textbook.’ When looking for other versions of works like ‘Fanny Mendelssohn String Quartet 4th Movement — Quatuor Ébène,’ you should check the work title, performer, and recorded albums together to avoid confusion with the same recording and reissue, and also to confirm the context of ‘Classics of Women Composers Revisited Outside the Textbook.’

Listen to how the string melody emerges over the sparkling motifs from the piano. When you hear this recording again, focus more on the order of overlapping and empty sounds rather than the tempo. Finding where the repetitive material of D'un matin de printemps moves will help you appreciate Chloé Piano Trio's sense of balance. Comparing the residual echoes at the end of ‘Lili Boulanger ‘D'un matin de printemps’ — Chloé Piano Trio’ with the first phrase allows you to understand the emotional changes within the structure.

The track connected to ‘Lili Boulanger ‘D'un matin de printemps’ — Chloé Piano Trio’ is an actual recording included in ‘Lili Boulanger: D'un matin de printemps - Single’ and has been introduced in alignment with the selection criteria of ‘Classics of Women Composers Revisited Outside the Textbook.’ The performance indicated on Apple Music for ‘Lili Boulanger ‘D'un matin de printemps’ — Chloé Piano Trio’ is by Chloé Piano Trio, released in 2020. This date may differ from when Lili Boulanger composed the work, so we use it purely as recording information in ‘Classics of Women Composers Revisited Outside the Textbook.’ When looking for other versions of works like ‘Lili Boulanger ‘D'un matin de printemps’ — Chloé Piano Trio,’ you should check the work title, performer, and recorded albums together to avoid confusion with the same recording and reissue, and also to confirm the context of ‘Classics of Women Composers Revisited Outside the Textbook.’

Observe how the woodwind soloists pass the theme to the lower strings. Next, listen to what the accompaniment and background parts are doing at the same moment in ‘Florence Price Symphony No. 3 2nd Movement — Yannick Nézet-Séguin & Philadelphia Orchestra.’ Following the process of previously introduced materials returning in different instruments and ranges will help you naturally see the architecture of Symphony No. 3: II. Andante ma non troppo. Also, noting where The Philadelphia Orchestra & Yannick Nézet-Séguin place their emphasis will give you a basis for comparing different performances.

The track connected to ‘Florence Price Symphony No. 3 2nd Movement — Yannick Nézet-Séguin & Philadelphia Orchestra’ is an actual recording included in ‘Florence Price: Symphonies Nos. 1 & 3’ and has been introduced in alignment with the selection criteria of ‘Classics of Women Composers Revisited Outside the Textbook.’ The performance indicated on Apple Music for ‘Florence Price Symphony No. 3 2nd Movement — Yannick Nézet-Séguin & Philadelphia Orchestra’ is by The Philadelphia Orchestra & Yannick Nézet-Séguin, and the release year is 2021. This date may differ from when Florence Price composed the work, so we use it purely as recording information in ‘Classics of Women Composers Revisited Outside the Textbook.’ When looking for other versions of works like ‘Florence Price Symphony No. 3 2nd Movement — Yannick Nézet-Séguin & Philadelphia Orchestra,’ you should check the work title, performer, and recorded albums together to avoid confusion with the same recording and reissue, and also to confirm the context of ‘Classics of Women Composers Revisited Outside the Textbook.’

Compare how the slow section in the middle reinterprets the fast rhythms. When you listen to ‘Amy Beach ‘Gaelic’ Symphony 2nd Movement — Neeme Järvi & Detroit Symphony’ again, try to find the lowest note and the longest note. The point where these two elements meet determines the tension and relaxation of Gaelic Symphony: II, and it is also where Neeme Järvi & Detroit Symphony Orchestra's interpretation becomes clear. Instead of comparing volume, highlighting the breath and resonance lengths in ‘Amy Beach ‘Gaelic’ Symphony 2nd Movement — Neeme Järvi & Detroit Symphony’ clarifies the reason for selecting this version.

The track connected to ‘Amy Beach ‘Gaelic’ Symphony 2nd Movement — Neeme Järvi & Detroit Symphony’ is an actual recording included in ‘Barber: Symphony No. 1, School for Scandal Overture - Beach: Gaelic Symphony’ and has been introduced in alignment with the selection criteria of ‘Classics of Women Composers Revisited Outside the Textbook.’ The performance indicated on Apple Music for ‘Amy Beach ‘Gaelic’ Symphony 2nd Movement — Neeme Järvi & Detroit Symphony’ is by Neeme Järvi & Detroit Symphony Orchestra, and the release year is 1992. This date may differ from when Amy Beach composed the work, so we use it purely as recording information in ‘Classics of Women Composers Revisited Outside the Textbook.’ When looking for other versions of works like ‘Amy Beach ‘Gaelic’ Symphony 2nd Movement — Neeme Järvi & Detroit Symphony,’ you should check the work title, performer, and recorded albums together to avoid confusion with the same recording and reissue, and also to confirm the context of ‘Classics of Women Composers Revisited Outside the Textbook.’

Listen to how the strings support the melodies of the oboe and clarinet. Next, examine if the instrument that starts the theme in ‘Louise Farrenc Symphony No. 3 2nd Movement — Laurence Equilbey & Insula’ is the same as the instrument that concludes it. Symphony No. 3: II. Adagio cantabile progresses by repeating small movements while changing the density of the background. Listening to where Laurence Equilbey & Insula Orchestra emphasizes these changes allows a deeper understanding of the character of the version, beyond merely enjoying the mood.

The track connected to ‘Louise Farrenc Symphony No. 3 2nd Movement — Laurence Equilbey & Insula’ is an actual recording included in ‘Farrenc: Symphonies Nos. 1 & 3’ and has been introduced in alignment with the selection criteria of ‘Classics of Women Composers Revisited Outside the Textbook.’ The performance indicated on Apple Music for ‘Louise Farrenc Symphony No. 3 2nd Movement — Laurence Equilbey & Insula’ is by Laurence Equilbey & Insula Orchestra, and the release year is 2021. This date may differ from when Louise Farrenc composed the work, so we use it purely as recording information in ‘Classics of Women Composers Revisited Outside the Textbook.’ When looking for other versions of works like ‘Louise Farrenc Symphony No. 3 2nd Movement — Laurence Equilbey & Insula,’ you should check the work title, performer, and recorded albums together to avoid confusion with the same recording and reissue, and also to confirm the context of ‘Classics of Women Composers Revisited Outside the Textbook.’

Follow the short rhythmic motives and the wind instrument responses, which are even shorter than the harp's glissandos. In ‘Germaine Tailleferre Harp Concertino 1st Movement — Marie-Pierre Langlamet & Berlin Philharmonic,’ when the same phrases are repeated, choose one of the tempos or dynamics to compare. Narrowing down the selections of Berlin Philharmonic, Juanjo Mena & Marie-Pierre Langlamet will help ensure that you don't miss the inner parts and rhythms of Concertino for Harp and Orchestra: I. Finally, listen again to the overall flow of ‘Germaine Tailleferre Harp Concertino 1st Movement — Marie-Pierre Langlamet & Berlin Philharmonic’ to confirm how details influence the impression of the work.

The track connected to ‘Germaine Tailleferre Harp Concertino 1st Movement — Marie-Pierre Langlamet & Berlin Philharmonic’ is an actual recording included in ‘Handel - Tailleferre’ and has been introduced in alignment with the selection criteria of ‘Classics of Women Composers Revisited Outside the Textbook.’ The performance indicated on Apple Music for ‘Germaine Tailleferre Harp Concertino 1st Movement — Marie-Pierre Langlamet & Berlin Philharmonic’ is by Berlin Philharmonic, Juanjo Mena & Marie-Pierre Langlamet, and the release year is 2025. This date may differ from when Germaine Tailleferre composed the work, so we use it purely as recording information in ‘Classics of Women Composers Revisited Outside the Textbook.’ When looking for other versions of works like ‘Germaine Tailleferre Harp Concertino 1st Movement — Marie-Pierre Langlamet & Berlin Philharmonic,’ you should check the work title, performer, and recorded albums together to avoid confusion with the same recording and reissue, and also to confirm the context of ‘Classics of Women Composers Revisited Outside the Textbook.’

Let's listen to the moment when the sound of the bow, pizzicato, and silence shift the boundaries of form. In the first listening of 'Caroline Shaw's "Entr'acte" — Attacca Quartet,' try to find one guiding sound, and in the next listening, add the surrounding parts and silence. You can hear how the Attacca Quartet adjusts tempo and timbre as 'Entr'acte' progresses towards its climax. Comparing the beginning and ending resonances of 'Caroline Shaw's "Entr'acte" — Attacca Quartet' leaves a tangible sense of distance and time created by the piece.

The track connected to 'Caroline Shaw's "Entr'acte" — Attacca Quartet' is the actual recording found in 'Caroline Shaw: Orange,' selected according to the criteria of 'classical music by female composers encountered outside of textbooks.' The performer listed for 'Caroline Shaw's "Entr'acte" — Attacca Quartet' on Apple Music is the Attacca Quartet, and the release year is 2019. This date may differ from when Caroline Shaw composed the piece, so in the context of 'classical music by female composers encountered outside of textbooks,' it is used only for recording information. When looking for other versions of works like 'Caroline Shaw's "Entr'acte" — Attacca Quartet,' it is crucial to check the piece title, performer, and album to avoid confusion between the same recording and reissues, while also confirming the context of 'classical music by female composers encountered outside of textbooks.'