Woman's Work in Music

by Arthur Elson

LOUISA ADOLPHA LEBEAU

With the exception of symphony and opera, her compositions include practically every form used in modern music. Her Concert Overture, Op. 23, first performed in 1882, has been repeatedly given in Germany. Her Festival Overture, also, has met with a warm reception. Her piano concerto, Op. 37, is another work that is frequently heard, while the Fantasia, Op. 25, for piano and orchestra, practically another concerto, is rich in musical beauty, and contains a finale of exceptional strength. Among orchestral works with chorus, her oratorio, "Ruth," Op. 27, is a work of extreme beauty, and one which has been heard in all the important cities of Germany, Austria, and Holland. The cantata "Hadumoth" is another valuable work, showing great dramatic strength and an excellent handling of large choral effects. A concert aria for baritone and orchestra, "Im Sängersaal," is also worthy of mention.

It is her chamber music, however, that is responsible for her greatest triumphs. This is marked by the utmost clearness of thought and theme, and shows a most pleasing originality. It has been highly complimented by such a great musician as Lachner, and one of her pieces for 'cello and piano carried off first prize in a competition at Hamburg, in 1882, in which many noted composers had entered. Of great merit is a quartette, Op. 28, for piano, violin, 'cello, and viola. Another worthy work is the string quartette, Op. 34. Her trio, Op. 15, for piano, violin, and 'cello, the 'cello sonata, Op. 17, and the violin sonata, Op. 10, have been classed with the very best examples of their kind. Her other works include a number of piano pieces, among them some excellent fugues, three solos for the humble and seldom-heard viola, and a lovely romance for violin and piano.

A number of other German women have attained prominence through their concerted music. Josephine Kanzler, born at Tolz in 1780, wrote two string quartettes, besides piano sonatas and songs. She was a pupil of the famous Abt Vogler. Helene Liebmann, about fifteen years later, produced several quartettes of the same sort, as well as two piano trios and a number of violin sonatas, piano pieces, and songs. Clementine Batta has published a Melodie Religieuse for voice, piano, 'cello, and organ. Louise Kern has shown a fondness for combining violin, organ, and piano. Louise Langhans (maiden name Japha), born at Hamburg in 1826, is usually given an honourable place in the German lists of women composers. She studied with Robert Schumann, at Düsseldorf, and became famous as a pianist. Her compositions, not all published, include several string quartettes, a piano trio, sonatas, choral works, fragments of an opera, and a number of effective piano pieces. Among contemporary composers, Mathilde von Kralike has published a piano trio of some interest.

Of the women who have attempted large choral works, there are several besides those already mentioned. Baroness Bertha von Bruckenthal has received high praise for her "Grand Messe Solennelle," and for some four-voiced numbers with organ accompaniment. She has also written pieces for violin, 'cello, voice, and piano. Angelica Henn, one of Kalliwoda's best pupils, is credited with a "Missa Solemnis," also an opera, "The Rose of Lebanon," and some songs and instrumental works. Anna Pessiak-Schmerling, born in Vienna, was for many years teacher of singing at the conservatory there, and won more than a local reputation through the performance of her masses. Johanna Kinkel is responsible for a "Bird Cantata," as well as an operetta and many popular songs. Hers also is the well-known quartette, "The Soldier's Farewell." Agathe Plitt, a child prodigy in her early years, is still an excellent pianist, and has entered the lists in composition with a number of successful cantatas, psalms, motets, and other sacred works. Hermine Amersfoodt-Dyck won fame by producing the cantata, "Gottes Allgegenwart."

In the operatic field, Josepha Müller-Gallenhofer, born at Vienna in 1770, seems the pioneer. Besides her opera, "Der Heimliche Bund," she published a string quartette and many pieces for the harp, upon which she was an excellent performer. Caroline Wiseneder, of Brunswick, deserves notice for her aid to the blind, for whom she started a successful music school. Her two operas and several melodramas were published after her death. Auguste Goetze, born at Weimar in 1840, grew up to success as a singer of German Lieder, and founded an opera school at Dresden. Of her operas, "Susanna Monfort," "Magdalena," and "Eine Heimfahrt," have been frequently performed. Elise Schmezer has composed the opera "Otto der Schütz," besides a number of songs. Thekla Griebel has had her opera, "Schön Karen," produced twice within recent years. Elise Bachmann published a melodrama, "Die Macht der Musik," also some songs and piano pieces in popular vein. Among less important works, the Countess of Ahlefeldt issued the ballet, "Telemach und Calypso," in 1794. Julie von Pfeilschifter, born in 1840, is author of the grand ballet, "Vöglein's Morgengruss" and the dramatic scena, "Agneta," which have pleased Wiesbaden audiences; also a number of piano selections and songs.

Among those who have written for the violin, Francesca Lebrun, one of the earliest, was born at Mannheim in 1756. A remarkably great singer and accomplished pianist, she won laurels in composition by her musicianly piano trios and her sonatas with violin accompaniment. Pauline Fichtner, born in 1847, became one of Liszt's pupils, and won many public triumphs as a pianist. Her works, mostly piano pieces and songs, contain two fantasies for violin and piano. Marie Hendrich-Merta, five years younger, is the author of an excellent piano trio, besides the usual song and piano selections. Mary Clement has written a violin sonata and shorter pieces that have won encomiums from no less a man than Max Bruch. Henrietta Heidenreich has composed a number of violin pieces, and Mathilde Heim-Brehm has done the same. The Countess Stephanie Vrabely Wurmbrand wrote a violin sonata, also several piano works and incidental music to "Die Schöne Melusine."

In the field of piano music, Emilie Belleville-Oury is worthy of mention. Born at Munich in 1808, she made that city her residence until her death in 1880. She became extremely proficient as a pianist, and won many public triumphs. In one of Robert Schumann's criticisms is an interesting comparison between her work and that of Clara Schumann. "They should not be compared," says the great critic. "They are different mistresses of different schools. The playing of Madame Belleville is technically the finer of the two; Clara's is more impassionate.... Madame Belleville is a poetess, Clara is poetry itself." The works of this virtuoso are largely made up of transcriptions and arrangements, but contain some excellent compositions of her own.

Though not credited with any composition in larger form than songs or piano pieces, Josephine Lang won a high artistic rank among the women composers of Germany. Born at Munich in 1815, she began her piano studies when five years old, and made progress enough to allow a public appearance in her eleventh year. Four years later Mendelssohn met her and became her teacher in counterpoint and thoroughbass. He was charmed by her gifted and poetic nature, and calls her "one of the loveliest creatures I have ever seen. She has the gift," he continues, "of composing songs, and of singing them, in a degree that I have never known before." To help support her parents, she did some teaching, and sang in the royal chapel with such success that she was named for the post of royal court singer. In 1842 she married Christian Köstlin, who obtained a law professorship at Tübingen, and there she passed fourteen happy years. The death of her husband was followed by the loss of her three sons, and she was forced once more to struggle for a living. In this later period of trial and success, she published most of her compositions. The songs, amounting to a hundred and fifty in number, are remarkable for their strong feeling and expressive power, while her piano works are stamped with originality and depth of conception. Among the latter are the great "Deutscher Siegesmarsch," two mazurkas, and an impromptu, "In the Twilight." Her eulogistic biographer calls these pieces "Real pearls among piano works."