"Les femmes ne sont pas faites pour composer": œuvres musicales de compositrices de 1750 à 1950
Colloque en ligne organisé du 27 au 30 novembre 2020 par le Centro Studi Opera Omnia Luigi Boccherini et le Palazzetto Bru Zane.
L’intérêt grandissant des chercheurs pour le parcours et les œuvres des compositrices nécessite que l’on prenne le temps d’interroger la cohérence du corpus constitué par les productions féminines. Ce sont les contraintes qui pèsent sur elles qui occuperont en premier lieu les débats de ce colloque : depuis les interdictions de certaines pratiques jusqu’aux préjugés sur leurs capacités, comment les conventions sociales et les postulats misogynes façonnent des carrières ? Et quelles sont les stratégies trouvées pour les contourner ?
Comité scientifique : Roberto Illiano, Étienne Jardin, Fulvia Morabito, Massimiliano Sala, Mariateresa Storino, Susan Wollenberg
Publication liée
Women Composers in New Perspectives, 1800-1950: Genres, Contexts and Repertoire, sous la direction de Mariateresa Storino et Susan Wollenberg, Turnhout : Brepols, 2023.
Programme
Keynotes
Susan Wollenberg – (Why) Do We Need ‘Women Composers’?
Mariateresa Storino – «She Is not a Woman Composer – Yet a Composer and also a Woman»: Female Creativity beyond Genders and Genres
Composers, Musicians, Virtuosos
Daniel Lienhard – Chamber Music and Concertos for Horn/Horns by Female Composers. A Survey
Monika Kolenda – Polish Composers and Pianists: Nadia Boulanger’s Legacy
Maria Stratigou – Louise Farrenc’s Piano Études: Dates, Purpose, Reception and Role
Reflections on Women Composers’ Position in the History of Music
Joe Davies – Clara Schumann as Composer: Reflections, Challenges, and New Directions
Siegwart Reichwald – Mendelssohn the Progressive: Narrative Strategies in Fanny Mendelssohn Hensel’s Piano Trio Op. 11 and Felix Mendelssohn’s String Quartet Op. 80
Christine Fischer – A Swiss Woman in Italy: Fanny Hünerwadel on her Study Trip
Florence Launay – «She Is the First, She Is the only One of her Sex Who Has Vanquished the Operatic Stage»: the career of Sophie Gail (1775-1819) at the Théâtre de l’Opéra-Comique, 1813-1818
Amy E. Zigler – «Perhaps what Men Call a Sin…»: An Examination of Ethel Smyth’s «The Prison»
Music Criticism and Politics
Fiorella Sassanelli – Playing Death and War to Resonate Peace and Hope: The Engagement in Music of Lili Boulanger (1893-1918)
Elsa Calero-Carramolino – «You Lack Men’s Creativity»: Music and Women’s Protest in Franco’s Prisons (1938-1948)
Barbora Vacková – «You just Write at Night»: Careers, Lives and Professional Experience of Czechoslovak Women Composers after the 1948 Communist Coup
Female Composers in the Twentieth Century
Orla Shannon – Gentle Miss Ina Boyle’ (1889-1967) and Gender (Mis)Representation in Ireland’s Canon of Twentieth-century Art Song
Peter Asimov – Yvonne Loriod, Avant-gardist
Rhiannon MathIas – Grace Williams and Welsh Music: Triads, Orchestral Music and New Beginnings
Elisabeth Kappel – The Compositional Oeuvre of Two Viennese ‘Higher Daughters’: Else Réthi and Vilma Webenau (ca. 1900-1950)
Angela Annese – Andrée Rochat, a Female Composer between Italy and Switzerland through the Twentieth Century
Samantha Ege – «It Takes Courage to Be Cheerful these Days»: Theodora Sturkow Ryder’s Depression-era Chicago, 1928-1931
Lisbeth Ahlgren Jensen – Two Danish Women Composers in the early 20th Century: Hilda Sehested and Nancy Dalberg
Gender, Identity, Emancipation
Orietta Caianiello – The Emancipation of Female Musical Writing in Post-Victorian England from Song-cycles to Phantasies: The Society of Women Musicians
Stéphan Etcharry – Germaine Tailleferre face au quatuor à cordes : un manifeste d’émancipation féminine ?
Laura K. T. Stokes – Fanny Hensel’s Lied ‘Der Fürst vom Berge’ in Light of Contemporary European Politics
Martina Bratić – Heritage without Tradition: Or on the Gist of Croatian Feminist Musicology
Ozgecan Karadagli – Women Musicians of the Ottoman Imperial Harem
Religious Music
Cecilia Delama – «Gioventù femminile di Azione Cattolica» and Sacred Music in Italy in early 20th Century
Hannah Millington – Renunciation and Redemption: Ethel Smyth’s Mass in D
Women Composers in Spain
Lidia Izquierdo Torrontera – Blanca Llisó y Martínez: A Woman Composer in the Second Half of the 19th Century
Helena Martínez Díaz – Training Silenced Composers: The Real Sociedad Económica de Amigos del País and the Conservatory of Granada (1892-1936)
Gender, Genre and Places
Bertrand Porot – Les compositrices d’airs et de cantates en France au XVIIIe siècle
Susanna Välimäki et Nuppu Koivisto – Art Songs by Finnish Women Composers, from the 1840s to the 1940s. A Historical, Feminist and Activist Research Project and Critical Edition
Natasha Holt Farny – Worthy of the Canon? Three Romantic Sonatas by Women for Cello and Piano
Ann Grindley – Sites of Empowerment: «Fin-de-siècle» Salon Culture and the Music of Cécile Chaminade
Anja Bunzel – Countess Eliška Šliková (1790-1855): Salonnière, Patroness, Composer
Małgorzata Kubala – Pauline Viardot-García: Virtuoso and Composer. Transcriptions of Mazurkas by Fryderyk Chopin and Chosen Original Compositions as the Exemplification of Creativity and Development of 19th-century Belcanto Style
Organists-Composers
Steven Young – «Les Organistes oubliées»: Forgotten Female Organists-Composers of France
Gero Pitlok – «La plus grande de toutes les organistes»: How Women Shaped the Worldwide Organ Culture
Zane Prēdele – The Pioneer Marija Gubene — The First Latvian Female Composer, Publicist and Organist
Music Education, Training, Pedagogy
Fauve Bougard – Women and Composition Training in the 19th Century: The Case of the Conservatoire Royal de Bruxelles
Jan Dewilde – From the Conservatoire Classes for Girls (1867) to the ‘Palais des travaux féminins’ (1913): Reservations for Women Composers in Flanders?
Parutions scientifiques
Personnes en lien
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date de publication : 04/10/23