Proposal for a CD dedicated to a forgotten female composer

[eschiss1]

We were just speaking of her, I think?? Maggie Okey-Labori (who later married de Pachmann.)
Or maybe someone else??

(But since I only know of one piano concerto by her, and that in reduction, probably not the person you're speaking of after all. SO... hrm.)

[eschiss1]

Actually, depending on whether her piano concertos sound as you describe them, I think you may be speaking of Miriam Hyde. Her birth and death dates may make her "ask-before-including" territory (1913-2005), it's true...

[edurban]

What about Ethyl Smyth's The Prison, her last big work (ca1930)?  It's described as a symphony, a dramatic symphony, or as a cantata, and is based on a philosophical work by her friend and perhaps more, Henry Brewster.  The scale is large (and expensive): orchestra, SATB chorus, soprano and bass soloists and performance time seems to be about 90 minutes...inconvenient for a single cd.  It was published, and ought to be available somewhere, though possibly not for free.  As a major work by this important composer, it would seem self-recommending, but probably because of cost, inconvenient length and specialized subject,  it has so far escaped revival...

David (looking forward to seeing The Wreckers on stage Aug.2....)

[Gareth Vaughan]

The Prison was published by Curwen & Sons and performance material is available for hire from Music Sales Classical (http://www.musicsalesclassical.com/composer/work/1471/37233). Duration is given as 75 minutes.

[edurban]

Thanks, Gareth.  Fits on one cd, then...

David

[eschiss1]

I really, really have to demur. 75 minutes is suggested duration, and a conductor, unless I miss my guess, might feel a bit constricted at the thought that they need to do a speed-reading or the producer is going to be Really Annoyed at them for making them produce a CD that only works on players that understand 84-minute CDs, or needing to break it into 2 CDs.

(On-the-other-hand 1: probably go straight to VCR, I mean, electronic streaming anyway.)

(On-the-other-hand 2: interpretation? rehearsal? learning the piece? who has time for that? Some of the conductors 'mongst present company, and some others who aren't, excepted.)

[minacciosa]

Undine Smith Moore: Scenes From The Life Of A Martyr. Terrific piece.

[Alan Howe]

Maybe. But since she lies outside our remit as far as her dates are concerned (1904-89), it's up to you to justify your suggestion in terms of that remit...
http://www.unsungcomposers.com/forum/index.php/topic,3681.0.html
Please pay careful attention to these lines in particular:
Please do not post about composers or compositions which clearly fall outside our definition of "romantic". Your post will not be approved. If you are in any doubt, and in any event if the music was written after 1918, please email or PM a moderator before posting.

[JimL]

Yes, Eric, that's it.  Miriam Hyde.  And her piano concertos both date from the early 30s, I think.  Both of them are lush, tonal and thoroughly Romantic/post-Romantic in idiom.

[minacciosa]

Dates matter not, but for the forum apparently style does, in which case Undine Smith Moore should fit in as well as the Thomas Kowalski.

[Alan Howe]

As long as the style is appropriate.

Moving on....

[rosflute]

I am fortunate enough not only to own a score of 'The Prison' but I also have a private recording of the work on CD, given to me after I attended its performance in Berlin a few years ago. So, I can testify to it being a very good work and most deserving of more performances. I could put you in touch with the choir that performed it and with another that I know are interested to sing with them.

[X. Trapnel]

I haven't seen the entire thread, but I'm sure someone has suggested Ina Boyle and I'd like to add Mary Dickenson-Auner whose romantic-impressionist style seems locatable between Hamilton Harty and Cyril Scott

[Gareth Vaughan]

Ina Boyle's MSS are in the library of Trinity College, Dublin. Apart from the Violin Concerto and "The Magic Harp", which latter has been recorded, of course, the major orchestral works are three symphonies, the last of which sets words by Edith Sitwell for contralto solo - "From the Darkness". We are unlikely to hear it, however, because Edith (ghastly old cow that she was), far from being flattered that Ina Boyle should wish to set her poetry, was so annoyed that Ina, in her innocence, did not ask permission until after she had written the work, that Sitwell forbade its public performance during her lifetime - a ban that Sitwell's literary executors continue to enforce. The same applies to Ina's setting of Sitwell's "Still Falls the Rain" for mezzo-soprano and string quartet. Of course, neither Edith nor her executors took the trouble to see or hear Ina Boyle's settings, although Elizabeth Maconchy, who studied the music, declared these two works to be among the best of her compositions. How mean spirited people in the Arts can be sometimes.
The other two symphonies are purely orchestral: Symphony No. 1 "Glencree" (1924-27) and Symphony No. 2 "The Dream of the Rood" (1929-30) (inspired by the Anglo-Saxon poem).

[Gareth Vaughan]

Incidentally, does anyone know the whereabouts of Dickenson-Auner's MSS?