Ethel Smyth - The Prison

[rosflute]

Read any biography of her life

"Joachim Raff", in fact, I think it would be a great deal better for you to read her AUTObiographies. I have read them all (I believe) as well as reading several of her scores. In fact the BBC engaged me (along with Tamsin Little) to give the pre-concert talk at the Proms before the performance of Smyth's violin & horn concerto.
Maybe you just are trying to do a wind-up, but it does sound rather uninformed for you to be taking a stance that is so completely opposed to the well documented words of the composer herself !

[Alan Howe]

It's the danger, I think, of reading some sort of subjective impression into a work of art whose creator has stated the exact opposite in her own artistic credo.

Unfortunately we live in a 'me-dominated' culture in which what the individual thinks and believes, however wrong-headed, too often takes precedence over objective truth. The internet, sadly, is awash with this sort of thing.

[Gareth Vaughan]

In my (not remotely humble) opinion the Wikipedia article on "Women's music" is utter nonsense from beginning to end. There is no such thing as gender music of any sort and to pretend otherwise is absurd and a contradiction of the entire concept of music as an universal art form. But then, as I have often had occasion to observe, there are no limits to the profound stupidity of some people.

[Joachim Raff]

At last, we have some sense from Robert Levine. I agree 100% with his analysis. We have someone that can stand back and just listen to the music for its merits without any prejudice.   
https://www.classicstoday.com/review/ethel-smyths-the-prison-a-work-to-be-reckoned-with/

[Mark Thomas]

I don't particularly disagree with Levine's take on the work itself, which is better than some critics have painted it, but I can't agree that Levine is free from prejudice. What evidence does he offer for the assertions in his opening paragraph:

"The works of Dame Ethel Smyth (1858-1944) are rarely played despite the fact that she was the first woman to have an opera, Der Wald, performed at New York's Metropolitan Opera in 1903. Her works tended to be overlooked in her native England mostly due to her being seen as a "woman composer"; she was invariably critiqued as being "not as good as" men. If her works were grand and aggressive, she was accused of not being feminine; her more refined works were seen as flimsy."

And what about: "Some Elgar shows up, and is not very welcome." Without any prejudice? I don't think so.

[Gareth Vaughan]

While I am content to believe that, given the historical prejudices against women as composers, the assertions Levine makes in the opening paragraph are correct, one would like to see chapter and verse (some examples, at least), and I freely confess that I do not understand his Elgar reference. Does he mean that there are some passages reminiscent of Elgar and these are not very welcome because he doesn't like Elgar, or that they are unwelcome because they detract from the individuality of Smyth's own voice? I suspect the latter - but why should she not imitate Elgar?

[Alan Howe]

but why should she not imitate Elgar?

A good question. Why not indeed...

[Joachim Raff]

The Dream of Gerontius in mind is the only decent thing he ever wrote. So if you comparing that piece to Smyth i will take that all day.

[Justin]

I disagree over the usage of the word "prejudice," which is too strong for this unfavorable yet not irrational opinion. If Levine's opinion, like Joachim's, is that Elgar is vastly overrated, then that isn't prejudiced, albeit quite uncommon of an opinion.

Again, we cannot tell from this review if the statement is biased against Smyth herself, Smyth's "unoriginality," or Elgar. It isn't possible to draw a conclusion from this.

I may be echoing your input a bit Gareth, but just wanted to provide my take.

[Alan Howe]

The Dream of Gerontius in mind is the only decent thing he ever wrote

You evidently don't like Elgar, but can't be bothered to tell us why. That's both lazy and arrogant.

[Joachim Raff]

Neither, go further back in the thread and i never mentioned Elgar. It was someone else . I have views on Elgar, but most of his works hardly fit the criteria of UC. Discussing it would maybe lead me outside the parameters of the site rules.

[Mark Thomas]

There's no problem with discussing Elgar here. Our criteria aren't purely chronological. Fire away, but in another thread please.

[Alan Howe]

most of his works hardly fit the criteria of UC

Not so! All of his music fits our criteria - in fact he's specifically mentioned there. And there's plenty of unsung Elgar! What might you want to discuss (in a new thread)?

[Alan Howe]

Having finally got hold of a copy of The Prison I can certainly confirm that it has the aura of a major work. And the Chandos recording certainly does the work proud: the New York-based Experiential Orchestra (consisting of top freelancers) does a superb job and the vocal soloists are both very good, the soprano Sarah Brailey acquitting herself particularly well with her well-focused, silvery delivery.

What I don't find is a great deal of melodic distinction, although the final section of Part 1 arrives just in time to correct that impression! Is Elgar 'in the mix'? Yes, I think so, but this is also clearly music that has 'moved on' from mere imitation. I imagine the work would be extremely impressive live. At its best (and that is often) it is a most moving musical document.

[Alan Howe]

If I were to be critical of this fine piece, it would be that its mood is unvaried and its pace slow. Then there's one's reaction to the use of The Last Post towards the end - although I found that quite moving. Overall, though, I was not expecting such a profound work and I'm looking forward to getting to know it better.