Women of Note

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Lynne Rogers (voice)

Julie Waring (piano)

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Programme:

O Virtus Sapientiae; Hildegard Von Bingen 1098- 1179

Per La Piu Vaga e Bella (Fernando Saracinelli); Francesca Caccini 1587- c. 1637

Spesso Per Entro Al Petto; Barbara Strozzi c.1619- 1664

O Death,  Rock Me Asleep;  Anon. attrib. Anne Boleyn 1501/ 07- 1536 (Arr. Warlock)

Morgenstándchen (Joseph Von Eichendorff); Fanny Mendelssohn Hensel 1805- 1847

Ihr Bildnis (Heinrich Heine); Clara Schumann 1819- 1896

Ah Love But A Day (Robert Browning); Amy Chaney Beach 1867- 1944

Crabbed Age and Youth (Shakespeare); Maude Valerie White 1855- 1937

Into the Night; Clara Edwards 1880- 1974

Villanelle (F.van der Elst trans. Alice Mattullah); Eva Dell’Aqua 1856- 1930

Everywhere I Look (Dena Tempest); Molly Carew 1886- 1953

Wiegala; Ilse Weber 1903- 1944

Ich Wandre Durch Theresienstadt; Ilse Weber 1903- 1944

The Man- in- the- Mune (Maurice Lindsey); Thea Musgrvae 1928- present

Willie Wabster (Maurice Lindsey); Thea Musgrvae 1928- present

The Loom; Trad. arr. Grace Williams 1906- 1977

Ophelia’s Song (Shakespeare); Elizabeth Maconchy 1907- 1994

Stop All the Clocks (W H Auden); Betty Roe 1930- present

A Bay In Anglesey (John Betjeman); Madelaine Dring 1923- 1977

The Summer Is Coming (Bryan Guinness); Sasha Johnson Manning 1963- present

The Road Not Taken (Robert Frost); Sasha Johnson Manning 1963- present

There are Fairies At the Bottom of Our Garden (Rose Fyleman); Liza Lehmann 1862- 1918

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This concert, taking place on International Women’s Day, is an exploration of women classical composers throughout the ages. The concert aims to explore the role of women in classical composition. It begins from the point of female invisibility with Hildegard Von Bingen and travels through Italy and Germany via women who had famous fathers or husbands who encouraged their writing. We pause briefly with Anne Boleyn and explore the idea of anonymity before travelling into the 20th century where women become more autonomous and able to compose and support themselves without male patronage. We briefly visit America and finish the first half in Victorian Britain.

The second half of the concert begins with the tragic story of Ilse Weber who wrote and sang music for the children of Thierenstadt concentration camp, before exploring 20th century composers of the British Isles Thea Musgrave, Betty Roe, Elizabeth Maconchy and Grace Williams. We finish right up to date with Sasha Johnson Manning, composer of the Manchester carols.

The performance involves interspersing songs with cultural information about the composers and the era in which they were writing.