ETHEL MARY SMYTH DBE, Mus.Doc, D.Litt. a MUSICAL
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TRANSNATIONAL SMYTH: SUFFRAGE, COSMOPOLITANISM, NETWORKS Erica Fedor a Thesis Submitted to the Faculty at the University Of
TRANSNATIONAL SMYTH: SUFFRAGE, COSMOPOLITANISM, NETWORKS Erica Fedor A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Music. Chapel Hill 2018 Approved by: Annegret Fauser David Garcia Tim Carter © 2018 Erica Fedor ALL RIGHTS RESERVED ii ABSTRACT Erica Fedor: Transnational Smyth: Suffrage, Cosmopolitanism, Networks (Under the direction of Annegret Fauser) This thesis examines the transnational entanglements of Dame Ethel Smyth (1858–1944), which are exemplified through her travel and movement, her transnational networks, and her music’s global circulation. Smyth studied music in Leipzig, Germany, as a young woman; composed an opera (The Boatswain’s Mate) while living in Egypt; and even worked as a radiologist in France during the First World War. In order to achieve performances of her work, she drew upon a carefully-cultivated transnational network of influential women—her powerful “matrons.” While I acknowledge the sexism and misogyny Smyth encountered and battled throughout her life, I also wish to broaden the scholarly conversation surrounding Smyth to touch on the ways nationalism, mobility, and cosmopolitanism contribute to, and impact, a composer’s reputations and reception. Smyth herself acknowledges the particular double-bind she faced—that of being a woman and a composer with German musical training trying to break into the English music scene. Using Ethel Smyth as a case study, this thesis draws upon the composer’s writings, reviews of Smyth’s musical works, popular-press articles, and academic sources to examine broader themes regarding the ways nationality, transnationality, and locality intersect with issues of gender and institutionalized sexism. -
The Organ Music of Ethel Smyth
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks THE ORGAN MUSIC OF ETHEL SMYTH: A GUIDE TO ITS HISTORY AND PERFORMANCE PRACTICE BY SARAH M. MOON Submitted to the faculty of the School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. __________________________________ Janette Fishell, Research Director __________________________________ Gretchen Horlacher __________________________________ Bruce Neswick __________________________________ Christopher Young ii Copyright © 2014 Sarah M. Moon iii This document is dedicated to my family. iv ACKNOWLEDGEMENTS I would foremost like to thank the members of my Doctoral Committee: Professor Janette Fishell, Professor Gretchen Horlacher, Professor Bruce Neswick, and Professor Christopher Young. I truly appreciate my five years at Indiana University under their guidance and admire their inspirational models of character and excellence. I would especially like to thank Dr. Janette Fishell, my organ professor and research director, who has provided invaluable musical and academic encouragement. I am also grateful to many people and institutions in England who helped with my research: Fiona McHenry and the helpful staff at the British Library’s Music and Rare Books Reading Room; Michael Mullen and the librarians at the Royal College of Music; Peter Graham Avis, a fellow Ethel Smyth scholar; and Alex Joannides from Boosey and Hawkes for granting me permission to make a copy of “Prelude on a Traditional Irish Air” for study purposes. -
Newly Discovered Treasures F Rom Colonial California: the Masses at the San Fernando Mission1
Newly Discovered Treasures from Colonial California: The Masses at the San Fernando Mission 1 Craig H. R ussell California Polytechnic State University, San Luis Obispo IN1769, Junípero Serra (b Petra, Majorca, Novem companions, the Mexican-born Fray Ángel [Fernández] ber 24, 1713; dCarmel, California, August 28, 1784) Somera (b Míchoacán, 1741) brought a spinet to San departed from Mexico City on an overland jour Diego Mission. Left there when in 1771 Somera went ney through Baja California to San Miguel Bay north to found San Gabriel Mission, this spinct-by now (now called San Diego) where on July 16, 1769, he in bad condition-was played by Pedro Font to accom founded the first of twenty missions that were to dot pany himself while singing Mass at San Diego presidio the California landscape. January 14, 1776 (Herbert Eugene Bolton, Am;o's Cali fornia Expeditions, Vol. 1v: Font's Complete Diary [Ber Already by September 26, 1773, lndians at nearby Rin keley: University of California Press, 1930), p. 204). cón (four miles north of the San Diego presidio) were To house more lndians, the Mission was moved in singing the alabado taught them that month by Serra and August 1774 five miles up San Diego river to its present his colleagues (Zephyrin Engelhardt, The Missions ond location. So great continued being the attraction of the Missionanes of Californio, Vol. u, Pan 1 (San Francisco: Latin music taught lndian neophytcs at San Diego that James H. Barry, 1912), 128). In his first repon to the by Octobcr 7, 1776, Serra could takc pride in a boys' Mexico City viceroy dated Decembcr 10, 1773, Fray choir at thc new Jocation up river "singing the Asperges Francisco Palou wrote that what most attracted the in and other things to perfection" (Junípero Scrra, Writ digenes to San Diego Mission was "their fondness for ings, ed. -
Ethel Smyth: a Life of Music and Activism
Ethel Smyth: A Life of Music and Activism As musician Sir Thomas Beecham, friend to Ethel Smyth, walked into the prison yard at Holloway Prison to visit her, he came upon the scene of dozens of suffragettes marching and singing their war-chant, its opening cry: Shout, shout, up with your song! Cry with the wind, for the dawn is breaking; March, march, swing you along, Wide blows our banner, and hope is waking. Ethel Smyth stood in her jail cell, the voices of the women rising up to her. They were singing her song, The March of the Women (words by Cicely Hamilton), composed a year earlier in 1911 as the anthem for the Women's Social and Political Union. Inspired, she stretched her arms out beyond the window bars and, in the Portrait of Ethel Smyth, 1901, words of Sir Beecham, ". beaming approbation from an overlooking upper by John Singer Sargent window, beat time in almost Bacchic frenzy with a toothbrush." The preceding anecdote illustrates the quintessential Ethel Smyth. The feisty, at times radical, activist fought not only for voting rights for women, but also for the equality of women musicians in the male-dominated milieu that was, and is, classical music. (In today's top 20 U.S. major orchestras in 2014, 91% of conductors/music directors and 63% of musicians were male, with men holding 69% of the [higher-paying] principal positions, and 82% of the concertmaster positions while only comprising 41% of all violinists. [1] Of the compositions performed by the top 21 orchestras in the 2014 – 2015 orchestral season, only 1.8% overall were composed by women, with 14.8% of living composers' compositions being by women. -
Missa Solemnis
2017 2018 SEASON David Robertson, conductor Saturday, November 18, 2017 at 8:00PM Joélle Harvey, soprano Sunday, November 19, 2017 at 3:00PM Kelley O’Connor, mezzo-soprano Stuart Skelton, tenor Shenyang, bass-baritone St. Louis Symphony Chorus Amy Kaiser, director BEETHOVEN Mass in D major, op. 123, “Missa solemnis” (1823) (1770–1827) Kyrie Gloria Credo Sanctus Agnus Dei David Robertson, conductor Joélle Harvey, soprano Kelley O’Connor, mezzo-soprano Stuart Skelton, tenor Shenyang, bass-baritone St. Louis Symphony Chorus Amy Kaiser, director David Halen, violin (Sanctus) This program is performed without intermission. ACKNOWLEDGMENTS The 2017/2018 Classical Series is presented by World Wide Technology, The Steward Family Foundation, and Centene Charitable Foundation. These concerts are presented by the Thomas A. Kooyumjian Family Foundation. The concert of Saturday, November 18 is underwritten in part by a generous gift from Steve and Laura Savis. The concert of Sunday, November 19 is underwritten in part by a generous gift from Mr. and Mrs.* Robert H. Duesenberg. David Robertson is the Beofor Music Director and Conductor. Amy Kaiser is the AT&T Foundation Chair. Joélle Harvey is the Linda and Paul Lee Guest Artist. Kelley O’Connor is the Helen E. Nash, M.D. Guest Artist. Pre-Concert Conversations are sponsored by Washington University Physicians. The St. Louis Symphony Chorus is underwritten in part by the Richard E. Ashburner, Jr. Endowed Fund. *Deceased 23 BEETHOVEN’S MASS “FROM THE HEART” BY CHRISTOPHER H. GIBBS LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna TIMELINKS Mass in D major, op. -
Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: a Performance Guide for the Hornist
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1998 Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: A Performance Guide for the Hornist. Janiece Marie Luedeke Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Luedeke, Janiece Marie, "Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: A Performance Guide for the Hornist." (1998). LSU Historical Dissertations and Theses. 6747. https://digitalcommons.lsu.edu/gradschool_disstheses/6747 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Towards a New Edition of Dvořák's Mass in D (“Lužanská”)
1 Introduction vořák’s Mass in D was a commission from the Czech architect and visionary Josef Hlávka (1831- A 1908), for the consecration of the chapel of his R Dmansion in Lužany (Western Bohemia), dedicated to the T Virgin Mary; the première of the composition took place Haig Utidjian during a private service on 11 September 1887. The fo- (Prague) I cus of the present article is on a version of the work C subsequently prepared by Dvořák with an added part for U violoncello and bass, and submitted to the firm of Novel- lo for publication, but which came to be overshadowed Towards a new edition L by the later version with accompaniment by orchestra I and organ. of Dvořák’s Mass in D A chronological presentation of the manuscript sources (“Lužanská”) As a fuller account has been presented elsewhere,1 here only a brief summary will be provided. Continuous sketch (S1) The composer started this on 26. 3. 1887 and com- pleted it 26. 5. 1887. It differs rather substantially from the autograph manuscript of the complete work (A1 below) in particular places. The article is focused on a version of Dvořák’s Mass Fragment of fugue (S2) in D with organ, violoncello and bass accompaniment, This consists of a single sheet of paper, of which one represented by a manuscript copy by Jan Elsnic bear- side and a half include part of the fugue from the ing Dvořák’s added string part and his own corrections Credo of the Mass set to the words et iterum venturum and revisions. -
Dame Ethel Smyth: Pioneer of English Opera Eugene Gates
Volume 11, Issue 1 The Kapralova Society Journal Spring 2013 A Journal of Women in Music Dame Ethel Smyth: Pioneer of English Opera Eugene Gates “I feel I must fight for [my music], because I lieved that her musical instincts were inher- want women to turn their minds to big and ited from her mother, whom she once de- difficult jobs; not just to go on hugging the scribed as “one of the most naturally musical shore, afraid to put out to sea.” 1 When Ethel people I have ever known.” 7 Smyth wrote these words in the early years of Ethel’s general education was typical of her career, she had little idea of the protracted that of a middle-class Victorian young lady. battle against prejudice that lay ahead of her. After private tutoring at home under the guid- Smyth was certainly not England’s first ance of a succession of governesses, she woman composer. But while most of her spent a few years in boarding school at Put- predecessors, because of social circumstances ney, where the prescribed curriculum in- and limited training, had been forced to con- cluded French, German, astronomy, chemis- fine their creative endeavours to the production try, mathematics, literature, history, drawing, of parlor music, she set her sights on the con- music, and home economics. 8 Very little is Special points of interest: quest of the opera house and concert stage. Her known about Smyth’s early musical training. published works include six operas, a concert In her memoirs, however, she mentions a mass, a double concerto, a choral symphony, governess who introduced her to classical • Ethel Smyth and English opera songs with piano and orchestral accompa- music, and inspired her to set her sights on a niment, organ pieces and chamber music. -
University Microfilms, a XERD\Company, Ann Arbor, Michigan
I 71-22,529 SCHIRMER, William Louis, 1941- SINFONIA LITURGIGA I. [Original Composition.] The Ohio State University, Ph.D., 1971 Music University Microfilms, A XERD\Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED SINFONIA L1TURGIGA 1 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By William Louis Schirmer, B.M.,M.M. The Ohio State University 1970 Approved by Adviser School of Music PLEASE NOTE: Some pages have light and indistinct print. Film as received. UNIVERSITY MICROFILMS. TABLE OF CONTENTS Page ACKNOWLEDGMENTS I i VITA ...................................... H i TABLE OF CONTENTS ......................... iv ABBREVIATIONS ...................... v INTRODUCTION ............. 1 Chapter I. THE ORIGINS OF THE PARTS OF THE ORDINARY OF THE I/ASS........... 3 II. THE DEVELOPMENT OF THE MASS ORDINARY AS A VEHICLE OF LITURGICAL AND ARTISTIC EXPRESSION WITH AN EXAM INATION OF SEVERAL LASSES OF DIFFERENT HISTORICAL PERIODS WITH REGARD TO TEXTUAL TREATMENT . 28 III. AN ANALYSIS OF THE SINFONIA LITURGICA 67 APPENDIX .................................. 106 BIBLIOGRAPHY 116 ACKMCWLEDGIENTS Thanks are due those who have assisted me in tho preparation of this dissertation. First to be thanked are my advisor, Dr* Marshall Barnes and Drs. Norman Pholps and Keith Hixter who helped to organize this work and whose helpful suggestions enhanced readability and coherence. Second, thanks are due the authors and composers whom I have cited in the course of this opus. Third aro acknowledged the following publishers: Benziger Bros., New York; B. Herder, St. Louis, Harvard University Press, Cambridge, I-Iass.j University of Notre Dame Press, South Bend, Indiana; Indiana University Press, Bloomington, Ind.; Oxford University Press, London; and Boosey and llawkes, Ltd., Toronto. -
The Late Works of Dame Ethel Smyth: a Musical Microcosm of Interwar British Culture
Providence College DigitalCommons@Providence Spring 2015, British Society and Culture Liberal Arts Honors Program Spring 2015 The Late Works of Dame Ethel Smyth: A Musical Microcosm of Interwar British Culture Emily Morin Providence College Follow this and additional works at: https://digitalcommons.providence.edu/british_2015 Part of the European History Commons, European Languages and Societies Commons, and the Music Commons Morin, Emily, "The Late Works of Dame Ethel Smyth: A Musical Microcosm of Interwar British Culture" (2015). Spring 2015, British Society and Culture. 3. https://digitalcommons.providence.edu/british_2015/3 This Article is brought to you for free and open access by the Liberal Arts Honors Program at DigitalCommons@Providence. It has been accepted for inclusion in Spring 2015, British Society and Culture by an authorized administrator of DigitalCommons@Providence. For more information, please contact [email protected]. The Late Works of Dame Ethel Smyth: A Musical Microcosm of Interwar British Culture Emily Morin HON 481 003: Colloquium on British Society and Culture, 1914-1945 Dr. Grace April 20, 2015 Morin 2 The life of Dame Ethel Smyth (1858-1944) was both musically prolific and unconventional. In spite of objections from her family, Smyth left England at the age of nineteen to study music theory and composition in Leipzig, where she came into contact with Brahms, Tchaikovsky, Grieg, Clara Schumann, and other prominent composers of the era. An enthusiastic writer, she corresponded with Virginia Woolf and Edith Somerville, among others. After meeting Emmeline Pankhurst in 1910 Smyth became actively involved in the Women’s Social and Political Union (WSPU), devoting most of her time to the suffrage movement from 1911 to 1913. -
“When a Woman Speaks the Truth About Her Body”: Ethel Smyth, Virginia Woolf, and the Challenges of Lesbian Auto/Biography
City Research Online City, University of London Institutional Repository Citation: Wiley, C. (2004). “When a woman speaks the truth about her body”: Ethel Smyth, Virginia Woolf, and the challenges of lesbian auto/biography. Music and Letters, 85(3), pp. 388-414. doi: 10.1093/ml/85.3.388 This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/2054/ Link to published version: http://dx.doi.org/10.1093/ml/85.3.388 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] “When a Woman Speaks the Truth About Her Body”: Ethel Smyth, Virginia Woolf, and the Challenges of Lesbian Auto/biography CHRISTOPHER WILEY Royal Holloway, University of London Whatever is unnamed, undepicted in images, whatever is omitted from biography, censored in collections of letters, whatever is misnamed as something else, made difficult-to-come-by, whatever is buried in the memory by the collapse of meaning under an inadequate or lying language – this will become, not merely unspoken, but unspeakable. -
March 2020 Bel Canto
BEL CANTO Newsletter of the Manatee Opera Guild March 2020 President’s Message March “comes in like a lion and goes out like a lamb.” as the adage goes. For opera lovers in the area, this is particularly true. The four supremely melodic and romantic operas presented this month will thrill us now, and have us humming all through the summer. I hope that you have tickets to all four, and that you enjoy them as much as I am sure I will. Thank you to Marge Melun and Ky Thompson for organizing our excellent Prelude series. Through those talks, we had the opportunity to learn more about what we are to see and hear. The Preludes make each opera experience more pleasurable. To be sure, February was marked with sadness. We will always remember Greg Trupiano and the infectious joy he brought to our Guild, and to every one who attended his classes “Understanding Opera” which he gave with Richard Russell every fall. Dave and I attended for many years, and always appreciated Greg’s vast Christopher knowledge of opera and the very special dynamic between Greg and Richard. We Nazarian, Bass, are so proud that we honored Greg at our Soirée in 2015. To my knowledge, he is the from Sydney, only honoree who ever brought gifts for the attendees, but that was pure Greg. We will surely miss Australia, at our him. There will be a memorial service for Greg on March 12 at 2 p.m. at the Opera House. All are February meeting. welcome. Thank you to Jean Roberts for the lovely luncheon honoring past and present Presidents of the Picture by Marge Melun.