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How Is the Classical Music Field Doing When It Comes to Women Composers?

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How Is the Classical Music Field Doing When It Comes to Women Composers? Work in Progress How is the classical music field doing when it comes to women composers? To be sure, there is reason for optimism in the past few years, but what do the composers themselves think? We decided to go straight to the source by asking a small sampling of the many composers active in the field to share their personal perspectives and experiences. hen New York classical music station WQXR hosted a 24-hour marathon of music by more than 60 women composers in celebration of International Women’s Day on March by Jennifer Gersten W 8, 2019, it was welcome news. Still, said the station’s creative director, Clemency Burton- Hill, “What I would love is to never hear the phrase ‘woman composer’ ever again. I’d love for us to just talk about composers, but we need to take the steps to get there by making a conscious decision to elevate accomplished composers who happen to be women.” We may not be at that point yet, but there is heightened attention being paid to the problem. And there’s no denying a sharp increase in announcements of upcoming programs featuring music by women composers at orchestras in the U.S. and internationally. Which is why we think it’s a good moment to ask a sampling of today’s composers to share their thoughts about their own experiences, and the context of these changes at orchestras and what they might mean more generally. We asked each composer a few questions: • Do you feel optimistic about the amount of music being programmed at orchestras by women composers, and the pace of change? Why or why not? • What programs or individuals or orchestras have been helpful to you as a composer? Has be- ing a woman composer positively or negatively affected your career so far? Have you had im- portant mentors? Here are their responses. 42 symphony SUMMER 2019 KATHERINE BALCH women got jobs because they were a token, posers that are impossible I think a lot of orchestras or they slept with somebody. For my part, to ignore. It will not be are working really hard to I’m very glad that I was able to let negative possible to hold the dam bridge the gender equal- things roll off my back. My role model has because the flow of the ity gap. It’s attractive for always been Bugs Bunny. He doesn’t take water is by far too strong. orchestras to program authority that seriously. To people who But things will not hap- women right now, and it’s said you’ll never get into Juilliard, you’ll pen if we are not going to low-risk. I only see trends never be a conductor, I just said, “What’s speak about them and make them happen. towards greater inclusivity. For example, up, doc?” When, for example, we have a festival the Philadelphia Orchestra responded im- The teacher who really changed my dedicated all to women composers’ music, mediately to the criticism it received, in- mind [on going from singing to conduct- I think in a way that that is counterpro- tensely and rightly so. ing] was Leonard Slatkin. He was a great ductive. I think we need to be accepted as I don’t advocate for tokenism. I advocate teacher, and after him I said, wow—a part of mainstream music—we shouldn’t for the music I love. If the music happens composer-conductor sounds even better make a parallel women composer genre. to be by a woman, that’s great! I’m about than a composer-singer. So I got switched There needs to be a normalization. There writing and hearing the best music, and around. I’m grateful to Juilliard, where I needs to be a situation where, when Kaija one way to get to know the best music did my master’s and my doctorate; I got Saariaho comes to have her music played today is to look and listen for voices who the best training I could have gotten any- by the Metropolitan Opera, she can talk have things to say other than the usual where. USC, where I did my undergrad, about her music and not have to answer suspects. Maybe that takes programmers gave me a great grounding. the 50 percent of questions that get asked and curators a little more time and ef- pertaining to her being a female composer. fort, but the reward is bringing art into VALERIE COLEMAN She shouldn’t have to pay for her gender the world that can offer new perspectives Women composers and by having to talk about it. and possibilities to their audiences. Isn’t their male allies are start- The LA Philharmonic is really trying that what art is supposed to do anyway? ing to become more vocal to open things up. I went to their Fluxus When I get asked to recommend music to than ever before, and also marathon in November, and I was actually orchestras and I make a list of composers, much more proactive in really taken and surprised by the vitality of I think about what the gender balance is. taking things into their that scene. They’ve done a lot for progres- I also think about who hasn’t yet gotten a own hands. These people sive causes, not just for women. The same chance to write for orchestras, as getting are gaining a voice in how major sym- goes for the Seattle Symphony, for which that first step is really important. phony orchestras handle programming, I’ll be writing a piece next year. The New David Alan Miller, the music director of and some orchestras are becoming really York Philharmonic is also really trying to the Albany Symphony, plus the Minnesota excited about the prospect of commission- move things along. Orchestra composer readings, the Ameri- ing women and people of color. I hate to can Composers Orchestra’s Underwood say that it’s a trend. I think it’s way deeper MELODY EÖTVÖS and Earshot readings, Young Concert Art- than that. It’s a recognition that music is There is a big absence of ists, the California Symphony, every single being explored by all of these different orchestral music by wom- one of my teachers, and my colleagues. people, and that those people are going to en in global programming There are people who have helped me that inform the future of classical music in the by professional orchestras. I don’t even know about. That’s how this world. But we now have every- world keeps itself going—we help each One of my role models is Tania León, a one watching, and that is other. force of nature who has inspired not only largely keeping most or- me but so many women composers and ganizations accountable for that program- VICTORIA BOND composers of color. She’s charged me with ming. I feel very optimistic about the pace There’s such a glaring lack the responsibility of recognizing past com- of change. After my involvement in the of women and people of posers who have paved the way while pay- Philadelphia Orchestra readings through color in orchestras around ing it forward, and making sure that the the American Composers Orchestra last the country. That so much next generation of composers knows that year, I’m feeling more involved in that attention has been given their success comes from the support of change and very much look forward to to it this year has caused others. She’s really been this sage—kind of contributing more music to the repertoire. orchestras to really reeval- a Mr. Miyagi in a way. For the first decade I was completely uate the situation, but whether this is just oblivious to the fact that I was a female a blip on the screen remains to be seen. CHAYA CZERNOWIN composer. I was never treated any differ- Those who lived through women’s libera- We are in the middle of a sea change. It’s ently or made to feel that I was missing tion remember that this used to be a hot an evolution and a revolution, and it’s very out on opportunities. When I first received topic, but then it was back to business as important that it continues. Already now an award for women alone, the Toulmin usual. There were all these suspicions that there are so many amazing women com- Foundation commission*, I knew that it americanorchestras.org 43 was going to give my profile in the Ameri- Schirmer, and now currently by the equally but we will need to wait and see if orga- can music scene a huge boost, which it did. brilliant Rachel Sokolow. Currently, I’m nizations can effectively transform what is It led to further opportunities, including thankful to the last three orchestras where happening at this moment into long-term the one I now have with Philadelphia. So I served as composer-in-residence, because programming strategies. I’ve only ever experienced the positive in I grew enormously from those projects: Shulamit Ran was the first and only all of this. I haven’t actually had any female the Detroit Symphony, the Houston Sym- female composer I studied with through- mentors yet, but that is luckily getting phony, and now the Philadelphia Orches- out my college years. It was a rarity in the amended this year as I work with Austra- tra. I’m very blessed and grateful. 1980s and 1990s to find women serving lian composer Mary Finsterer while writ- on composition faculty.
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