As part of their program entitled “She’s the First: Music to Celebrate the 19th Amendment’s Centennial,” the Boston Landmarks Orchestra together with soprano Brianna J. Robinson performed the world premiere of Amy Beach’s “The Year’s at the Spring” and “Ah, Love, but a day!” arranged for soprano, piano and string orchestra!
“The Bird Known Best by Composer Amy Beach” – an article about Amy Beach during one of her many residencies at the MacDowell Colony and her encounter with the Hermit Thrush that inspired her two solo piano works based on its birdsong!
Concerto pianist, Asiya Korepanova, will be joined by Orchestra Miami under the direction of Elaine Rinaldi to present their program entitled “Miami Mujeres,” which is in honor of the 100th Anniversary of the passage of the 19th Amendment giving Women the right to vote! The concert will also include works by three other note-worthy women composers – Tania León, Amy Beach, Florence Price and Ellen Taaffe Zwilich.
The concert takes place at 8:00 PM on Saturday, Feb. 8, 2020, at First Miami Presbyterian Church, located at 609 Brickell Avenue, Miami, FL 33131. VIP tickets, which include the post-concert reception and a reserved seat, are $60 per person. General admission seating for the concert only is priced from $5 to $40. Limited free parking is available at the church parking lot; spillover parking is available at the Bank of America parking garage adjacent to the church. Tickets and complete information can be found at www.orchestramiami.org or by calling (305) 274-2103.
The Congressional Chorus under the direction of David Simmons and joined by piano, timpani and strings will be performing Amy Beach’s monumental Festival Jubilate, Op. 17 as part of their concert entitled “Nevertheless, She Persisted…Music of America’s Women Composers!” Beach wrote this work for the dedication of the Woman’s Building at the World’s Columbian Exposition in Chicago, 1892! The newly-revised, reduced edition (originally for full orchestra, but reduced for piano, timpani and string quintet for this concert) of Festival Jubilate is made available by Women’s Philharmonic Advocacy, and specifically WPA’s Director of Publications Chris A. Trotman! The full orchestral version will also be released soon by WPA. The concert will also include works by many other American composers (visit URL below for more info).
The concert will take place this Sunday, Nov. 24, 2019, 4:30 pm in the historic Church of the Epiphany, and tickets are Preferred $39 (Preferred), $32 (General), $20 (Young Patrons ages 22-30, General) and $10 (Student ages 8-22, General).
For more info and to buy tickets, please click here.
A Boston Globe article concerning the upcoming concert featuring Amy Beach’s monumental “Gaelic” Symphony performed by the Mercury Orchestra under the direction of Channing Yu! Presented by the Boston Landmarks Orchestra, the Mercury Orchestra will perform at the DCR Hatch Memorial Shell, Charles River Esplanade, Aug. 7, 7 p.m. Free. 617-987-2000, www.landmarksorchestra.org
An upcoming concert will feature Beach’s monumental “Gaelic” Symphony!
In their program entitled STANFORD & BEACH, the Mercury Orchestra under the direction of Channing Yu will perform both Beach’s Symphony and Stanford’s Phaudrig Crohoore, ballad for chorus and orchestra on WEDNESDAY, AUGUST 7, 2019 at 7:00 pm at the Hatch Memorial Shell on the Esplanade, Boston, MA (Rain location TBD). The concert is free admission and no tickets required. For more info, please visit http://www.mercuryorchestra.org/concerts.html
The Mercury Orchestra will be performing the Beach Symphony using the revised edition score/parts available from Women’s Philharmonic Advocacy (www.wophil.org). Also, both Dr. Liane Curtis (Founder/President of WPA) and Chris A. Trotman (Director of Publications & Editor-in-Chief of WPA) will be attending!
A thoroughly interesting article about Amy Beach’s color/key relationships and numerous examples of how she incorporated them into her harmonically lush, colorful music! This article is part of Women in Art Music (WAM!): A Project of the Department of Music, Mason Gross School of the Arts, Rutgers University. You may access the article here!
The Minnesota Orchestra will be performing the monumental “Gaelic” Symphony of Amy Beach this weekend, Sat. April 13 at 8pm! The event will also feature guest speaker Dr. Liane Curtis, who is the Founder/President of Women’s Philharmonic Advocacy! The Orchestra will be performing from the revised edition of the “Gaelic” Symphony available from Women’s Philharmonic Advocacy, and the edition editor/Director of Publications Chris A. Trotman will also be attending!
This week begins the Marsyas Trio North American tour entitled In the Theatre of Air – North America Tour!
This year marks their 10th anniversary, and they’re celebrating with their first North American tour, generously supported by the HMUK Doing it Differently scheme. Join them in Brooklyn for two nights, Schenectady, Boston or Toronto, as they perform music by British and American women composers, including Amy Beach, from their recent CD In the Theatre of Air. The Trio will be performing two previously unpublished works by Amy Beach entitled Pastorale and Caprice, “Water-Sprites,” Op. 90, nos. 1&2, and the newly revised edition is available from Women’s Philharmonic Advocacy Publications!
MUSIC BY Amy Beach, Hilary Tann, Georgia Rodgers, Missy Mazzoli, Thea Musgrave, Louise Farrenc and Judith Weir
Thursday 11 April 2019, 8:00pm
Areté Venue & Gallery
Marsyas Trio join composer/pianist Brian Mark and soprano Rose Hegele, in a concert curated by Ensemble in Process TICKETS
Mezzo-soprano Dr. Mary Brown Bonacci of Westfield State University will be performing Amy Beach’s Three Songs, Op. 11 (W.E. Henley): Dark is the night (1890), The Western Wind (1889), The Blackbird (1889) in a series of concerts in Kansas early next month! More info below:
March 2 at 2pm – Birger Sandzén Memorial Gallery. More info here.
March 6 at 7:30pm – Kansas State University. More info here.
(1) The Vancouver Philharmonic Orchestra will be performing Beach’s monumental “Gaelic” Symphony in E minor, Op. 32 on Feb. 23 at 8 PM at Shaughnessy Heights United Church, 1550 West 33rd Avenue, Vancouver, BC. For more info, please click here.
Feb. 2 at 7:30 – Their program SCHEHERAZADE & AMERICAN WOMEN COMPOSERS will feature Beach’s Bal Masqué for Orchestra, Op. 22! For more info please click here.
Feb. 23 at 7:30 – Their program MENDELSSOHN’S ITALIAN & BRAHMS will also include an arrangement of Beach’s famous Romance, Op. 23 (originally for violin/piano) for violin, harp and string orchestra with Rachel Barton Pine as violin soloist! For more info please click here.
The Concord Women’s Chorus (www.concordwomenschorus.org), directed by Jane Ring Frank, presented the concert entitled “Amy Beach and her Contemporaries” on May 12, 2018 at Trinity Episcopal Church in Concord, Massachusetts.
The concert’s featured work, Amy Beach’s “The Rose of Avontown,” was performed by the chorus with a 14-piece chamber orchestra and soprano soloist Adriana Repetto. It was the first performance to use the newly revised edition of Beach’s score and parts, the product of Chris A. Trotman (the Publications Director of Women’s Philharmonic Advocacy, www.wophil.org). This publication is part of WPA’s mission of encouraging performances of neglected music by women. “The Rose of Avontown” was one of Beach’s most performed and best-known works in her lifetime, yet it is hardly known today. WPA hopes the new edition will help bring this delightful choral music to many audiences and ensembles, and we are happy to have such a truly wonderful first performance. This work by Amy Beach and many others are available from Women’s Philharmonic Advocacy Publications (www.amybeach.org/music/publications/).
Metropolitan Orchestra of New Jersey (a community orchestra) conducted by Michael Stratechuk will be performing Amy Beach’s Symphony in E-minor, Op. 32 “Gaelic” on Sunday, November 18, 2018 at 3:00 at the Chatham Middle School, 480 Main Street, Chatham, NJ.
Other works being performed include Leonard Bernstein’s Overture to West Side Story arranged by Maurice Paress, George Gershwin’s An American in Paris, and Aaron Copland’s Rodeo Movement 4 “Hoe-Down”.
Admission is free. For more information, please visit their website.
Amy Beach: Quartet for Strings (In One Movement), Op. 89 (1929) & Kyrie from Grand Mass in E-flat, Op. 5 (1892) arr. for string quartet and chorus by Women’s Philharmonic Advocacy Publications Director, Chris A. Trotman. Available from https://www.amybeach.org/music/publications/. Chris will be attending both concerts!
Rebecca Clarke: Comodo e Amabile (1924) for string quartet & He That Dwelleth (1921) for double choir a cappella
Marianna von Martines: Miserere (1768) for chorus and continuo
Francesca Caccini: Duets (1618) for voices and continuo
Ethel Smyth: Kyrie from Mass in D (1891) arr. by Amelia LeClair for string quartet and chorus
Patricia Van Ness: Premiere of new work for string quartet and soprano
Ensemble for the Romantic Century presents a play involving the fusion of Emily Dickinson’s writings and music by Amy Beach entitled “Because I Could Not Stop: An Encounter with Emily Dickinson.”
Works by Amy Beach include her songs “Ah, Love but a Day,” “Chanson d’Amour” and “Stella viatoris” as well as excerpts/movements from her instrumental chamber works – Theme and Variations for Flute and String Quartet, Op.80, Piano Trio in A minor, Op. 150 and Piano Quintet in F-sharp minor, Op. 67!
September 15- October 21, 2018: Performances at The Pershing Square Signature Center 480 W 42nd St, New York, NY 10036
Emily Dickinson produced some of the most haunting and mysterious works of the 19th Century but she was one of the most elusive artistic personalities. In Dickinson’s self-imposed solitude, she constructs a world of images, sensations, and emotions ruled by the breadth of her imagination. Through a pairing of her words with the music of renowned composer Amy Beach, audiences embark on a journey through Dickinson’s soul and inner world. For more info and tickets, please visit their website.
Many music professors in the areas of theory, history, etc. strive to remain inclusive in their classrooms by using research and examples from diverse sources. In this case, Dr. Sabrina Clarke makes a point to include musical examples written by women every Friday using her strategy #femalecomposerfridays!
According to Dr. Clarke:
Each semester I try to develop new strategies for consistent representation of diverse voices in my theory classes. These strategies get worked into my regular course plans, and hopefully are positive steps towards a more inclusive music theory experience…Emphasizing and re-emphasizing the problems of representation in music theory is essential not only as a starting point for change, but for students to understand the context and need for this change.
Enjoy reading more about her strategy and her use today of musical examples taken from Amy Beach’s Dancing Leaves, Op. 102, no. 2 to aid in her in-class interval identification lesson!
“Because of significant risk of severe weather and lightning on Wednesday both during the concert and during the set up period, we have decided to postpone our performance of “Symphonic Dances” to Thursday, August 23 at 7:00 pm at the DCR’s Hatch Shell. Thursday promises to be a beautiful summer day.”
The Boston Landmarks Orchestra, under the direction of Christopher Wilkins, will be performing Amy Beach’s Bal Masqué for Orchestra, Op. 22 using Women’s Philharmonic Advocacy Publications’ revised edition!
The Lark Quartet has announced they are set to disband at the end of the current 2018-19 season – after more than 34 years as an ensemble. Founded in 1985, the quartet’s current members include violinists Deborah Buck and Basia Danilow, violist Kathryn Lockwood and cellist Caroline Stinson. This decision was made after cellist Caroline Stinson informed the others that she would be leaving New York for a position at Duke University. The remaining members decided they would rather finish on a high note with the strong musical and personal relationship among their current ensemble rather than going through the process of auditioning a replacement cellist.
The Lark String Quartet recorded Amy Beach’s Quartet for Strings in One Movement, Op. 89, and together with pianist Joanne Polk of the Manhattan School of Music, they recorded Amy Beach’s Violin Sonata in A minor, Op. 34, Piano Quintet in F-sharp minor, Op. 67 and Piano Trio in A minor, Op. 150!
On August 22 at 7 PM at the Hatch Memorial Shell, the Boston Landmarks Orchestra, under the direction of Christopher Wilkins, will be performing Amy Beach’s Bal Masqué for Orchestra, Op. 22 using Women’s Philharmonic Advocacy Publications’ revised edition!
Enjoy reading a guest post on May 30, 2018 from Library of Congress Music Reference Specialist Melissa E. Wertheimer entitled “Women Composers Hidden in Plain Sight,” which includes a picture (below with Beach in the center) and information about Amy Beach (among other female composers), a broadcast program including her music and finally a holograph manuscript page of her music!
A new critical edition of the score and orchestral parts for Amy Beach’s Piano Concerto in C-sharp minor, Op. 45 is now available from Subito Music Corp. The score is available for purchase here and the orchestral parts are available exclusively as rental from the Subito Music Rental Library via Zinfonia. The new edition has already been used by the Royal Stockholm Philharmonic Orchestra, and the Brandeis-Wellesley Orchestra. Good news to finally have an engraved version of this important work!
The editor of this new edition, Laurine Celeste Fox, worked with the manuscript score and parts held in the Edwin A. Fleisher Collection of Orchestral Music in the Free Library of Philadelphia. Laurine is also a member of our Beach Advisory Committee.