Download Amy Beach, Passionate Victorian: The Life and Work of an by Adrienne Fried Block PDF
By Adrienne Fried Block
Amy Marcy Cheney seashore (1867-1944), the main broadly played composer of her iteration, was once the 1st American girl to be triumphant as a writer of large-scale paintings song. Her "Gaelic" Symphony, given its optimal by means of the Boston Symphony Orchestra in 1896, was once the 1st paintings of its type by way of an American girl to be played by way of an American orchestra. just about all of her greater than three hundred works have been released quickly once they have been composed and played, and this day her track is discovering new advocates and audiences for its power, depth, and sheer good looks. but, formerly, no full-length serious biography of Beach's existence or entire serious evaluation of her song existed. This biography admirably fills that hole, totally studying the connections among Beach's existence and paintings in mild of social currents and dominant ideologies. Born right into a musical kinfolk in Victorian occasions, Amy seashore all started composing as a toddler of 4 and used to be both proficient as a pianist. Her expertise was once famous early by means of Boston's major musicians, who gave her unqualified help. even if seashore believed that the lifetime of a qualified musician used to be the single lifestyles for her, her mom and dad had raised her for marriage and a occupation of beginner music-making. Her reaction to this parental (and later spousal) competition used to be to discover inventive methods of achieving her aim with out direct war of words. Discouraged from a full-scale live performance profession, she in its place discovered her m?tier in composition. good fortune as a composer of artwork songs got here early for seashore: certainly, her songs outsold these of her contemporaries. however, she was firm to split her paintings from the genteel parlor track girls have been writing in her day through growing large-scale works--a Mass, a symphony, and chamber music--that challenged the approved idea that ladies have been incapable of making excessive artwork. She gained the dignity of work-mates and the allegiance of audiences. many that praised her paintings, even if, thought of her an exception between girls. Beach's response to this used to be to hitch with different girls composers of great tune by way of selling their works with her personal. Adrienne Fried Block has written a biography that takes complete account of problems with gender and musical modernism, contemplating seashore within the contexts of her time and of her composer contemporaries, either female and male. Amy seashore, Passionate Victorian could be of significant curiosity to scholars and students of yankee track, and to song fanatics mostly.
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Extra resources for Amy Beach, Passionate Victorian: The Life and Work of an American Composer, 1867-1944
Music helped forge a powerful bond between them. After Amy began playing the piano, however, the relationship of mother and daughter may have taken on competitive aspects, as each claimed time when she would be in charge of the aural space. When Amy was six and her mother assumed responsiblity for her daughter's musical and general education, Clara Cheney would have had less and less time for her own music making. 43 Photographs of Clara Marcy taken in Concord, New Hampshire, before her marriage show an unsmiling and stern woman of some intensity, with chiseled features and a rather narrow face.
Sherwood, John K. Paine, William Mason, Richard Hoffmann, Louis Moreau Gottschalk, and Amy Cheney's teacher Ernst Perabo. It may have been that very evening that Essipoff listened to Amy Cheney play and responded with enthusiastic praise for the eleven-year-old's private performance. 24 For the Cheneys, family ties were sometimes stronger than the attraction of musical life in Boston. 25 Just before they left Boston, Clara Cheney had sung in the final concert of the Handel and Haydn Society's season.
The reviewers agreed that the recital "justified fully all the expectations" aroused by her debut. "70 All else was high praise and further predictions of a great future. One critic gave a finely detailed description of her playing: The almost imperceptible poising over a note, and the almost imperceptible pausing upon it; the caressing touch in a melodious phrase, or the airy turn of an ornament; the sharpness or the softness of a trill; the justness of taste which keeps feeling from crossing the narrow line into exaggeration or bathos—these are the characteristics which .