A Century of Music by British Women: the scenario’s gonna change

After centuries where women composers have been almost totally ignored, the London Chamber Ensemble reminds the public opinion that they must be celebrated

A Century of Music by British Women

For centuries, the public opinion has almost totally ignored women composers. However, this last century has signaled a swift change for women’s right in the UK. This progress has known a parallelism with the world of classical music, where the swift has been less clear-cut. The London Chamber Ensemble has taken an opportunity in order to remind the public opinion to celebrate the career of some of the major women classical musician in the country. The event is called A Century of Music by British Women.

A Century of Music by British Women: is really something going to change with women composers?

It has taken centuries for women to reach the full independency in the UK. A huge progress has been seen throughout the last century, where swift and significant changes have occurred for the female community. However, this same kind of progress seems to be less clear-cut within the world of classical music. And it is precisely for this reason that the London Chamber Ensemble has carried on an event in order to celebrate the career of some of the greatest women classical musicians in the country. This sort of sensibilization initiative aims to remind the public opinion the role of women among classical music. Through this aim, the ensemble shows nearly two hours of music by eight different female composers from 1921 to 2021. According to the critics, the repertoire a tasting menu, a jumble of restless programming.

Critics have well-recieved the event

The opener is Rebecca Clarke with Piano Trio (1921). The composition defies its age with a sort of discord of the piano, to which a slow movement of temporary repose does follow. A quite similar composition is Grace Williams’ Suite for Nine Instruments (1934). Thea Musgrave’s Colloquy, composed in 1960, has then followed with its “unapologetic delight in the new”. This composition is for violin and piano. Musgrave’s style, as critics have said, is abrasive and a well-placed corrective, emblematic of a composition for contemporary music. It is then shown classical music from oboist Alec Harmon, Helen Grime and Peter Cigleris. A world premiere by Errollyn Wallen brings then right up to date. Sojurner Truth, commissioned for the concert, is inspired by an American abolitionist and women’s rights activist.

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