Bosmans Henriette

This CD was inspired by one of Brundibar Arts Festival's themes "Inspirational Women" which lead us to these wonderful Jewish-Dutch female composers who survived the Holocaust.

Zes Vrouwelijke Componisten - Six Women Composers from the Netherlands (1991) {NM Classics 92018}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 241 Gb | MP3 @320 -> 160 Mb
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© 1991 NM Classics | 92018
Classical / Viennese School / Romantic / Early 20th Century / Contemporary Classical

This album collects instrumental, vocal, and chamber music by "six women composers from The Netherlands", to quote its subtitle directly. These works cover a span of about 160 years, and are presented in the chronological order of the composers' birth years. This CD is yet another example of how the now-sadly-defunct NM Classics label served the music of its country so well. This album comes recommended to those interested in Dutch music, and music by female composers.

Raphaëlle Moreau and Célia Oneto Bensaid take a tour of Europe through four female composers who were celebrated during their lifetime but have since fallen into guilty oblivion. Four different languages, three sonatas at the turn of the 1920s, two miniatures from the immediate post-war period: a rich sound photograph that finally gives voice to the genius of four singular destinies, the Frenchwoman Marguerite Canal, the Croatian Dora Pejačević, the Dutchwoman Henriëtte Bosmans and the Polish Grażyna Bacewicz.

Compositions from both East and West here bring together the powerful voices of six women composers from contrasting cultures. Their music ranges from the Romantic period via Impressionism and Neoclassicism to the present. Vivid impressions alternate with absolute music, strict sonata forms with free forms full of delicate musical poetry.

Lucia Swarts: Even as a young child, I was taught to be extra alert when women did not have the same opportunities as men.

Was the golden age of the piano that of a defeat for female composers? If they occupied an important place in ancient and baroque music, the bourgeois society which emerges from the Enlightenment limits their access to the conservatory and to the quarry. Marie-Catherine Girod explores this key moment and reveals to us the talent of the resistance fighters of the classical and romantic periods, and of the first modernism, those whose history has retained the name, such as Fanny Mendelssohn or Clara Schumann, or of whom she is rediscovering it today.