Our project for the next academic year focusing on piano repertoire by women composers has been developing nicely recently; I’ve been at work researching further pieces, and have recorded several as part of highlighting some of the works which will feature.
A series of movements from the charming suite, A Wreath of Melodies Op. 35 by Carrie Williams Krogmann:
The first movement of a Baroque keyboard sonata by Maria Teresa d’Agnesi:
A wonderfully light-footed waltz by Marie de Croze-Magnan with a deliberately emphatic ‘wrong note’ that appears in the second section:
And the evocative Autumn – a Tone Poem by Mary Earl.
Keep an eye on the developing Playlist on our YouTube channel, more pieces coming soon…
A new project for the coming year involves exploring neglected piano repertoire written by women composers, which we’re starting to present in a sequence called Minervan Miniatures. The series of short recordings highlights forgotten gems and unearths overlooked piano pieces, and affords the opportunity to bring women composers into the limelight.
Like a musical cabinet of curiosities, Minervan Miniatures will unfold as a series, and next year will see a series of piano recitals themed around diverse repertoire, performed by Your Loyal Correspondent.
The first three episodes in the series are now online; the first features two preludes by Nannie Louise Wright, combining almost Wagnerian majesty with sonorous textural writing in a series of twelve preludes that demands further exploration:
The second episode presents a trio of tangos, full of flair and vigour, by Maria Ramalho Pires Galvao and Chiquina (Francisca) Gonzaga.
The third piece is the beautifully melancholic Cantico do Pastor by the very, very young Sylvia Regina Portella:
More as the series unfolds; there are some marvellous pieces I’m currently discovering, including a bold statement set of piano preludes that deserves much wider recognition; I’m looking forward to bringing this repertoire to the concert-hall next year.