Hey, y’all! I just wrote a follow-up to my last blog entry for NewMusicBox:
“Five Takeaways From The Conversation on Female Composers”
Many thanks to the fine folks over there. Feel free to continue the conversation! The places where I’d most like you to continue the conversation would be at local artistic committee meetings, at music stores, at your private teachers’, and anywhere else where repertoire is decided and debated.
It’s been fun, Spectator!
Lots of people have hobbies like knitting, jogging, or stamp collecting. Because I am the nerdiest nerd to ever nerd, the closest thing I have to a hobby is learning about the history of women in music. It’s a topic that doesn’t get as much press as the old chestnuts like “classical music is dying” or “Stradivari’s secret varnish” or “lockouts.” Nonetheless, once in a while the mainstream media will run articles about women composers, and when they do, I enjoy reading what other people have to say on the topic.
Today a very special article ran in the conservative British magazine The Spectator. It’s called “There’s A Good Reason Why There Are No Great Women Composers.” I’m not going to link to it for reasons that will gradually become obvious to you.
Last week a 17-year-old girl forced the Edexcel exam board to change its A-level music syllabus to include the work of women composers.
Wow. A 17-year-old girl forced the Edexcel exam board to change its A-level music syllabus? How did she do this? Did she hack an extensive computer network? Did she threaten the board and then hold it hostage? Did she storm their office with firearms and issue terrifying proclamations with her foot resting upon the skulls of her enemies?
The truth is actually far more frightening: she began a change.org petition.
This past weekend at the Minnesota Orchestra was a gala of flashy moments: sparkling drop necklaces, dazzling tunes, dashing (impossibly talented) men in tuxes, elegant (impossibly talented) women in gowns, champagne bubbling over, sequins and beads and feathers. Big and little moments of excitement and anticipation and joy, coming one after another after another, our first opening night in a new era of peace, stability, and prosperity.
My seat is in right balcony B, a perfect perch from which to observe the crowd and the band and the night. The music begins with the Star Spangled Banner arranged by St. Stan himself. Soprano voices soar high. String players’ chins tilt over their instruments as they survey the crowd, their parts memorized. A roar of applause, an unspoken “play ball!” echoing in the inner ear.
Magic Flute overture. Chords: round and bold. Strings: one voice magnified, then another, as the Mozartean lines skitter to and fro, some higher, then lower, call and response flitting instantaneously across the stage. My hand as I lean over the short wall, watching the back stands of violas and the basses, then leaning back again and straightening out my dress. Dry air. The rustle of a crisp new program book beside me, its cover folded back. Powerful women glittering under the spotlight in their gowns. Delight. Awe.
The Minnesota Orchestra will report a balanced budget for FY 2015.
I’ve got one phrase for this:
Some excerpts from the press release, accompanied by reaction gifs.