Have you ever wondered why classical music is referred to as a “work” or “piece” rather than a song? Or perhaps the difference between a motif and a theme? Do you want to understand what differentiates classical music from other genres and what aligns with music heard all over the world?
As part of our mission to advance knowledge of and appreciation for classical music, All Classical Radio recently launched a new resource for those curious to learn more about this beloved genre: the Classical Music Glossary.
In this glossary, we comb through commonly used terminology and historical timelines to help you feel more confident about and connected to the music you love.
Today’s blog post is another sneak peek into this new resource — this time, sharing insights into terms that instruct musicians on how to play the notes and the composer’s musical vision.
Tempo
Tempo is the speed of a piece of music. Tempo can also indicate the mood in which a piece, or a section of a piece, should be played. In classical music, tempo is usually indicated in Italian at the beginning of a score. In modern classical pieces, this word may be replaced by a metronome mark in beats per minute (bpm).
Tempo markings provide a general “feel” to the tempo of a piece. Tempo does not have to be fixed; it can change within a piece of music. Some examples of tempo markings are:
LARGO – Very slowly and broadly. Translates to “wide” or “broad;” similar tempo to Lento but with a sense of expansiveness.
ADAGIO – Slowly and stately, “at ease.”
ANDANTE – Moderately slow and sometimes described as “at a walking pace.”
MODERATO – Translating to “moderate”, this term implies a medium pace tempo typically ranging from 108-120 bpm.
ALLEGRO – A faster tempo that translates to “cheerful.”
VIVACE – A fast and brisk tempo that translates to “lively.”
PRESTO – The fastest tempo marking that can be described as rapid, quick, and immediate.
Dynamics
Dynamics are markings in a score that indicate the volume at which notes or phrases within a piece of music should be played, such as:
p [piano] – played softly.
f [forte] – played loudly.
Crescendo – Increasing in volume.
Decrescendo – Decreasing in volume.
Articulation
Similar to the way we articulate our words, composers and musicians use articulation markings to indicate how notes should be played. Each marking can affect the start or “attack” of a note, the end or “release,” and the overall length and connection to and from the next note.
Articulation markings are usually placed above or below a note or phrase in written music. Here are some examples:
STACCATO – Meaning “detached.” Notes are played short and disconnected, creating a detached, buoyant, and crisp sound. In music, it is marked as a dot above or below the note.
LEGATO – Meaning “tied together.” Notes are played smoothly and connected. Legato articulation is played or sung in the same breath/bow stroke.
ACCENT– A note played with more emphasis compared to notes without an accent. This can be achieved by playing the note louder with more “front” to the start of the note. An accent looks like “>” above or below a note.
If you enjoyed this post and would like to dive deeper, be sure to check out the Classical Music Glossary!
All Classical Radio is proud to feature artists of Asian heritage on our playlist every day. We’re constantly adding new voices to our programming, both past and present. In honor of Asian American, Native Hawaiian, and Pacific Islander (AANHPI) Heritage Month, we’re highlighting five contemporary composers who are expanding the cultural landscape and making the music we love all the richer and more diverse.
Chinary Ung (b. 1942)
Image source: composer’s website
Born in Cambodia, Chinary Ung grew up immersed in the traditional music of his homeland — he wasn’t exposed to Western classical music until his late teens. Ung became one of the first graduates of the Ecole de Musique in Phnom Penh, earning a degree in clarinet performance (the clarinet was the only instrument available to him at the time). In 1967, Ung emigrated to the United States, where he shifted his focus from playing the clarinet to composition and earned a DMA with distinction from Columbia University. After over a decade of composing and teaching at several universities, Ung gained significant international recognition when he won the Grawemeyer Award for his orchestral work, Inner Voices.
As a composer, Ung doesn’t view “East” and “West” as separate entities but rather incorporates musical influences in line with his overall vision for a work, whether it be a Late Romantic symphony or a Cambodian folksong he heard as a child.
Bright Sheng (b. 1955)
Image source: composer’s website
Chinese-American composer Bright Sheng was born in Shanghai and began his piano studies at age 4. During the Cultural Revolution, Sheng collected regional folk music and participated in a dance troupe near the Tibetan border. After earning a Bachelor’s Degree in music composition from the Shanghai Conservatory, he moved to New York and earned his doctorate from Columbia University—Leonard Bernstein was among his principal teachers there. Over the past few decades, Sheng has earned numerous honors, including Guggenheim, Naumburg, Rockefeller, and MacArthur Foundation fellowships.
Sheng’s compositions have prominent Asian influences, a testament to his study of a diverse array of musical customs. He is not afraid to tackle recent global events and explore social tension through music. In addition to composing and performing as a concert pianist, Sheng has been the Leonard Bernstein Distinguished University Professor of Music at the University of Michigan since 1995.
Chiayu Hsu (b. 1975)
Image source: composer’s website
Born in Taiwan, Chiayu earned degrees from the Curtis Institute of Music, Yale School of Music, and Duke University. Having undertaken residencies throughout the U.S. and Europe, she now resides in the States and, in addition to composing, serves as an associate professor of composition at the University of Wisconsin, Eau-Claire. Having studied with the likes of Jennifer Higdon and Joan Tower, Chiayu continues the legacy of groundbreaking women composers who are leading the evolution of classical music in America and beyond. Her numerous awards include the Lakond Prize from the American Academy of Arts and Letters and first prize at the FemFestival in Italy for her piece, EC Sketches.
When writing a new piece of music, Chiayu often draws inspiration from extra-musical materials, such as poems, myths, and images. She also draws on her heritage and regularly combines Chinese elements with Western techniques, showing a keen interest in cultural fusion.
Andy Akiho (b. 1979)
Photo by Jim Lommasson
American composer of Japanese descent, Andy Akiho, is no stranger to Portland, OR. In addition to residing in the Rose City, Akiho currently serves as the Oregon Symphony’s Composer-in-Residence. Born in South Carolina, he began his musical journey as a percussionist. He earned degrees in percussion performance, followed by an extensive period of study of the steel pan. Amazingly, he only began writing music in his late 20s.
As a Grammy- and Pulitzer-nominated composer, Akiho writes large-scale works that transcend common assumptions about classical music, even what one would consider a percussion instrument in the first place. Performances of his works are theatrical, captivating, and utterly unique.
Akiho was one of 40 creatives of the Pacific Northwest profiled in All Classical Radio’s Artist Anthology. You can read his artist profile here.
Jung Sun Kang (b. 1983)
Image source: Lindeblad School of Music
Korean composer Jung Sun Kang began learning the piano at age 3, and after discovering her love for Bach’s music, she added harpsichord to her studies as well. After receiving her Bachelor’s Degree from Ewha University in South Korea, Kang moved to the U.S., where she earned her doctorate from the Eastman School of Music as well as an Artist Diploma from McGill University. Now a resident of New York City, Kang has made a name for herself as a composer, performer, and educator.
Kang’s compositions strike a balance of influences from many different cultures while remaining anchored in traditional classical structure. Her works are typically written for small ensembles or duos, allowing the musicians to fully engage with each other and bring the music to life.
Keep Learning
To keep learning about AANHPI musical artists we love to play on air, check out these posts from the Arts Blog:
John Pitman’s latest conversation is with two artists who knew each other’s work, but who had not worked together, before this project. In this bold new work, with a title taken from a poem by Robert Walters, the harp symbolizes the protagonist Earth, both fragile and powerful.
Terra Infirma was directly inspired by the experiences of its creative team. Composer Reena Esmail, who resides in the Los Angeles neighborhood of Altadena, was forced to evacuate her home during the catastrophic fires of January 2025. Harpist Yolanda Kondonassis, a committed advocate for the environment, is founder and director of the non-profit organization Earth at Heart.
The towering instrument is moved choreographically by Kondonassis across the stage as she journeys through various arrays of suspended percussion. In the composer’s words, the work is “part virtuoso concerto, part performance art, and part theater.”
Hear John Pitman’s interview with Kondonassis and Esmail about their new joint project, Terra Infirma below:
Elaina Stuppler is a talented young composer, trombonist, and vocalist who served as All Classical and ICAN Radio’s 2024-2025 Young Artist in Residence (YAIR).
She can be heard on All Classical each Saturday at 5:00 PM PT, as a Youth Reporter sharing pieces of music that inspire her.
Elaina was recently accepted into Yale University, where she will continue her music studies and performances. In celebration of all of her achievements, All Classical Radio caught up with the rising star to learn what she has been up to since her time as YAIR.
All Classical: How has your time as All Classical Radio’s YAIR influenced your career and musical adventures since?
Elaina: The mentorship and generosity of the station’s Young Artist Residency program cemented my love of composing music. Being surrounded by a team of creative professionals at All Classical Radio was an extraordinary gift, and learning first-hand about the research and dedication that goes into creating radio programs taught me the importance of time management.
All Classical Radio is so thoughtful and inclusive of the community, especially children. The station is such a generous organization that champions music education with its unique programming. The staff showed me the tremendous impact of how each person can make a collective difference.
All Classical: Is there anything you learned in your time as YAIR that has helped your creativity?
Elaina: Being All Classical’s Young Artist in Residence was a one-of-a-kind, inspiring experience. Having access to state-of-the-art studios and broadcasting my music live was priceless as a young composer!
The kindness, guidance, and financial support of All Classical Radio encouraged me as a musician. I also appreciate how the station always highlights underrepresented composers, and I am constantly hearing new works.
All Classical: What have you been up to since your year as YAIR?
Elaina: I am so grateful to continue serving as a Youth Reporter on All Classical Radio (Saturdays at 5:00 PM PT) and continue receiving mentoring from long-time hosts John Pitman and Brandi Parisi. They have helped me expand my musical knowledge and patiently given me a broadcast education.
The first half of this year was spent submitting college applications, and I recently committed to Yale, where I will continue my musical studies! Between school and orchestra commitments, I have been composing new songs for my musical about Maria Anna Mozart. I also perform musical storytimes at libraries with my Popera PDX program, introducing very young children to music and instruments.
All Classical: Do you have anything exciting coming up, or that you have been working on?
Elaina: Yes! I have 4 upcoming shows with my original orchestral compositions:
This spring, my orchestral composition will be performed at Hunter College in NYC by the Little Orchestra Society and dancers from the New York Theatre Ballet for their “Leonard Bernstein’s America!” concert with Grammy Award-winning conductor David Alan Miller
I will also be performing with Fear No Music’s Young Composers Project on April 19, 2026, at Reed College in a program titled “Hearing the Future: Young Composers Final Concert.”
Then, on May 9, 2026, at the Newmark Theatre, I’ll perform with Portland Youth Philharmonic‘s Youth String Ensemble and Wind Ensemble.
And June 14, 2026, at the Arlene Schnitzer Concert Hall, Fear No Music’s Young Composers Project presents “Joy Manifest: Beethoven’s Ninth,” including a world premiere as part of The Authentic Voice Commissioning Series.
All Classical Radio’s Artists in Residence program provides young and professional musicians with opportunities for career advancement, creative development, and audience exposure. The program is a part of the station’s initiatives dedicated to equity and inclusivity in the arts.
All Classical Radio is committed to supporting our Artists in Residence by providing them with new resources and opportunities to connect with audiences, expand their musical portfolio, and reach new creative heights as our partners, including:
Access to All Classical Radio’s recording facilities
Access to the station’s digital music archives for research and development
Encouragement and support for professional development as artists
A financial award to assist with projects and performances
We believe All Classical Radio’s Artists in Residence program is a truly unique and all-encompassing opportunity for musicians to learn and grow. Learn more at allclassical.org/artists-in-residence.
Have you ever wondered why classical music is referred to as a “work” or “piece” rather than a song? Or perhaps the difference between a motif and a theme? Do you want to understand what differentiates classical music from other genres and what aligns with music heard all over the world?
As part of our mission to advance knowledge of and appreciation for classical music, All Classical Radio recently launched a new resource for those curious to learn more about this beloved genre: the Classical Music Glossary.
In this glossary, we comb through commonly used terminology and historical timelines to help you feel more confident about and connected to the music you love.
Today’s blog post is a sneak peek into this new resource. Keep reading to learn more about music terms that provide a basic understanding of what classical music is, how it’s talked about, and how it’s organized.
Classical Music
In Western culture, classical music means music rooted in long-established European sacred and secular traditions. The term “classical” is meant to distinguish the musical genre from popular music.
When referring to classical music, it is important to differentiate between classical with a lowercase “c” and Classical with an uppercase “C.” The lowercase “c” generally refers to the definition above. An uppercase “C” refers to the Classical Era of music, which lasted from approximately 1750 to 1820, featuring composers such as Mozart and Haydn.
Piece / Work vs. Song
In classical music, a composition in its entirety is referred to as a piece or work, regardless of the length or number of movements. “Song” refers specifically to a genre within classical music called Art Song. An art song is a short(ish) piece of vocal music independent of a staged work (such as an opera) and performed in a recital setting.
For example, Franz Schubert’s song cycle, Winterreise, is a piece or work. However, individual works within the cycle, such as “Gute Nacht” (Good Night), are songs.
Movement
A movement is an independent section within a larger composition. A symphony, for example, often contains four movements, each with its own character, speed, and dynamic level.
Opus
Opus is derived from Latin, meaning “work.” An opus is a composition or set of compositions. A composer’s opus is numbered either in order of the date it was written or in order of the date it was published (or sometimes a combination of the two). For example, a composer’s works may be numbered in order of the date they were written while the composer was living, while pieces discovered posthumously may continue by publication date.
Key
The key is the group of notes that form the harmonic foundation of a piece of music and belong to one scale (a specific sequence of notes). Notes that travel outside the key or scale may create tension or dissonance in the music.
Melody & Harmony
A melody is an organized sequence of notes considered to be at the forefront of a piece of music. This is typically the part of a composition that the listener will remember and hum from time to time.
W. A. Mozart’s Rondo alla Turca features one of the most recognizable melodies in classical music.
Harmony refers to two or more notes played simultaneously to support the melody’s musical progression. In this video of Rondo alla Turca, the pianist’s left hand is providing the harmony.
Theme
Much like the theme of a book or piece of art, a theme in music is the subject of a work—the idea upon which a piece of music is written.
For instance, in her Gaelic Symphony, Amy Beach uses old Irish melodies as themes, inspired by her Anglo-American heritage.
Motif
A motif (pronounced “moh-TEEF”) is a small recurring unit in a piece of music that holds thematic significance. A motif is often, but not always, shorter than a theme.
For example, the repeating four-note pattern in the first movement of Beethoven’s Symphony No. 5 is a motif.
If you enjoyed this post and would like to dive deeper, be sure to check out the Classical Music Glossary!
All Classical Radio host Lisa Lipton caught up with choreographer Jamey Hampton and bassoonist Kara LaMoure to talk about a collaboration between WindSync, BodyVox, and Chamber Music Northwest, that’s as bold as it is unusual. Musicians and dancers are building a brand-new work together—without ever having met in person.
Through Zoom calls, phone conversations, recordings of musical works, and a lot of creative trust, they’ve been shaping a piece that blends music and movement in real time. Kara shares what it’s been like to work with Jamey, co-founder and co-artistic director of BodyVox, in a process where so much is still unknown.
The wildest part? They won’t actually put it all together until a single, intensive week just before opening.
It’s high-risk, deeply collaborative, and exactly the kind of artistic leap that keeps live performance thrilling. This interview captures that in-between moment—where ideas are still in motion, and anything feels possible.
Catch this WindSync + BodyVox + Chamber Music Northwest April 24-26, 2026! Learn more at bodyvox.org and cmnw.org.
Congratulations to The Score‘s Edmund Stone on a monumental 20 years on the air, sharing movie music with listeners from coast to coast! 👏
First launched in April 2006, The Score with Edmund Stone is a weekly celebration of symphonic music in film and other media. For generations, the music featured in major motion pictures, on television, and in video games, has been a common musical experience for countless listeners and a meaningful introduction to classical music. Each week on The Score, Edmund shares a fascinating cultural adventure through one of America’s most-loved art forms. With insightful thematic episodes and exclusive interviews with composers and filmmakers, Edmund takes us to the movies like only he can.
Produced in the studios of All Classical Radio in Portland, Oregon, The Score has been received with admiration and increasing success for two decades. Host Edmund Stone is a classically-trained English actor, whose background includes a variety of stage and screen roles. Edmund is the ideal host — warm, knowledgeable, and passionate.
Listen to The Score every Saturday and Sunday at 2:00 PM PT on All Classical Radio. Tune in at 89.9 FM in Portland, Oregon, or from anywhere on All Classical’s website or free mobile app.
Stream episodes on demand for two weeks after broadcast and read exclusive film reviews by Edmund Stone at thescore.org.
SHARE THE SCORE WITH YOUR LISTENERS
The Score with Edmund Stone is available for syndication for public radio stations. NPR news compatible, the program works equally well for music and mixed format stations – with a new show each week and/or holiday and special occasion features.
April is National Poetry Month, a widespread, vibrant celebration honoring poetry’s impact on our culture.
At All Classical Radio, we engage with the poetic brilliance of the past and present every day through the music we play on air.
Poetry has long been a wellspring of inspiration for composers. In this post, we’re going to look at a beloved genre of classical music that exquisitely interweaves music and poetry – Lieder, or “songs” in German.
Art Song, a genre of classical music written for voice and piano accompaniment, became increasingly popular in the 19th century for three primary reasons:
Thanks to advancements in technology and production, more people than ever could afford to bring the keyboard instrument into their homes.
A growing, musically literate middle class craved music that could be performed at home or in more intimate settings than the concert hall.
The 19th century was also a reawakening of emotional expression across all art forms, not least music and poetry.
Let’s take a dive into some examples of Lieder that helped epitomize this fusion of poetry and music, ultimately elevating both art forms.
“Erlkönig” (Elf King) by Franz Schubert (1797-1828)
Wer reitet so spät durch Nacht und Wind? Who rides so late through the night and wind? Es ist der Vater mit seinem Kind: It is the father with his child. Er hat den Knaben wohl in dem Arm, He has the boy in his arms; Er fasst ihn sicher, er hält ihn warm. he holds him safely, he keeps him warm.
– Johann Wolfgang von Goethe (trans. Richard Wigmore)
We can’t discuss Lieder without considering the composer who catapulted the genre into popularity. Franz Schubert’s 600+ songs laid the groundwork for Lieder to flourish in the 19th century through his sensitive text-setting and his addition of “voice” to his piano accompaniments. He was a voracious reader and sought to elevate the poets of his time through music, including Johann Wolfgang von Goethe. Schubert admired the writer and set over 70 of his poems to music.
Goethe is seen as the start of a new era in German poetry, leading the way with verses full of personal expression and embracing all the elements now associated with the Romantic Era: nature, fantasy, love, and longing.
Schubert wrote the fantastical song “Erlkönig” (Elf King) at just 18 years old, inspired by Goethe’s great ballad poem of the same name. Goethe based his poem on a Danish tale of the “Ellerkrone” (Elf Woman), a figure of death. In the song, Schubert uses a relentless piano accompaniment not only to illustrate the horse’s galloping but also to convey the poem’s ominous mood. Goethe’s poem is recited by four different characters: the narrator, the young boy, the father, and the Elf King. Schubert writes each with their own vocal style, and the pace of the piano only slows at the story’s horrific ending.
Dichterliebe (A Poet’s Love) by Robert Schumann (1810-1856)
Im wunderschönen Monat Mai, In the wondrous month of May, Als alle Knospen sprangen, When all the buds burst into bloom, Da ist in meinem Herzen Then it was that in my heart Die Liebe aufgegangen. Love began to burgeon.
– Heinrich Heine (trans. Richard Stokes)
In the generation following Schubert, composers such as Robert Schumann took up the torch in the development of Lieder, leaning into the piano’s full expression as an equal participant in the song’s storytelling. Schumann also had a love of poetry from an early age and seemed intuitively able to elevate the words of German poets through music.
Schumann’s song cycle, Dichterliebe (A Poet’s Love), remains one of his most influential pieces of music. A song cycle, an emerging genre in the 19th century, takes the idea of an Art Song and expands it into a musical novella. Song cycles consist of a group of individual art songs that are narratively connected and performed together as a multi-movement work. To some, the song cycle symbolizes the ultimate synthesis of music and poetry.
For Dichterliebe, Schumann chose 16 poems from Heinrich Heine’s Lyrisches Intermezzo, a collection of 66 songs following an intimate emotional journey of love and heartbreak. Heine’s poetry is known for its bittersweet quality, exploring the discord between idealism and reality.
“Nachtwanderer” (Night Wanderer) by Fanny Mendelssohn Hensel (1805-1847)
Ich wandre durch die stille Nacht, I wander through the quiet night, Da schleicht der Mond so heimlich sacht the moon floats so secretly and gently, Oft aus der dunklen Wolkenhülle, often emerging from a dark cover of clouds. Und hin und her im Tal, And here and there in the valley, Erwacht die Nachtigall a nightingale awakens Dann wieder alles grau und stille. but then all is gray and still again.
– Joseph von Eichendorff (trans. Emily Ezust)
Women composers of the 19th century were barred from access to the same educational institutions and career opportunities as their male counterparts. Consequently, they often turned to writing music that could be enjoyed in intimate salon settings—a perfect setting for Lieder—rather than a public concert hall. However, despite their exclusion from public acknowledgement, women composers such as Fanny Mendelssohn Hensel (sister of Felix Mendelssohn) played a pivotal role in the development of Lieder.
Hensel hosted a weekly salon at her home in Berlin, which became a cultural hub in its own right. At these salons, performances of both her own works and those of other artists would take place. And like many of her songwriting contemporaries, Hensel gravitated towards well-known poets of the time, as seen in her song “Nachtwanderer” (Night Wanderer), which sets evocative poetry by Joseph von Eichendorff.
In “Nachtwanderer,” Hensel not only conjures the poetry’s nocturnal setting through expressive piano accompaniment but also fuses the voice and piano parts together so that they are nearly one and the same. The pianist isn’t supporting the vocalist’s poetic expression; rather, it’s an equal “voice” in bringing Eichendorff’s words to life.
“Feldeinsamkeit” (Alone in Fields) by Johannes Brahms (1833-1897)
Ich ruhe still im hohen grünen Gras I rest at peace in tall green grass Und sende lange meinen Blick nach oben, And gaze steadily aloft, Von Grillen rings umschwirrt ohn’ Unterlaß, Surrounded by unceasing crickets, Von Himmelsbläue wundersam umwoben. Wondrously interwoven with blue sky.
– Hermann Allmers (trans. Richard Stokes)
Johannes Brahms is undeniably one of the most beloved composers of the 19th century, though his orchestral music has long overshadowed his contributions to Art Song. Nonetheless, he holds a pivotal role in the history of the genre. His musical style seamlessly carried over into his songs, including his expansive, elastic phrasing and harmonic richness.
Unlike Schubert, Schumann, and Hensel, Brahms typically favored lesser-known poets when composing Lieder. He also had a keen interest in folksong, evident in both his songwriting and instrumental works. The poetry of Hermann Allmers didn’t enjoy the same compositional frenzy as many of his German contemporaries; however, Brahms’ setting of his poem “Feldeinsamkeit” (Alone in Fields) is nothing short of exquisite.
In “Feldeinsamkeit,” Brahms doesn’t use the piano as a character in the story but rather to evoke the serenity of the narrator’s surroundings. Through a seemingly simple accompaniment, Brahms brings to life the gentle breeze against soft grass, the drifting white clouds, and the profound sense of peace expressed in Allmers’ poem.
“Auch kleine Dinge…” (Even Small Things…) by Hugo Wolf (1860-1903)
Auch kleine Dinge können uns entzücken, Even small things can delight us, Auch kleine Dinge können teuer sein. Even small things can be precious. Bedenkt, wie gern wir uns mit Perlen schmücken; Think how gladly we deck ourselves with pearls; Sie werden schwer bezahlt und sind nur klein. They fetch a great price but are only small.
– Paul Heyse (trans. Richard Stokes)
Hugo Wolf referred to his Lieder as “poems for voice and piano,” and viewed song composition as poetic translation. As the turn of the century approached, composers increasingly turned to large-scale works as a testament to their legacy. In Wolf’s case, however, he took his inclination for songwriting and made it into large, dramatic works for the concert hall by creating hefty song collections organized by the poetry they used.
One such work, Italienisches Liederbuch (Italian Songbook), is a substantial collection of 46 Lieder setting poems from Paul Heyse’s anthology of Italian folk poems translated into German. Heyse, a Novel Prize-winning writer, was known not only for his own writings but also for his translations of writings and folk songs written in languages other than German.
The first song featured in Wolf’s Italienisches Liederbuch, “Auch kleine Dinge…” (Even Small Things…), is a rispetto—an eight-line poem with a specific rhyme scheme (ABABCCDD). In keeping with the poem’s spirit of appreciating the “small things,” Wolf keeps the interwoven voice and piano parts restrained and delicate while maintaining sincere emotional expression.
Women composers have long been a vital part of All Classical Radio’s daily playlist. As concert programs become more diverse and inclusive, we are proud to highlight these lesser-known names and showcase the depth of their compositional talent. In honor of Women’s History Month, we’re putting the spotlight on six women composers you may not have heard of but who truly deserve to become household names. Their stories offer lessons in perseverance, resilience, and ingenuity. Keep reading to learn more!
Emilie Mayer (1812-1883)
Emilie Mayer was one of the most prolific German composers of her time, and yet her name rarely appears on concert programs today. Mayer took piano lessons from an early age. Though she had few examples to draw on as a woman, she decided, as a young adult, to pursue composition as a professional career.
Because women were barred from professional studies at most institutions, Mayer sought musical tutoring through private study. One of her most impactful mentors was composer Carl Loewe. Ultimately settling in Berlin, Mayer produced hundreds of well-regarded symphonies, chamber music, songs, and more. At first, she published her works under the name E. Mayer; however, once she began using her full name, Emilie Mayer, responses to her music became more critical.
Nonetheless, her career blossomed as she refused to relinquish her ambition. Her music was performed across Europe. Unfortunately, following her death, there was no one to carry on her legacy, and her music fell into obscurity.
Luise Adolpha Le Beau (1850-1927)
Like Emilie Mayer, German composer Luise Adolpha Le Beau showed musical ability from an early age while learning to play the piano. She began composing during childhood, and as a concert pianist, she made her professional debut at 18. For a short period of time, Le Beau studied with Clara Schumann. Shortly after, she moved to Munich to study with Josef Rheinberger.
As a composer, Le Beau wrote a wide range of works, including orchestral music, operas, choral works, songs, piano solos, and chamber pieces. Unfortunately, because of her gender, Le Beau’s works were often met with skepticism, and career opportunities proved hard to come by. In her autobiography, she wrote, “It is difficult to come to terms with such circumstances when one has dedicated her entire life to a profession, but one must be satisfied with the consciousness of having helped to build the temple of art according to one’s best knowledge and with honest intentions.” As she fought to have her music performed, Le Beau championed equal opportunities for young female musicians.
Guadalupe Olmedo (1853-1889)
Guadalupe Olmedo was a Mexican composer whose musical trajectory paved the way for future women in the region. Olmedo showed exceptional potential on the piano from a young age. When she was only 12 years old, the ruler of the (short-lived) Mexican Empire requested a performance by the young pianist at the National Palace.
In 1875, Olmedo became the first woman composer to graduate from Mexico’s National Conservatory of Music. As she continued writing music, she was largely drawn to works for piano, voice, or small ensembles. In 1887, Olmedo married composer (and her former teacher) Melesio Morales, and it seemed as though she had a bright future ahead of her. Unfortunately, Olmedo died in 1889 at just 35, leaving the world to wonder what more she could have accomplished.
Henriette Renié (1875-1956)
French composer Henriette Renié is best remembered as a virtuoso harpist, though her accomplishments as a composer should not be overlooked. Renié began studying the harp at such a young age that her father had to engineer extensions for the instrument to help her reach the pedals. She began her performance career at 11, after winning first prize for harp at the Paris Conservatory.
As a composer, Renié wrote almost exclusively for the harp (or music that prominently featured the harp). In doing so, she helped elevate the instrument’s status and establish the harp as a solo concert instrument. As a respected teacher, Renié codified a method for playing the harp, called Méthode completede harpe (Complete Method for Harp), which is still used today. She was never granted a professorship at the Paris Conservatory, but many of her students attended the institution where she had begun her professional trajectory.
Charlotte Sohy (1887-1955)
Charlotte Sohy was a French composer who was incredibly influential during her lifetime but has since fallen into relative obscurity. Sohy completed her formal training at the Schola Cantorum, where she studied under Vincent d’Indy. While at the Schola Cantorum, she met her future husband, composer Marcel Labey. The couple enjoyed an unusually fruitful, collaborative relationship (for the time) – they both worked as musical professionals, while raising seven children, and frequently contributed to and advocated for each other’s compositions.
Sohy published 35 works, including a symphony inspired by World War I, an opera, chamber music, songs, and more. To avoid prejudice due to her sex, Sohy used her grandfather’s name, Charles Sohy, as a pseudonym.
Fun fact – Sohy’s cousin was fellow composer Louis Durey. Durey was a member of Les Six, a group of six composers who rebelled against the Romanticism and Impressionism that peaked around the turn of the 20th century. Sohy herself was friends with composers Mel Bonis and Nadia Boulanger.
Madeleine Dring (1923-1977)
Photo of Madeleine Dring via the British Music Collection
Madeleine Dring was an English composer, actress, singer, and pianist. Born into a creative family, Dring won a scholarship to study violin and piano at the Royal College of Music at just 10 years old. She continued her education there through her teens, studying composition under Herbert Howells and Ralph Vaughan Williams. While music proved to be a creative outlet for Dring from an early age, she also had a deep love of theatre and concurrently studied drama and mime.
As a composer, Dring often intertwined her love of music and theater, writing incidental music and songs for stage works that she would also perform in. She wrote many pieces for her husband, Roger Lord, who was principal oboist of the London Symphony Orchestra. She was known for her sense of wit, which regularly made its way into her scores. Unfortunately, following her death, much of Dring’s unpublished music has not been found.
Keep Learning
If you enjoyed this post, check out a few more from the Arts Blog celebrating the lives of women composers:
Randall Scotting, who hails from rural Colorado originally, is an internationally known singer of that very specialized and cultivated vocal range known as the countertenor. He’s already well established in the opera world, singing music which was originally written for the superstars of the Baroque, the castrati.
Scotting’s fourth and newest album is the result of years of research into one of history’s top castrati, Nicolini.
In this interview with All Classical’s John Pitman, Scotting uncovers the fascinating world of these unique singers and the dazzling, pyrotechnic and ultimately very moving, music that was tailor-made for them. Scotting brings Nicolini and his music to life in his new album, Divine Impresario.
