By Adrienne Fried Block
Amy Marcy Cheney seashore (1867-1944), the main extensively played composer of her new release, was once the 1st American girl to prevail as a author of large-scale artwork song. Her "Gaelic" Symphony, given its most suitable by way of the Boston Symphony Orchestra in 1896, was once the 1st paintings of its style by way of an American lady to be played by means of an American orchestra. just about all of her greater than three hundred works have been released quickly once they have been composed and played, and this present day her tune is discovering new advocates and audiences for its power, depth, and sheer good looks. but, beforehand, no full-length serious biography of Beach's existence or entire serious assessment of her track existed. This biography admirably fills that hole, absolutely analyzing the connections among Beach's existence and paintings in gentle of social currents and dominant ideologies. Born right into a musical kin in Victorian occasions, Amy seashore began composing as a toddler of 4 and used to be both proficient as a pianist. Her expertise used to be famous early by means of Boston's major musicians, who gave her unqualified aid. even if seashore believed that the lifetime of a certified musician was once the single existence for her, her mom and dad had raised her for marriage and a profession of beginner music-making. Her reaction to this parental (and later spousal) competition was once to discover inventive methods of attaining her aim with no direct war of words. Discouraged from a full-scale live performance occupation, she as an alternative came upon her m?tier in composition. good fortune as a composer of paintings songs got here early for seashore: certainly, her songs outsold these of her contemporaries. however, she was resolute to split her paintings from the genteel parlor tune ladies have been writing in her day by way of developing large-scale works--a Mass, a symphony, and chamber music--that challenged the permitted concept that girls have been incapable of constructing excessive artwork. She received the distinction of fellow workers and the allegiance of audiences. many that praised her paintings, besides the fact that, thought of her an exception between girls. Beach's response to this used to be to hitch with different ladies composers of significant tune by means of selling their works with her personal. Adrienne Fried Block has written a biography that takes complete account of problems with gender and musical modernism, contemplating seashore within the contexts of her time and of her composer contemporaries, either female and male. Amy seashore, Passionate Victorian can be of serious curiosity to scholars and students of yankee song, and to track enthusiasts generally.
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Additional resources for Amy Beach, Passionate Victorian: The Life and Work of an American Composer, 1867-1944
1822 — 1889). He remained a farmer and paper manufacturer, beginning in Ashland in his father's mill. 9 In 1869, there was a startling development for that era that partially explains Charles and Clara Cheney's subsequent move to Chelsea. On i June, Moses sued Rebecca for and was granted a divorce on the grounds of abandonment. ' l The assertions about Charles Abbott Cheney (1844—1895), Moses and Rebecca Rundlett Cheney's only surviving child, made in family genealogies and published biographies of his daughter are somewhat overblown.
At that time, American-born concert artists like Fay and Rive were few indeed; rather the field was dominated by visitors and immigrants. The most important of these was the Venezuelan pianist Teresa Carreno (18^3—1917), to whom Beach later dedicated her piano concerto, op. 45. Carreno had bios- A PRODIGY DESPITE HER MOTHER ° £5 somed after her New York debut as a child prodigy in 1862 and became a favorite in Boston and soon an international star. Her career was typical of virtuosi in that she also composed, mainly the expected display pieces for the piano, although later in life she, wrote as well for string quartet and orchestra.
By the end of the month, von Btilow had played six different programs in seven concerts, all from memory—something not usually done at the time — and had given the American premiere of Tchaikowsky's First Piano Concerto, which was dedicated to the pianist. Boston audiences were demonstrative in their appreciation, so much so that at one point von Biilow addressed them, "Ladies and Gentlemen, this is the Athens of America. You are Athenians. "18 Amy Cheney, who attended von Btilow's Boston concerts, wrote perceptively: There was one afternoon that I recall especially when he transposed several of his numbers with such a roguish air.