Songs by European Women Composers
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- Composers: Augusta Holmès (1847-1903), Ingeborg Bronsart (1840-1913), Borghild Holmsen (1865-1938), Johanna Müller-Hermann (1868-1941), Irène Régine Poldowski (1879-1932), Agathe Backer Grøndahl (1847-1907), Ethel Smyth (1858-1944), Henriëtte Bosmans (1895-1952)
- Editor: Jan Willem Nelleke
- Instrumentation (this edition): Piano, Voice
- Originally for: Piano, Voice
- Work Language: Various
- ISMN:
- Size: 9.1 x 12.0 inches
- Urtext / Critical Edition
Description
This collection of songs is the result of the Erasmus+ project Voices of Women : a consortium of various European colleges and universities that have explored the songs of women composers in theory, practice and interpretation. The selection of these art songs gives all singers access to the poems set to music, as they are suitable for both educational and professional artistic purposes. The compositions cover a period of about 100 years, from the mid-19th to the mid-20th century, and each is captivating in its own way due to the close connection between music and poetry.
Contents:
- Agathe Backer Grøndahl (1847–1907) | Madonnas svaner | (Vilhelm Krag | 4')
- Agathe Backer Grøndahl (1847–1907) | Wenn ich auf dem Lager, Op. 10, No. 2 | (Heinrich Heine | 5')
- Augusta Holmès (1847–1903) | Le Chevalier Belle-Étoile | (Augusta Holmès | 5')
- Augusta Holmès (1847–1903) | Les Trois Serpentes | (Augusta Holmès | 5')
- Borghild Holmsen (1865–1938) | I de forunderlige, blonde nætter | (Vilhelm Krag | 3')
- Ethel Smyth (1858–1944) | Nachtreiter, Op. 4, No. 4 | (Klaus Groth | 3')
- Henriëtte Bosmans (1895–1952) | The Artist‘s Secret | (Olive Schreiner | 9')
- Ingeborg von Bronsart (1840–1913) | Loreley | (Heinrich Heine | 5')
- Johanna Müller-Hermann (1868–1941) | Der letzte Abend | (Ricarda Huch | 4')
- Poldowski (1879–1932) | Sérénade | (Adolphe Retté | 3')
- Poldowski (1879–1932) | Spleen | (Paul Verlaine | 3')
Works:
- Bronsart: Die Loreley (1865)
- Grøndahl: Wenn ich auf dem Lager liege, No. 2 from 4 Songs, Op. 10
- Grøndahl: Madonnas svaner, No. 1 from 10 Songs, Op. 31
- Holmès: Les Trois Serpentes
- Holmès: Le Chevalier Belle-Étoile
- Holmsen: I de forunderlige, blonde nætter, Op. 14, No. 1
- Smyth: Nachtreiter, No. 4 from Lieder, Op. 4
- Müller-Hermann: Der letzte Abend, No. 4 from 5 Lieder, Op. 2
- Poldowski: Sérénade
- Poldowski: Spleen
- Bosmans: The Artist's Secret
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Songs by European Women Composers
