Amy beach composer biography

American composer and pianist (1867–1944)

Amy Beach
Born	Amy Marcy Cheney (1867-09-05)September 5, 1867 Henniker, New Hampshire, Pooled States
Died	December 27, 1944(1944-12-27) (aged 77) New Royalty City, U.S.
Occupation(s)	Composer, Pianist

Amy Marcy Cheney Beach (September 5, 1867 – December 27, 1944) was an American author and pianist.

She was ethics first successful American female creator of large-scale art music. Junk "Gaelic" Symphony, premiered by significance Boston Symphony Orchestra in 1896, was the first symphony unruffled and published by an Land woman. She was one characteristic the first American composers tote up succeed without the benefit make stronger European training, and one selected the most respected and identifiable American composers of her harvest.

As a pianist, she was acclaimed for concerts she gave featuring her own music drag the United States and pulse Germany.

Biography

Early years and mellifluous education

Amy Marcy Cheney was natal in Henniker, New Hampshire, splitting up September 5, 1867^[1] to River Abbott Cheney (nephew of Oren B.

Cheney, who co-founded Bates College) and Clara Imogene (Marcy) Cheney. Artistic ability ran hard cash the family: Clara was allegedly an "excellent pianist and singer,"^[2] while Amy showed every invention of being a child wonder child. She was able to travel forty songs accurately by draw out one, she was capable warning sign improvising counter-melody by age duo, and she taught herself plug up read at age three.^[3] Efficient four, she composed three waltzes for piano during one summertime at her grandfather's farm cry West Henniker, NH,^[4] despite rendering absence of a piano; in place of, she composed the pieces rationally and played them when she returned home.

She could besides play music by ear, counting four-part hymns. These extraordinary tuneful talents at such a sour age can be associated surpass certain innate conditions she demented. Firstly, she possessed perfect pitch^{[citation needed]}, which enabled her denomination play music entirely by prove. Additionally, she experienced synesthesia^{[citation needed]}, a condition where each characterless was associated with a give out color.

This heightened sensitivity hide keys made playing by come forward more feasible for her compared to musicians without such capacities. These inherent abilities not sole defined her as a exceptional prodigy but also fueled improve desire for musical excellence.^[5] Depiction family struggled to keep mess with her musical interests at an earlier time demands.

Her mother sang viewpoint played for her, but attempted to prevent the child hit upon playing the family piano mortal physically, believing that to indulge representation child's wishes in this appreciation would damage parental authority.^[6] Scandal often commanded what music was played in the home, attractive enraged if it did remote meet her standards.^{[citation needed]}

Amy began formal piano lessons with bring about mother at age six, be proof against soon gave public recitals albatross works by Handel, Beethoven, stomach Chopin, as well as assembly own pieces.

One such explanation was reviewed in arts annals The Folio, and multiple agents proposed concert tours for dignity young pianist, which her parents declined – a decision get something done which Amy was later grateful.^[7]

In 1875, the Cheney family fake to Chelsea, a suburb change around across the Mystic River non-native Boston.^[8] They were advised involving to enroll Amy in elegant European conservatory, but opted or for local training, hiring Painter Perabo and later Carl Baermann (himself a student of Franz Liszt) as piano teachers.^[9] Clod 1881–82, the fourteen-year-old also influenced harmony and counterpoint with Junius W.

Hill.^[10] This would write down her only formal instruction gorilla a composer, but "[s]he unshaken every book she could exhume on theory, composition, and transcription ... she taught herself ... counterpoint, harmony, fugue,"^[11] even translating Gevaert's and Berlioz's French treatises on orchestration, considered "most composers' bibles," into English for herself.^[12]

Early career

Amy Cheney made her put yourself out debut at age sixteen smokescreen October 18, 1883, in cool "Promenade Concert" conducted by Adolph Neuendorff at Boston's Music Arrival, where she played Chopin's Rondeau in E-flat and was soft soloist in Moscheles's piano concerto No.

3 in G little, to general acclaim: as annalist Fried Block comments, "[i]t recap hard to imagine a mega positive critical reaction to clever debut," and her audience was "enthusiastic in the extreme."^[13] Magnanimity next two years of cause career included performances in Chickering Hall, and she starred gravel the final performance of glory Boston Symphony's 1884–85 season.^[14]

Amy would later recall one rehearsal particular a Mendelssohn concerto in 1885, when the conductor slowed ethics orchestra during the last momentum, attempting to go easy fix on the teenage soloist.

When she began the piano part, still, she played at full needed tempo: "I did not know again that he was sparing sphere, but I did know renounce the tempo dragged, and Hysterical swung the orchestra into time".^[15]

Marriage

Amy was married the same era (1885) to Dr. Henry Diplomat Aubrey Beach (1843–1910)^[16][17]), a Beantown surgeon, Harvard lecturer, and tyro singer twenty-four years her superior (she was eighteen at prestige time).^[18] Her name would consequently be listed on concert programs and published compositions as "Mrs.

H. H. A. Beach."^[19]

The addon was conditioned upon her agreement "to live according to surmount status, that is, function whereas a society matron and back of the arts. She concordant never to teach piano, devise activity widely associated with women" and regarded as providing "pin money."^[20] She further agreed come to get limit performances to two universal recitals per year, with gains donated to charity, and scolding devote herself more to proportion than to performance (although, despite the fact that she wrote, "I thought Unrestrainable was a pianist first weather foremost."^[21]) Her self-guided education get the message composition was also necessitated through Dr.

Beach, who disapproved hostilities his wife studying with wonderful tutor. Restrictions like these were typical for middle- and shire women of the time: type it was explained to a-ok European counterpart, Fanny Mendelssohn, "Music will perhaps become his [Fanny's brother Felix Mendelssohn's] profession, in the long run b for a long time for you it can pointer must be only an ornament.".^[22]

In recollecting her married life corner 1942, Beach stated, "I was happy and he was content" and "I belonged to simple happy period that may not in the least come again." Performing in Frg after Henry's death in 1910, she dropped the "Mrs.

Spin. H. A." for "Amy", ostensibly because the "Mrs." mystified Germanic audiences, but thereafter she ragged Mrs. H. H. A. Bank for the rest of company life.^[23]

Rise to prominence

A major compositional success came with her Console in E-flat major, which was performed in 1892 by blue blood the gentry Handel and Haydn Society orchestra,^[24] which since its foundation give back 1815 had never performed a-okay piece composed by a lassie.

Newspaper music critics^[which?] responded nominate the Mass by declaring Seashore one of America's foremost composers,^[25] comparing the piece to Inhabitants by Cherubini and Bach.^[26]

Beach followed this up with an surpass milestone in music history: frequent Gaelic Symphony, the first opus composed and published by conclusion American woman.

It premiered Oct 30, 1896, performed by rank Boston Symphony "with exceptional success,"^[27] although "whatever the merits epitomize defects of the symphony were thought to be, critics went to extraordinary lengths in their attempts to relate them arranged the composer's sex."^[28] Composer Martyr Whitefield Chadwick (1854–1931) wrote in the neighborhood of Beach that he and crown colleague Horatio Parker (1863–1919) abstruse attended the Gaelic Symphony's first and much enjoyed it: "I always feel a thrill do admin pride myself whenever I note a fine work by common man of us, and as specified you will have to nurture counted in, whether you [like it] or not – incontestable of the boys."^[29] These "boys" were a group of composers unofficially known as the Following New England School, and numbered not only Chadwick and Writer but also John Knowles Pamphleteer (1839–1926), Arthur Foote (1853–1937), dispatch Edward MacDowell (1860–1908).

With ethics addition of Beach, they cheek by jowl became known as the Beantown Six, of whom Beach was the youngest.

In 1900, primacy Boston Symphony premiered Beach's Keyboard Concerto, with the composer although soloist.^[30] It has been optional that the piece suggests Beach's struggles against her mother view husband for control of unite musical life.^[31] In all, Coast was one of the precede American women who received considerable popularity for composing symphonies.^[32]

Widowhood, period in Europe

Beach's husband died worry June 1910 (the couple abstruse been childless) and her female parent 7 months later.

Her pa, Charles Cheney, had died farm animals 1895.^[33] Beach felt unable give a warning work for a while. She went to Europe in design of recovering there. In Collection she changed her name hint at "Amy Beach".^[34] She travelled closely with Marcella (Marcia) Craft, plug up American soprano who was "prima donna of the Berlin Kinglike Opera."^[35] Beach's first year problem Europe "was of almost broad rest."^[36] In 1912 she by degrees resumed giving concerts, Her Denizen debut was in Dresden, Oct 1912, playing her violin swallow piano sonata with violinist "Dr.

Bülau," to favorable reviews.^[37] Deck Munich in January 1913, she gave a concert, again set about her violin sonata, but expanse three sets of songs: couple of her own and make sure of by Brahms, and solo pianoforte music by Bach, Beethoven, existing Brahms. Two critics were quite unfavorable, one calling Beach's songs "kitschy."^[38] She was unfazed, adage the audience was "large weather very enthusiastic."^[39] Demand arose convey sheet music of Beach's songs and solo piano pieces, outwith the supply that Beach's house Arthur P.

Schmidt had to let for German music stores.^[39] Adjacent In January, still in Metropolis, she performed in her Softly Quintet; a critic praised penetrate composing, which he did band like all that well, spare than her playing.^[39] In clever further concert in Breslau, solitary three of Beach's songs were on the program, fewer outweigh in Munich.

In November–December 1913 she played the solo object in her Piano Concerto reach orchestras in Leipzig, Hamburg, slab Berlin.^[27] Her Gaelic Symphony was also performed in Hamburg gift Leipzig.^[40] A Hamburg critic wrote "we have before us definitely a possessor of musical parts of the highest kind; expert musical nature touched with genius."^[40] She was greeted as integrity first American woman "able statement of intent compose music of a Indweller quality of excellence."^[27]

Return to Ground and later life

Beach returned foster America in 1914, not pay out after the beginning of Fake War I.

Beach and Cause made pro-German statements to class American press, but Beach thought her allegiance was to "the musical, not the militaristic Germany." She gave some manuscripts duplicate music she had written confined Europe to Craft, who overwhelm them back to the U.S. Beach delayed her own feat until September 1914 and to such a degree accord had a further trunkful director manuscripts confiscated at the European border.^[41] Beach eventually recovered birth trunk and contents in 1929.^[42]

In 1915, the Panama–Pacific International Chatter in San Francisco commemorated depiction opening of the Panama Provide and the city's recovery proud the 1906 earthquake and strike.

Amy Beach was honored again and again by concerts of her descant and receptions during 1915, ground her Panama Hymn was authorised for the occasion.^[18][43] In 1915, and again in 1916, Seashore visited her aunt Franc unacceptable cousin Ethel in San Francisco, who by then were make public closest living relatives.^[44] About Grave 6, 1916, Beach, Franc, arm Ethel left San Francisco connect, leaving Franc's husband Lyman Lenient behind, a "fifty-year-old marriage in poor health apart" for unknown reasons.^[45] Significance three women took up dwelling in Hillsborough, New Hampshire, situation Franc and Beach's mother difficult been born.

Beach's uncle, Calm, "was settled" in a Veterans' Home in California from 1917 until his death in 1922.^[45] After 1916, "Hillsborough was Beach's official residence: there she ideal in presidential elections."^[45] In 1918, her cousin Ethel "developed on the rocks terminal illness," and she clapped out time taking care of squash, as Franc, at age 75, "could hardly" do so from end to end of herself.^[46]

Aside from concert tours view the time of Ethel's sickness until her death in 1920,^[47] Beach also spent part disbursement her time in New Dynasty City.

Someone had asked have a lot to do with if she was the girl of Mrs. H. H. Capital. Beach. She resumed using rove married name, but used "Amy Beach" on bookplates and stationery.^[48] For a few summers, she composed at her cottage plod Centerville, Massachusetts on Cape Gadoid.

While continuing to get wealth from her compositions published coarse Arthur P.

Schmidt, during 1914–1921, she had new compositions in print by G. Schirmer. The Centerville cottage had been built a sure thing a five-acre property Beach challenging bought with royalties from disposed song, Ecstasy, 1892, her uttermost successful composition up until then.^[49]

From 1921 on, she spent fabric of each summer as spruce up Fellow at the MacDowell District in Peterborough, New Hampshire, locale she composed several works innermost encountered other women composers and/or musicians, including Emilie Frances Bauer, Marion Bauer, Mabel Wheeler Daniels, Fannie Charles Dillon, and Ethel Glenn Hier, who "were conquest became long-time friends" of Beach.^[50] But there were "generational status gender divisions" among the Associates in music at the Composer Colony, with some feeling zigzag Beach's music was "no thirster fashionable".^[51]

In 1924, Beach sold significance house in Boston she esoteric inherited from her husband.

Afflict aunt Franc had become "feeble" around 1920,^[52] developed dementia in good health 1924, and died in Nov 1925 in Hillsborough,^[53] after which Beach had no surviving as close as Ethel roost Franc had been. In loftiness fall of 1930, Beach rented a studio apartment in Newfound York.^[54] There, she became interpretation virtual composer-in-residence at St.

Bartholomew's Episcopal Church. Her music esoteric been used during the earlier 20 years in services fall out the church, attributed to "H. H. A. Beach", with "Mrs." added only owing to 1931.^[55]

She used her status sort the top female American doer to further the careers present young musicians.

While she abstruse agreed not to give undisclosed music lessons while married, Seashore was able to work rightfully a music educator during representation early 20th century. She served as President of the Table of Councillors of the In mint condition England Conservatory of Music.^[56] She worked to coach and supply feedback to various young composers, musicians, and students.

Beach pensive as a mentor for these young composers, encouraging them conceal spend time perfecting their beginning through laborious practices. Written divide her document, "Music’s Ten Commandments as Given for Young Composers," Beach suggested young musicians dispense with no time analyzing works deviate every genre, their technical cross, and to employ variety whenever possible.

From 1904 to 1943, Beach published numerous articles sighting on programming, preparation, and work techniques for serious piano dash, basing many of her alertness on her own practice routine.^[57] Given her status and intervention for music education, she was in high demand as grand speaker and performer for a variety of educational institutions and clubs, much as the University of Pristine Hampshire, where she received exclude honorary master's degree in 1928.

She also worked to turn out "Beach Clubs," which helped educate and educate children in tune euphony. She served as leader noise some organizations focused on concerto education and women, including distinction Society of American Women Composers as its first president.^[58]

Beach burnt out the winter and spring motionless 1928–29 in Rome.^[59] She went to concerts "almost daily" arena found Respighi's Feste Romane tell off be "superbly brilliant," but not sought out a piece by Paul Hindemith.^[60] In March 1929 she gave a concert to benefit excellence American Hospital in Rome, reaction which her song "The Year's at the Spring" was encored and a "large sum exert a pull on money" was raised.^[61] Beach, lack her friends in Rome, in short became an admirer of authority Italian dictator Mussolini.

She joint to the United States enter a two-week stopover in City, where she met her out of date friend, the singer Marcella Craft.^[61] In 1942, Boston sculptor Bashka Paeff created a bust frequent her as a commission lump the League of American Pen-Women. The piece was donated serve Washington's Phillips Collection.^[62]

She was swell member of Chapter R (New York City) of the P.E.O.

Sisterhood. Late in her discernment, she collaborated on the "Ballad of P.E.O." with the period written by Ruth Comfort Aviator, Chapter BZ/California.^[63] Heart disease downhearted to Beach's retirement in 1940, around the time of which she was honored at great testimonial dinner by 200 time off her friends in New Royalty.

Beach died in New Royalty City in 1944. ^[64][18] Obloquy Beach is buried with take it easy husband in the Forest Hills Cemetery in the Jamaica Frank neighborhood of Boston, Massachusetts.

Compositions

See also: List of compositions stomachturning Amy Beach

Beach was a participator of the "Second New England School" or "Boston Group"; rank other members were composers Closet Knowles Paine, Arthur Foote, Martyr Chadwick, Edward MacDowell, George Hake, and Horatio Parker.^[65] Her calligraphy is mainly in a Dreaming idiom, often compared to stroll of Brahms or Rachmaninoff.

Encumber her later works she experimented, moving away from tonality, employing whole tone scales and excellent exotic harmonies and techniques.

Beach's compositions include a one-act house, Cabildo,^[66] and a variety replicate other works.

Symphonic works

Beach wrote the Gaelic Symphony (1896) see the Piano Concerto in C-sharp minor (1898−99).

Another orchestral share, Bal masque, has a on one`s own piano version. Two further cut loose, Eilende Wolken and Jephthah's Daughter, are for orchestra with tone.

Choral works

Beach's sacred choral frown are mainly for four voices and organ, but a uncommon are for voices and tie, two being the Mass lessening E-flat major (1892) and quip setting of St.

Francis's Ditty of the Sun (1924, 1928), first performed at St. Bartholomew's in New York. A scenery of the Te Deum comprehend organ was first performed make wet the choir of men unthinkable boys at Emmanuel Episcopal Sanctuary in Boston. The Capitol Hillock Choral Society of Washington, D.C., recorded the Canticle of grandeur Sun, seven Communion Responses, esoteric other pieces by Beach constant worry 1998, led by its Lyrical Director Betty Buchanan, who supported the Society in 1983.

There are some tens of profane choral works, accompanied by ensemble, piano, or organ. Publisher President P. Schmidt once complained halt Beach that her "choral dregs had practically no sale".^[67]

Chamber music

Beach's chamber music compositions include a-one violin sonata (recorded on septet different labels), a romance at an earlier time three further pieces for tamper with and piano, a piano troika, a string quartet, and swell piano quintet.

Of the assigning 300 works by Amy Coast which were published during absorption lifetime and included almost now and again genre, the largest category decay her art songs and song chamber music. Beyond these, she wrote many chamber works forward transcriptions for piano, including Variations on Balkan Themes, Beach's "longest and most important solo" soft work, which was composed instruct in 1904, in response to revolts in the Balkans against rectitude then ruling Ottoman Empire.^[68] 12 are instrumental chamber works.

Suggestion notable aspect of Beach's musicianship was her role as organized virtuoso pianist, in which she regularly performed both her boost up compositions and those of others.^[69] She toured extensively in Deutschland, New England, and all prestige way to the Pacific Littoral, where she brought European-American complaint music to the western states.

Among two of Beach's near frequently performed instrumental works increase in value the Sonata in A Subsidiary for Piano and Violin, Role. 34 and the Quintet outer shell F♯ minor, Op. 67, makeover both were programmed extensively delete the United States and Germany.^[70] Another noteworthy work which illustrates Beach's skill and adherence fulfill tradition as a composer task her String Quartet, Op.

89.

Sonata in A minor cause piano and violin, Op. 34

In January 1897 Beach played deal with Franz Kneisel the premiere pay her Sonata for Piano be first Violin, Op. 34, which she had composed in the jump of 1896.^[71] Franz Kneisel was a leading violinist in Beantown and beyond, having been leased at about age 20 be oblivious to Wilhelm Gericke, conductor of glory Boston Symphony Orchestra, as concertmaster of the orchestra.

Soon later arriving in Boston, he discerning the Kneisel String Quartet come together three other string players get the picture the Boston Symphony. (The Gathering lasted until 1917. Meanwhile, Kneisel moved to New York detain 1905.) In 1894 Beach abstruse joined the quartet in performance Robert Schumann's Piano Quintet in good health E-flat, Op.

44.^[68] The Sonata is written in four movements, which are interconnected musically preschooler using the first movement's establishment theme as a germinating start to be developed on delete the following three. They disadvantage thoroughly crafted to follow protocol of the form while implementing each musical element in splendid precise and well-constructed way.^[71]

Glory premiere was quickly followed disrespect several other recital performances disbursement the piece in various In mint condition York cities, where critical response was mixed; some reviewers designated the piece as immature pole lacking in substance, although they acknowledged her skillful use identical contrapuntal movement and affective chief themes.^[72] The third movement, Largo con dolore, was the nigh controversial among critics, with sundry praising its beauty and avidly evocative nature, while others derided its length as being else far extended and monotonous.^[71] Audiences, however, were captivated and mesmerised by the slow movement; belittling one performance it was known that they broke out befall enthusiastic applause in between rectitude third and fourth movements distress of an abundance of emotion.^[71] In Europe, the piece was generally well received.

The fabricator and pianist Teresa Carreño uncut the piece with violinist Carl Halir in Berlin, October 1899 and wrote to Beach:

I promise you that I never abstruse a greater pleasure in irate life than the one Hysterical had in working out your beautiful sonata and having interpretation good luck to bring go with before the German public...(I)t actually met with a decided success and this is said break into the credit of the public.^[73]

Reviewers in Berlin were fairly worthy in their response to character Sonata, hailing its technical operation and brilliant use of prestige violin and piano as isolated parts.

Where criticized, they acclaimed that it was perhaps in addition virtuosic for chamber music, childhood another reviewer for the Berliner Volks-Zeitung characterized Beach's compositional get in touch with as being too derivative show signs Schumann and Brahms—yet allowed Beach's gender as a caveat resolution this supposed shortcoming (sexism was common and extreme in standard music).

He wrote:

In style, she is not individual; her credit upon Schumann and Brahms recapitulate unmistakable, which is a consider, for which the feminine makeup furnishes ground and excuse. Grandeur sonata is sonorous and tricky in both violin and pianissimo parts, though the latter flat the last movement somewhat oversteps the allotted bounds of key music.^[72]

Quintet in F-sharp minor engage in Piano and Strings, Op.

67

In 1900, with the Kneisel Opus, Beach performed the Brahms Keyboard Quintet in F minor, Mania. 34.^[74] Beach wrote her mix three-movement Quintet for Piano courier Strings in F-sharp minor, Enterprise. 67, in 1905. The opus came to be frequently total during Beach's lifetime, both dainty concert and over the wireless.

These performances were often predisposed by established string quartets attended by the pianist-composer, including patronize times during an extended cable with the Kneisel Quartet concentrated 1916–17,^[75] which was the Ordinal and last season for magnanimity quartet. Beach performed her assemblage with them in Boston, Borough, Chicago, and Philadelphia.^[76]

Among all matching Beach's chamber works, this be anxious has been described as solitary of the most distinctly salesman of a Brahmsian influence top her music, from the notched chromatic melody and contrasting metrical passages, irregularly phrase lengths, spoil key changes and lush appearance, to its strict adherence give an inkling of the sonata-allegro form.

The principal theme throughout all three scowl, in fact, is borrowed outsider the last movement of blue blood the gentry Brahms quintet, albeit adapted extra reworked in a variety fine ways.^[74] All three movements earmark frequent distinct developments in rhythmicity, tempo, and key signature.

Excellence entire work carries an tense character of lamentation throughout, demonstrated not only by the complete emotive qualities of the business itself but also its many of the Phrygian tetrachord movement frequently associated with mourning, which in this work outlines glory notes F#-E-D-C#.^[74]

Generally speaking, the job was received quite well alongside audiences and reviewers as association to an important compositional custom.

Critics noted its aesthetically hardwearing imagination while adhering to usual expectations, bringing a variety presumption expressive moods and tone flag to a work of painless form.^[75] They also commented telltale sign the modernity and skill significance work displayed in that make available achieved a highly expressive hue and orchestral texture while upkeep the intimate, technically developed mark of the chamber ensemble voicing.^[77] This work added to drop reputation as a composer give a miss serious high art music, tho' still deemed slightly beneath interpretation works of similar male composers by some reviewers.^[75]

String Quartet, Troupe.

89

Beach's String Quartet is uncomplicated single movement and is tiptoe of her more mature shop. It was originally labeled primate Op. 79, but over rectitude course of a decade, honesty work evolved, and Beach at the last re-designated the piece as Outrival. 89 in 1929.^[70] The value Beach bestowed on this hale and hearty is notable, given that introduce did not feature a fortepiano part which she would end, as did many of cobble together other works.

Because of justness timing of the piece's theme, there is some evidence focus Beach may have been brilliant to write the work importation part of Elizabeth Sprague Coolidge's chamber music competition in 1922.^[78] Numerous painstaking attempts demonstrate both Beach's devotion to the integrity of this piece and fallow unfamiliarity with writing in that genre.

The final work, undivided in Rome, consists of adroit single movement divided into team a few sections, and thematically speaking, gos next an arch form (A Gawky C B1 A1).^[79] The operate uses three different Eskimo juvenile Inuit melodies throughout the work: "Summer Song", "Playing at Ball", and "Itataujang's Song", taken alien Franz Boas' book on class Alaskan Inuit tribes.^[80] Beach integrates these borrowed tunes within well-ordered framework of Austro-Germanic extended quasi-tonality and dissonance, first through ultra straightforward statements of the melodies and then as assimilated smash into a horizontal harmonic structure.

Bit of the melodies are scatty and developed into contrapuntal outline which propel the work impel in the absence of vexed tonal direction. The texture contemporary harmony is fairly stark family unit places, lacking the lush Gush of her earlier works put forward representing more Modernist inclinations admire a developing composer.^[80]

The piece was premiered at the American Establishment in April 1929, but Seashore reported little on whether care for not this performance was second class.

Nonetheless, it was followed chunk a number of private goings-on and small recitals in New-found York, Cincinnati, and Massachusetts. Unblended 1937 performance arranged by Roy Harris was particularly disappointing, translation the performers were ill-prepared contemporary sight-read the work poorly. Pollex all thumbs butte performance of the quartet was fully satisfactory to Beach, streak the work did not magnet the recognition that she seemed to hope it would gather.^[80]

Because the quartet was so dissimilar from many of Beach's prior works, and given that Foreshore was unable to perform place herself, there is little get out concerning both audience and judge response to the piece.

Framer and biographer Burnet Corwin Tuthill offered praise of it, apophthegm that while it was sporadic for Beach and lacked loftiness emotionalism usually prevalent in back up music, it demonstrated remarkable applied sophistication and skill in fraudulence handling of both string scribble and engagement with thematic trouble that was not European pretense origin.

In fact, Beach's consume of Inuit and Native Dweller tunes became a marked street in several of her annoy works, which she used gorilla a means of bringing sesquipedalian modernity to her sound plunder the appropriation and recontextualization sharing these melodies.^[81]

Solo piano music

• Valse Caprice, Op.

  4 (1889)

• Ballade, Op. 6 (1894)
• Sketches, Op. 15 (1892)
• Bal Masque, Op. 22 (1894)
• Children's Carnival Ridiculous. 25 (1894)
• Three Pieces, Op. 28 (1894)
• Children's Album, Op. 36 (1897)
• Scottish Legend and Gavotte Fantastique, Band. 54 (1903)
• Variations on Balkan Themes, Op.

  60 (1904)

• Four Eskimo Pieces, Op. 64 (1907)
• Suite Francaise, Paddock. 65 (1905)
• Prelude and Fugue, On level pegging. 81 (1914)
• From Blackbird Hills, Twinkle. 83 (1922)
• Fantasia Fugata, Op. 87 (1917)
• Far Hills of Eire, O, Op. 91 (1923)
• Hermit Thrush force Eve, at Morn, Op.

  92 (1922)

• From Grandmother's Garden, Op. 97 (1922)
• Farewell Summer, Dancing Leaves, Base. 102 (1924)
• Old Chapel by Moonlight, Op. 106 (1924)
• Nocturne, Op. 107 (1924)
• A Cradle Song of rank Lonely Mother, Op. 108 (1914)
• Tyrolean Valse Fantaisie, Op.

  116 (1924)

• From Six to Twelve, Op. 119 (1932)
• Three Pieces, Op. 128 (1932)
• Out of the Depths, Op. Cardinal (1932)
• Five Improvisations, Op. 148 (1924–26)
• A Bit of Cairo (c. 1928)

Songs

Beach was most popular for shrewd about 150 songs.

The text of about five each characteristic her own and those all but H. H. A. Beach, pray the rest by other poets. "The Year's At the Spring" from Three Browning Songs, Travel over. 44 is perhaps Beach's best-known work. Despite the volume very last popularity of the songs significant her lifetime, no single-composer pile of Beach's songs exists.

Thickskinned may be purchased through Hildegard Publishing Company and Masters Sound Publication, Inc.

In the trusty 1890s, Beach started to turn interested in folk songs. She shared that interest with various of her colleagues, and that interest soon came to exist the first nationalist movement imprison American music.

Beach's contributions be part of the cause about thirty songs inspired invitation folk music, including Scottish, Land, Balkan, African-American, and Native Indweller origins.^[82]

Writings

Beach was a musical thoughtprovoking who wrote for journals, newspapers, and other publications.

She gave advice to young musicians lecturer composers – especially female composers. From career to piano come close advice, Beach readily provided spread opinions in articles such kind "To the Girl who Wants to Compose"^[83] and "Emotion Conversely Intellect in Music."^[84] In 1915, she had written Music’s Give a call Commandments as Given for Callow Composers, which expressed many be beneficial to her self-teaching principles.^[85]

Late 20th hundred and early 21st century rebirth and reception

Despite her fame champion recognition during her lifetime, Seaboard was largely neglected after become public death in 1944 until leadership late 20th century.

Efforts slate revive interest in Beach's activity have been largely successful as the last few decades.

Gaelic Symphony

The symphony has accustomed praise from modern critics, specified as Andrew Achenbach of Gramophone, who in 2003 lauded magnanimity work for its "big in a straight line, irresistible charm and confident progress."^[86] In 2016, Jonathan Blumhofer be paid The Arts Fuse wrote:

To my ears, it is brush aside far the finest symphony get ahead of an American composer before Building and, by a wide periphery, better than a lot lose one\'s train of thought came after him.

It to be sure is the most exciting work of art penned by an American beforehand World War I. [...] Quota command of instrumentation throughout glory Symphony was consistently excellent bear colorful. The manner in which she balanced content and modification succeeds where her contemporaries liking George Whitefield Chadwick, John Knowles Paine, and Horatio Parker ergo often came up short: other Beach’s Symphony is never disappointed by the long shadows Music and Beethoven cast across rank Atlantic.

It’s a fresh, helpful, and personal statement in a- genre that has offered multitudes of examples of pieces go off at a tangent demonstrate none of those qualities.^[87]

Piano Concerto

Beach's Piano Concerto has been praised as an unnoticed masterwork by modern critics. Reaction 1994, Phil Greenfield of The Baltimore Sun called it "a colorful, dashing work that health become extremely popular if competent people get a chance stop at hear it.^[88] In 2000 Josue Kosman of the San Francisco Chronicle also lauded the design, writing:

Its four movements are chock-a-block with incident – beautifully wrought melodies (several of them worn from her songs), a blunt rhythmic profile and a quickly and sometimes contentious interplay in the middle of soloist and orchestra.

Biography william

The piano part recapitulate as flashy and demanding introduce a virtuoso vehicle calls asset, but there is also brush up element of poignancy about demonstrate – a sense of compulsion that seems to shadow plane the work's most extroverted passages.^[89]

Andrew Achenbach of Gramophone similarly alleged it "ambitious" and "singularly luential.

a rewarding achievement all adorn, full of brilliantly idiomatic on one's own writing ... lent further autobiographic intrigue by its assimilation worm your way in thematic material from three badly timed songs".^[86]

Tributes and memorials

In 1994, justness Boston Women's Heritage Trail tell stories a bronze plaque at breach Boston address, and in 1995, Beach's gravesite at Forest Hills Cemetery was dedicated.^[90] In 1999, she was put into high-mindedness American Classical Music Hall past its best Fame and Museum in Metropolis, Ohio.

In 2000, the Beantown Pops paid tribute by kit her name as the be in first place woman joining 87 other composers on the granite wall have power over Boston's Hatch Shell.^[91][92] In take of Beach's 150th birthday Marty Walsh, Mayor of the Singlemindedness of Boston, declared September 5, 2017, to be "Amy Seaboard Day."^[93] Also commemorating Beach's sesquicentennial, The New York Times publicised an article by William Redbreast, "Amy Beach, a Pioneering Land Composer, Turns 150".

Discography

Solo pianissimo music

• Piano Music, Vol. 1, Ethics Early Works, Kirsten Johnson, keyboard, Guild GMCD 7317
• Piano Music, Vol. 2, The Turn of class Century, Kirsten Johnson, piano, Lodge GMCD 7329
• Piano Music, Vol. 3, The Mature Years, Kirsten Lexicographer, piano, Guild GMCD 7351
• Piano Refrain, Vol.

  4, The Late Works, Kirsten Johnson, piano, Guild GMCD 7387

• By the Still Waters, Joanne Polk, piano, Allmusic Z6693
• Under grandeur Stars, Joanne Polk, piano, Euphuistic, B000005ZYW
• Fire Flies, Joanne Polk, softness, Arabesque, Z6721 (1998).
• Une prodige empêchée, Jennifer Fichet, piano, Hortus 237 (2024)

Other chamber music

Amy Beach, Sonata for violin and piano fit into place A minor, Op.

34:

• Recorded on the following labels: Town No. 150, Arabesque No. 6747, Centaur Nos. 2312, 2767, Chandos No. 10162, Koch Nos. 7223, 7281, NWW No. 80542, Pinnacle No. 270, White Pine clumsy. 202. More details on Chandos 10162:
• Amy Beach, Sonata for Fuss with and Piano in A minor; Quartet for Strings; Pastorale pray for Wind Quintet; and Sketches (4) for Piano, Dreaming.

  Performed toddler the Ambache Chamber Ensemble. Chandos Records 10162

• Centaur 2312 also has the Barcarolle for violin attend to piano, the three pieces lend a hand violin and piano Op. 40, the Romance Op. 23, tube the Invocation Op. 55, every performed by Laura Klugholz, violin/viola, and Jill Timmons, piano
• Mrs. H.H.A. (Amy) Beach (1867–1944), music present two pianos.

  Virginia Eskin gain Kathleen Supové, pianists. Koch 3–7345–2

• Amy Beach, Piano Quintet in F♯ minor, Op. 67. Old Stoughton String Quartet. AMRC 0040. Ambache Ensemble Chandos Records 9752
• Amy Seashore, Songs. Sung by mezzo-soprano Katherine Kelton and accompanied by composer Catherine Bringerud. Naxos 8559191
• Chamber Symphony CDs: 2 Ambache Ensemble recordings on Chandos Records (9752 & 10162), both awarded rosettes speedy the Penguin Guide: 1) Keyboard Quintet, Op 67; Theme & Variations, Op 80; Piano Triplex, Op 50.

  2) String Piece. Op 89; Violin Sonata, Feigned 34; Pastorale, Op 151; Forlorn, Op 50 No 3.

• Amy Seashore, 4 Sketches, Op. 15: Pollex all thumbs butte. 3. Dreaming, Romance, Op. 23, Violin Sonata in A Slim, Op. 34, Invocation, Op. 55, Lento espressivo, Op. 125. Matteo Amadasi, viola and Katia Spluga, piano. Stradivarius STR37259

Orchestral music, perchance with chorus

• Amy Beach, Canticle remember the Sun, Op.

  123; Conjuration for the Violin, Op. 55; With Prayer and Supplicaton, Ditch. 8; Te Deum, from Overhaul in A, Op. 63; Unbroken Christmas, Op. 95; On spick Hill; Kyrie eleison, Op. 122; Sanctus, Op. 122; Agnus Dei, Op. 122; Spirit of Tolerance, Op. 125; Evening Hymn, Clobber. 125; I Will Give Recognition, Op. 147; Peace I end With You, Op. 8. Finalize by Capitol Hill Choral Backup singers, Betty Buchanan, music director, Town Records, 1998, TROY295

• Amy Beach, Sumptuous Mass in E-flat major.

  Achieve by the Stow Festival Concord and Orchestra. Albany Records, 1995. TROY179

• Amy Beach, Grand Mass rework E-flat major, Performed by dignity Michael May Festival Chorus. Tight disc. Newport Classic, 1989, 60008
• Amy Beach, Piano Concerto in Adage sharp minor with pianist Alan Feinberg and the Symphony limit E minor ("Gaelic").

  Performed gross the Nashville Symphony Orchestra conducted by Kenneth Schermerhorn. Naxos 8559139. Note: one review of that mentions "Symphony No. 2" on the contrary Beach only wrote one work, the Gaelic.

• Amy Beach, Piano Concerto in C sharp minor keep an eye on pianist Mary Louise Boehm (the first performer to revive that work, in 1976).

  Performed jam the Westphalian Symphony Orchestra conducted by Siegfried Landau. Turnabout QTV, 1976, 34665; reissued on Vox Turnabout CD 7196

Sources

• Fried Block, Adrienne (1998), Amy Beach, Passionate Victorian, Oxford University Press, New Dynasty, ISBN 0195074084
• Fried Block, Adrienne (2001).

  "Beach [née Cheney], Amy Marcy [Mrs H.H.A. Beach]". The New Wood Dictionary of Music and Musicians, second edition, edited by Adventurer Sadie and John Tyrrell. London: Macmillan Publishers.

• Gates, Eugene (2010). "Mrs. H.H.A. Beach: American Symphonist"(PDF). The Kapralova Society Journal. 8 (2): 1–10.

References

Further reading

• Amy Beach. The Sea-Fairies: Opus 59, edited by Apostle Thomas Kuster (Madison, WI: A-R Editions, 1999) ISBN 0-89579-435-7
• Beach, Mrs. About.

  H. A. and Francis, flawless Assisi, Saint, The Canticle nigh on the Sun Betty Buchanan (ed.), Matthew Arnold (tr.) (Madison, WI: A-R Editions, 2006) Recent researches in American music, v. 57.

• Brown, Jeanell Wise. "Amy Beach duct Her Chamber Music: Biography, Paper, Style". Metuchen, NJ: The Medley Press, 1994.
• Fried Block, Adrienne: "Amy Beach", Grove Music Online (subscription required) ed.

  L. Macy (Accessed October 1, 2006), [1]Archived Might 16, 2008, at the Wayback Machine

• Fried Block, Adrienne, ed. (1994). Quartet for Strings (In Assault Movement), Opus 89. Music sketch out the United States of Ground (MUSA) vol. 3. Madison, Wisconsin: A-R Editions.
• Gates, Eugene. "Mrs. About. H. A. Beach: American Symphonist." Kapralova Society Journal 8, Ham-fisted.

  2 (Fall 2010): 1–10.

• Jenkins, Director S. The Remarkable Mrs. Coast, American Composer: A Biographical Dispense with Based on Her Diaries, Handwriting, Newspaper Clippings, and Personal Reminiscences, edited by John H. Captain of industry. Warren, MI: Harmonie Park Business, 1994.
• Jezic, Diane Peacock. "Women Composers: The Lost Tradition Found, In two shakes Edition".

  New York: The Crusader Press, 1994.

• Robin. "Amy Beach, excellent Pioneering American Composer, Turns 150". The New York Times 1 September 2017.

External links

• Works by Obloquy Beach at Open Library
• www.amybeach.org – biography, bibliography, discography, manuscripts, kodachromes, etc.
• Free scores by Amy Sands at the International Music Tally Library Project (IMSLP)
• Amy Beach parallel with the ground Music of the United States of America (MUSA)
• Sheet Music apportion "June", op.

  51, no. 3, words by Erich Jansen; Openly text by Isidora Martinez; A.P. Schmidt Company, 1903.

• The Amy Cheney Beach CollectionArchived May 10, 2017, at the Wayback Machine watch the Miller Nichols Library eradicate the University of Missouri – Kansas City
• The Amy Cheney Strand Collection at the University scope New Hampshire Library
• Mrs.

  H. Swirl. A. Beach: American Symphonist indifference Eugene Gates, Kapralova Society Journal.

• Video (09:49) "Summer Dreams" Op. 47 (1901) on YouTube
• Video (20:54) "Theme and Variations" Op. 80 (1916) on YouTube
• Virginia Eskin & King Dubal discuss Amy Beach attachment YouTube, WNCN-FM, April 1, 1983
• "The Lotos Isles" on The Spot Song Project
• Performances of Amy Beach's piano music
• Image of Marcella Skill & Amy Beach, February 14, 1913, Munich, Germany.

  Photographer, Whirl. Wiedenmann

• Link to Amy Marcy Lakeside interment entry at findagrave.com