Women as Composers.

Evening Star, Issue 7177, 2 April 1887, Page 1 (Supplement)

Women as Composers.

The women I am speaking of i.e., pianists Jand songstresses—are reproducing artists. They execute, though in a really artistic spirit and in a revivifying way, what other people have produced. Experience in this respect has been very peculiar. Since the end of the last century there have been schools of musio in Europe for both sexes, the oldest of which was the Paris Conservatory, founded at the time of the Republic on principles which still prevail and which have been adopted in most other States. In this conservatory students of both sexes have the opportunity of receiving the highest musical education. Girls, as well as young men, have to study harmony, but it is a general experience that the schools of music turn out excellent singers of both sexes and excellent women pianists as well as men pianists, but no female composers along with the male composers. The instruction is the same, the effect is different. Not that women could not learn the technical parts; girls generally are more diligent, more attentive, and comprehend more quickly and easily than young men do. But although young men do not comprehend so Well, ti.oy feel called upon to make another use of their technical attainments than women, who, in the main, are only, reproducing. There is no partiality, no trace of sexual restraint, as regards instruction ; and there are a great many women possessed of all the technical acquirements for composing. Women thus far have not yet composed a great poetical work,' a great drama or epic, nor any great musical work such as a symphony, an oratorio, or a grand opera of any lasting effect. They have, indeed, composed sweet songs, but even these are but exceptional. This fact seems to prove that Woman’s capacity does not lie in this direction,— ‘ New York Sun.’