#Laura Netzel

[lesser-known-composers]

Laura Netzel (1839–1927)

[sonyclasica]

RAPHAELA GROMES

FEMMES

En FEMMES, Raphaela Gromes preste su voz a mujeres destacadas a lo largo de nueve siglos de historia de la música. Nada menos que 23 mujeres compositoras forman parte del doble álbum, desde Hildegarda de Bingen hasta Clara Schumann, pasando por Lera Auerbach y Billie Eilish. A la venta el 3 de febrero.

Resérvalo AQUÍ

Desde hace años, la violonchelista estrella y galardonada con el Opus Klassik, Raphaela Gromes, defiende la causa de las mujeres compositoras. Tres de sus álbumes, aclamados por la crítica y los oyentes, han incluido música de compositoras desconocidas, y mantiene una relación de trabajo a largo plazo con el Archivo "Frau und Musik" de Frankfurt. Así que es natural que su nuevo álbum doble, FEMMES, preste su voz a mujeres destacadas a lo largo de nueve siglos de historia de la música. Nada menos que 23 mujeres compositoras forman parte del doble álbum, desde Hildegarda de Bingen hasta Clara Schumann, pasando por Lera Auerbach y Billie Eilish, sin olvidar a figuras operísticas tan famosas como Susanna de Le nozze di Figaro de Mozart o Carmen de Bizet.

"¿Qué pasa con toda la maravillosa música que nos hemos perdido a lo largo de los siglos en una cultura que sigue, incluso hoy, cerrando los ojos a las obras de las mujeres?" Esta es la pregunta que plantea la autora Susanne Woszitzka en el libreto que acompaña al álbum. Al fin y al cabo, menos del 2% de las obras programadas por las orquestas profesionales de Alemania fueron escritas por mujeres; y la Fundación "Donne - Frauen in der Musik", en un estudio sobre 111 orquestas de 31 países, llegó a una cifra de solo el 7,7%.  Una imagen extraña, teniendo en cuenta que durante siglos ha habido mujeres compositoras de gran talento que han dejado una multitud de composiciones extraordinarias.

"Una amiga me propuso dedicar un disco íntegramente a mujeres compositoras", explica Raphaela Gromes. "Así que me puse a investigar y me emocioné y me sorprendí a la vez: emocionada por el increíble número de compositoras brillantes que han trabajado en todo el mundo desde la Edad Media, y sorprendida porque nunca había oído hablar de la mayoría de ellas".

FEMMES se creó en estrecha colaboración con el Archivo "Frau und Musik", Furore Verlag (una editorial que publica únicamente música de mujeres compositoras) y Sony Classical. Rápidamente se convirtió en un álbum doble con obras de 23 mujeres compositoras de todo el mundo. Algunas ya son conocidas, como Clara Schumann, Fanny Hensel o Nadia y Lili Boulanger. Otros son auténticos descubrimientos: la música de la princesa Maria Antonia Walpurgis de Baviera, la compositora judeo-holandesa Henriette Bosmans, Laura Netzel de Suecia, las compositoras afroamericanas Dolores White y Florence Price o la compositora contemporánea Victoria Yagling. Se pueden escuchar varias grabaciones de estreno en FEMMES, como Tre Momenti para violonchelo y orquesta de cuerda, de la compositora italiana Matilde Capuis.

Acompañan a Raphaela Gromes en FEMMES las Cuerdas del Festival de Lucerna y su director artístico Daniel Dodds, con quien mantiene una larga relación de trabajo, así como el pianista Julian Riem, que también ha preparado todos los arreglos del disco.

"Con FEMMES", dice Raphaela Gromes sobre su nuevo álbum, "puedo por fin hacer accesibles a un amplio público las obras y las historias de vida de estas maravillosas mujeres". El álbum será publicado por Sony Classical el 3 de febrero.

Raphaela Gromes tiene un contrato exclusivo con Sony Classical desde 2016. Sus álbumes se distinguen por una programación creativa y un espíritu de descubrimiento. Casi todos ellos ofrecen una grabación de estreno mundial, como el Hommage à Rossini de Jacques Offenbach, el Tercer Concierto para Violonchelo de Klengel (en Conciertos Románticos para Violonchelo con la Orquesta de la RSB y Nicholas Carter) o la versión original de la Sonata para Violonchelo, op. 6. Todos sus álbumes figuran en el Top 10 de las listas de éxitos de música clásica de Alemania y han ganado numerosos premios, como el Premio de la Crítica Discográfica Alemana y el Premio Bávaro de Promoción Artística en la categoría de "música y danza" por su CD Offenbach (ambos de 2019). En 2020, ella y su pianista Julian Riem recibieron el Premio Opus Klassik en dúos de cámara por Offenbach y el Diapason Nouveauté por el álbum Richard Strauss - Cello Sonatas. Y en febrero de 2021 su álbum Klengel - Schumann: Conciertos románticos para violonchelo fue galardonado con el Diapason d'Or.

Raphaela Gromes es embajadora de SOS Kinderdorf International y de la Fundación Josep Carreras contra la Leucemia. Desde octubre de 2022 es la única artista del mundo que toca con un violonchelo construido por Carlo Bergonzi en 1740.

 FEMMES saldrá a la venta el 3 de febrero de 2023.

TRACKLISTING 

CD1

Hildegard von Bingen (1098–1179)

1. O virtus sapientiae

Nuevos arreglos para chelo y cuerdas

 Maria Antonia Walpurgis von Bayern (1724–1780)

From Talestri, Regina delle Amazzoni

 2. Talestri: “Da me ti dividi”

Nuevos arreglos para chelo y cuerdas

 Henry Purcell (1659–1695)

From Dido and Aeneas, Z. 626

3. Dido: „When I am Laid in Earth” (Dido's Lament)

Nuevos arreglos para chelo y cuerdas

  Wolfgang Amadeus Mozart

From Le nozze di Figaro, K.492

 4. Susanna: „Deh vieni non tardar”

Nuevos arreglos para chelo y cuerdas

 Clara Schumann (1819–1896)

From Three Romances op. 22

5 III. Leidenschaftlich schnell

Nuevos arreglos para chelo y cuerdas

 Pauline Viardot Garcia (1821–1910)

From Six Morceaux, VWV 3003

 6 II. Bohémienne

7 I. Romance

8 VI. Tarantelle

Nuevos arreglos para chelo y cuerdas

 Matilde Capuis (1913–2017)

Tre Momenti for Cello and String Orchestra

9   I. Speranze 

10   II. Solitudine

11   III. Allegrezze

World premiere Recording

  Victoria Yagling (1946–2011)

From Suite for Cello and String Orchestra

12. II. Aria 

 Georges Bizet / Julian Riem

13. Carmen Fantasie

 Florence Price (1887–1953)

14. Adoration

Nuevos arreglos para chelo y cuerdas

 Raphaela Gromes, cello

Daniel Dodds, artistic director

Festival Strings Lucerne

 CD 2

Nadia Boulanger (1887–1979)

Trois Pièces

1   I. Modéré

2   II. Sans vitesse et à l'aise

3   III. Vite et nerveusement rythmeé

  Lili Boulanger (1893–1918)

From Deux Morceaux

4. I. Nocturne 

Nuevos arreglos para chelo y piano

 Cécile Chaminade (1857–1944)

5. Nuit étoilée

Nuevos arreglos para chelo y piano

 Henriette Bosmans (1895–1952)

From Impressions

6. II. Nuit calme

 Germaine Tailleferre (1892–1983)

7. Berceuse

Nuevos arreglos para chelo y piano

  Maria Theresia von Paradis (1759–1824)

8. Sicilienne

 Fanny Mendelssohn-Hensel (1805–1847)

9. Fantasia in G Minor

 Laura Netzel (1839–1927)

10. Danse Hongroise, Op. 51

 Luise Adolpha Le Beau (1850–1827)

11. Romanze, Op. 35

 Rebecca Clarke (1886–1979)

12. Epilog

 Grażyna Bacewicz (1909–1969)

13. Mazovian Dance

 Amy Beach (1867–1944)

From 4 Sketches, Op. 15

14. III. Dreaming

 Dolores White (*1932)

15. Las Tarantulas  

 Lera Auerbach (*1973)

16. Postludium

 Bonus Tracks 

 Rachel Portman

I. Chocolat Suite

 Quincy Jones, Rod Temperton, Lionel Ritchie

From “The Color Purple” / aus “Die Farbe Lila”

II. Miss Celie's Blues, “Sister”

 Billie Eilish, Finneas O'Connell

III. No Time to Die

 Raphaela Gromes, cello 

Julian Riem, piano 

[mulheresmusicas-blog]

Happy birthday to one of my newest favorite composers! This bio is long but take the time to read it, she led a fascinating life and deserved so much more credit for her amazing music.

Laura Constance Netzel (née Pistolekors), b. 1 March 1839 in Rantasalmi, Finland, d. 10 February 1927, Stockholm, grew up in Stockholm and was both pianist and composer (from 1874 onwards using the sobriquet ‘Lago’). She studied composition under Wilhelm Heintze in Stockholm and Charles-Marie Widor in Paris. For many years she also worked as a concert arranger and orchestral director. Most of her compositions are in late Romantic, chromatic style, with touches of contemporary French music, and her work received coverage not least in French music journals.

Laura Constance Pistolekors was born on 1 March 1839 in Rantasalmi, Finland, the youngest of six children. Her mother Emilia (née Malm) died in childbed soon after giving birth to Laura, and the father, collegiate assessor Georg Fredrik Pistolekors, took the family to live in Stockholm when Laura was a year old.

She showed a talent for music from a very early age. Her musical education began under the tuition of Mauritz Gisiko, one of Stockholm’s most sought-after piano teachers. Later she studied singing under the opera singer Julius Günther and piano playing under the Viennese virtuoso pianist Anton Door, who visited Stockholm for the first time in 1857. That same year, aged 18, she made her public début as a pianist, playing Ignaz Moscheles’ piano concerto in G minor with Hovkapellet (the Royal Court Orchestra). Subsequently she took part in several chamber music evenings and in concerts given by Harmoniska sällskapet (the Harmonic Society).

It was not, however, as either singer or pianist but as a composer that Laura Netzel gradually made a reputation for herself. Her composition tutors in adult years included, for example, the organist and conductor Wilhelm Heintze in her home city of Stockholm and, later on, Charles-Marie Widor in Paris. When, at the age of 35, she made a successful début as composer using the sobriquet ‘Lago’ (later on also ‘N. Lago’) with a couple of unaccompanied choruses for women’s voices at one of the Harmoniska sällskapet’s concerts, many people wondered who the composer could be. The following year she presented the beautiful lied ‘Fjäriln’, which made such an impression at one concert that it was encored and caught the attention of composers August Söderman and Ludvig Norman, among others.

‘Lago’s’ compositions were very popular with assistant musicians performing in between the main divisions of concerts. Her development did not come to a standstill after her début as a composer, but her true identity was not revealed until 23 January 1891, when the women’s magazine Idun carried a picture and biography, introducing its readers to Laura Constance Netzel, née Pistolekors, married since 1866 to the eminent gynaecologist Professor Wilhelm Netzel. In addition, the magazine included a previously unpublished, but twice performed and acclaimed, ‘song at the piano’, namely ‘Morgonen’, to words by Johan Ludvig Runeberg. Idun highlights Netzel as a pioneer among Swedish women composers, declaring her compositions to betray ‘masculine strength of inspiration and craftsmanship’.

Netzel’s grandest works include Stabat mater for choir, soloists, organ and instrument combinations, dedicated to Crown Prince Gustaf. It was first performed in 1890, in Östermalm Church, at a charity concert under the Crown Prince’s patronage. Even if − ‘of course’, according to Idun − it was found wanting by comparison with works by acknowledged male masters, it still demonstrated that it was not impossible for a women to ‘penetrate the deeper shafts of creative musical art’. A year later the composition was given an orchestral accompaniment instead of the organ part. In 1898 it was published by Gounin-Ghidone in Paris and acclaimed, for example, in Le monde musical, Le progress artistique and Journal musical. It was reviewed and greatly commended in Gazette Liège and in Romania musicala (Bucharest), which found it a very remarkable piece, distinguished by ‘melodic inspiration, coupled with genuine religious feeling’, while the vocal part was judged to be ‘executed with much competence and aesthetic taste.’

The period between the disclosure of her identity and some time after the turn of the century proved to be Netzel’s most active time as a composer. Swedish newspapers and the specialised musical press frequently reported favourable reviews abroad, most often in the Parisian press but also in Germany, Spain, England and Romania, where her music was considered bold, original and shot through with a Nordic tone. Her most popular compositions included the violin pieces Feu follet (1892) and Berceuse et Tarantelle (1894), as well as the song ‘Voici la brice’ (1895), betraying the influences of more recent French music.

‘Professorskan’ (professor’s wife) Laura Netzel devoted much of her energy to charity and public causes. By arranging concerts and bazaars she furthered the creation of Skansen, Stockholm’s famous open-air museum. Single-handed or in partnership with others, she launched innumerable organisations for the relief of poverty and distress in the Swedish capital. Together with the French pastor Henri Bach she founded a foundation for homeless women, and together with Maria Wærn she started the Samariten organisation in the Södermalm district of Stockholm.

Starting in 1892, Laura Netzel organised musical evenings and, every Saturday from October to April, music soirées for music lovers among the working class population of Stockholm. The whole thing had to be attractive and beautiful, and she was intent on regaling her audiences with the best possible music, with a new programme for every occasion. First she rented premises in Malmskillnadsgatan, then Sveasalen in Hamngatan and finally the auditorium of Vetenskapsakademien (the Royal Academy of Sciences) in Norrtullsgatan. The ballad singer Sven Scholander took part in the very first concert. The violinists Sven Kjellström and Julius Ruthström joined in later, along with singers Märta Petrini, Signe Rappe and Rosa Grünberg. Conservatory students were sent off to attend the workers’ concerts, and Netzel herself conducted both choir and orchestra. She always made sure that only the public for whom the concerts were intended were actually admitted. She was summoned to Paris to organise similar concerts featuring the uppermost French performers, much to the delight of press and public, but following her return to Sweden the interest died down. The workers’ concerts in Sweden also ended in 1908. To a great extent it was the movie theatres that forced her to terminate these activities.

Netzel maintained an outstanding intellectual and physical resilience well into her old age. As late as 11 February 1925 the youthful old lady played her own compositions from memory together with orchestral leader Kjellström. She died on 10 February 1927, survived by a son and two daughters. Her life was described as full, bright and replete with blessings in the service of art and human love.

In 1895, the Women’s exhibition from past to present in Copenhagen invited women composers in the three Scandinavian countries to submit their works for anonymous appraisal. The entries comprised five cantatas, five violin suites and eight choral collections. The jury consisted entirely of men: Victor Bendix, Peter Erasmus Lange-Müller and Franz Neruda. None of the violin compositions found favour in their eyes, but Valborg Aulin was awarded as prize of 200 crowns for her women’s choruses with piano accompaniment. None of the five opening cantata entries received, Netzel’s among them, was judged worthy of the full 300 crowns prize money, and the jury deplored the inability, due to illness, of the foremost women composers Agathe Backer Grøndahl and Helena Munktell to take part in the competition. Laura Netzel and Elisabeth Meyer from Denmark were awarded the prize of 300 crowns to share between them, by way of encouragement, but although Netzel was commended for ‘superior skill and loftier aspiration’, the exhibition was opened to Meyer’s music, as being ‘on the whole most suitable for performance’.

As a species of compensation for the treatment of her cantata, Laura Netzel’s violin suite was performed at one of the women’s exhibition’s soirées, but the reviewer Robert Henriques termed it ‘at best horrendous’. The Stockholm press, and especially Aftonbladet’s Adolf Lindgren, notoriously pilloried the complexity of Netzel’s music: ‘Lago seems’, he wrote on one occasion, ‘to have a genuine horror of being simple and clear’, and subsequently he found her music ‘too intricate’ or ‘somewhat prolix and therefore none too lucid’. Other, similar reviews of her works reveal the tendency for music reviewers to prefer technical complexity in male, not female composers.

Sometimes ‘manliness’ is ascribed to her works and to performances of the same, a ‘manliness’ which probably clashed with the music reviewers’ attitude to women. We are not readily informed what these ‘manly’ attributes consisted of or which of them ‘Lago’ and other women might possibly use (or desist from using) in order to pass muster. When ‘Lago’ chose to write in a less ‘womanly’ style or in ‘manly’ genres, this was remarked on in music journals and daily papers both in Sweden and abroad. For example, in one review of her humoresques (1890) she was counselled to exert herself in favour of a less contrived harmonic texture, because this impeded comprehension and performance of the composition.

Reference to (lack of) masculinity or femininity served as a highly gratifying strategy in the appraisal of ‘Lagos’s compositions, which, according to the Idun article, were characterised by ‘a modulatory artifice and harmonic garb not commonly found among women composers’. Reviewers daring to defy ‘received wisdom’ by viewing ‘Lago’ in a positive light, even in her bolder styles and grander formats, point to her exceptionality among women composers. In The Musical Courier (New York), the French musicologist Eugène Borrel argued in 1905 that ‘Lago’ encountered difficulties in the cultural sphere due to her being a woman composer, and that a man would have been given quite a different reception. Some of what may be termed the qualitative criteria of the time may, it seems, be bound up with general notions of what constituted legitimate culture and of who was entitled to define it.

The Idun article in 1891 also declared women’s achievements in performing arts as far more brilliant than in the creative arts, while at the same time pointing out that, given the same conditions as those applying to men, women composers would be able to achieve works of art rivalling the best compositions by men. Here sceptics are urged to respond to women composers with open, enquiring minds, and among those composers Netzel is accorded pride of place. Agradeço ao professor Fred Nable pela sugestão de postagem. 

[jenniferfaye34]

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[compos-h-er]

Laura Netzel (N. Lago) (1839-1927, Sweden)

Berceuse for Violin & Piano, Op.59

                                     Violin: Jean-Claude Bouveresse                                             Piano: Bénédicte Péran

[lesser-known-composers]

Laura Netzel (1839–1927) - Cello Sonata Op. 66 (1899)

1. Allegro moderato (E minor) (0:00) 2. Cantabile ma non troppo lento (G major) (5:10) 3. Allegro appassionato (E major) (11:28)

Ola Karlsson, cello and Lucia Negro, piano

[lesser-known-composers]

Laura Netzel (1839 - 1927) - Din frid, var han en drömgestalt?, op. 61 (Ta paix, n’est ce qu’un rêve ?)

Elsa Dreisig, soprano

Alexandre Pascal, violon

Théo Fouchenneret, piano

[lesser-known-composers]

Laura Netzel (1839–1927) - Om min tanke långt från gruset, op 20

violinisten Zaida Ponthin,

sopranen Therese Karlsson och

pianisten Patrik Komorowski.

[lesser-known-composers]

Laura Netzel - Suite for Violin & String Orchestra, Op. 83: I. Andante religioso ·

Malin Broman · Musica Vitae Chamber Orchestra

[lesser-known-composers]

Laura Netzel (1839-1927) - Cello Sonata Op. 66 (1899)

1. Allegro moderato (E minor) (0:00) 2. Cantabile ma non troppo lento (G major) (5:10) 3. Allegro appassionato (E major) (11:28)

Ola Karlsson, cello and Lucia Negro, piano

[lesser-known-composers]

Laura Netzel - Piano Concerto in E Minor, Op. 84: II. Lento ·

Peter Friis Johansson ·

Gothenburg Symphony Orchestra · Ryan Bancroft

[lesser-known-composers]

Laura Netzel (1839–1927) - Piano Sonata in E-Flat Major, Op. 27: I. Allegro moderato ·

Lucia Negro, piano

[lesser-known-composers]

Laura Netzel (1839–1927) - Suite for Violin & Piano, Op. 62: I. Allegro moderato ·

Malin Broman · Simon Crawford-Phillips

[lesser-known-composers]

Laura Netzel (1839–1927)

[lesser-known-composers]

Laura Netzel (1839–1927) - Piano Concerto: Part 1 ·

Stefan Lindgren · · piano

Helsingborgs Symfoniorkester · David Niemann

[lesser-known-composers]

Laura Netzel (1839-1927) - Piano Trio, Op.78 in D minor

I. Allegro moderato [00:00] II. Andante tranquillo – Molto più vivo [05:56] III. Allegro deciso [11:59]

Victoria Stjerna · Andreas Lavotha · Stefan Lindgren