Women in (New) Music: Women Who Score

by Angela Drăghicescu

About a year ago I was given some music to play by Louise Farrenc. The music was so heavenly it moved me to my very soul. It had the same quality that the music of the most famous composers of the era had, and I wondered as a trained pianist with an extensive repertoire list how it came to pass that I had never heard of this composer or her music.

I looked for more pieces of hers and found an incredible body of work, greater than or equal to the best composers of her era. I read up on her and not only discovered a life and experience of heroic proportions, but a life spent fighting uphill battles simply to get the respect she deserved. Despite ultimately earning the respect and admiration of the finest composers of her era, the musical establishment after her death ignored her work both in performance and in education, and in an insidious fashion erased her from history.

Much of her work sat in libraries collecting dust for over a century until a French graduate student rediscovered her in the 1980s. I quickly began to realize that this was a pattern that spanned centuries and crossed oceans. Scores of talented female composers were treated in this fashion. Measures were taken to prevent them from joining the classical canon of composers, and when their talent was too great to be contained, the music itself was shunned by the establishment, or subjected to specious and clearly bigoted smears in the press. 

It is a universal truth that great music, like great art, is a pure expression of the soul and a thing of deep and abiding beauty. It is priceless, unique, and each piece has a power to stir the soul. To anyone capable of appreciating such things—whatever the gender—the idea of destroying or hiding this music from the world is truly appalling. The fact that so many women’s legacies and achievements, along with their incredible music, were deliberately erased from history by the bigotry of small minds is a profound injustice that cries out to be rectified.

This year Felipe Vera and I co-founded a new concert series in Seattle titled Women Who Score with the goal of showcasing musical works by women whose creative voices were stifled or silenced as a result of religious, racial, cultural, or systemic oppression. This Sunday, March 11 we are proud to present a special preview concert featuring music by a handful of history’s most influential women composers: Louise Farrenc, Clara Schumann, Amy Beach, and Libby Larsen.

But these women are just the beginning. Throughout our inaugural concert season, we plan to commission new works, highlight local living composers, and also pay tribute to historic women composers who paved the way for today’s generation of musicians. This series is about empowerment; about a community uniting in sharing the untold stories. With an open mind and open ears, we can work to diversify the world of classical music and continue to discover the musical voices of women across history.


Angie Drăghicescu
Artistic Director of Women Who Score

The Women Who Score preview concert is Sunday, March 11 at 7pm at Nordstrom Recital Hall. For tickets and more information, please click here.

New Music for March: Roomful of Teeth, Women in Music Marathon, and a Sequel to “Become Ocean”

by Maggie Molloy


Second Inversion and the Live Music Project create a monthly calendar featuring contemporary classical, cross-genre, and experimental performances in Seattle, the Eastside, Tacoma, and places in between! 


Keep an eye out for our this flyer in concert programs and coffee shops around town. Feel free to download, print, and distribute it yourself! If you’d like to be included on this list, submit your event to the Live Music Project at least 6 weeks prior to the event and tag it with “new music.”

New Music Flyer - March 2018


Wayward Music Series
Concerts of contemporary composition, free improvisation, electroacoustic music, and sonic experiments. This month: sonic cinema, 12-tone touch guitar, microtonal MIDI, and pantonal piano poetry.
Various days, 7:30/8pm, Good Shepherd Chapel | $5-$15

UW Modern Music Ensemble: Ludovic Morlot and Sæunn Thorsteinsdóttir
Ludovic Morlot leads the UW Modern Music Ensemble in a program of contemporary French works, including Tristan Murail’s spectral masterpiece Le Lac and the U.S. premiere of Betsy Jolas’ Wanderlied, with cellist Sæunn Thorsteinsdóttir as the soloist. Two of Morlot’s students conduct works by Pierre Boulez and Marc-André Dalbavie.
Thurs, 3/1, 7:30pm, Meany Theater | $10

On the Boards: ‘On Loving the Muse and Family’
Seattle bassist and composer Evan Flory-Barnes presents an evening of original music inspired by the late-night variety shows of the ’50s and ’60s, featuring performances with musicians from the True Loves, the Seattle Girls Choir, Industrial Revelation, the Teaching, and a full chamber orchestra.
Thurs-Sat, 3/1-3/3, 8pm, On the Boards | $15-$30
Sun, 3/4, 5pm, On the Boards |$15-$30

The Tudor Choir: Nico Muhly World Premiere
Cappella Romana presents the Tudor Choir performing the world premiere of Nico Muhly’s Small Raine, inspired by the same ancient English tune as another piece on the program: John Taverner’s 16th-century Western Wind Mass.
Fri, 3/2, 8pm, St. Mark’s Cathedral | $39-$49

Sound of Late: Book of the Dark
Amidst a program ranging from Arvo Pärt’s mystical minimalism to Ruth Crawford Seeger’s grittily angular music, Sound of Late unveils the world premiere of Book of the Dark by American composer Alan Shockley.
Sat, 3/3, 8pm, Good Shepherd Chapel | $15

Second Inversion Women’s Day Marathon
Celebrate International Women’s Day with Second Inversion’s 24 hour marathon of new and experimental music by women composers. Tune in all day on March 8 to hear works by over 100 women who have helped shape, inspire, and expand the world of classical music, including Meredith Monk, Laura Kaminsky, Du Yun, Angélica Negrón, and many more.

Town Music: Roomful of Teeth
Experimental a cappella ensemble Roomful of Teeth combines yodeling, Broadway belting, Inuit throat singing, and other vocal traditions from around the world to craft a program of thrilling soundscapes that challenge traditional notions of vocal music.
Fri, 3/9, 7:30pm, Seattle First Baptist Church | $15-$20

TORCH: CD Release Concert
Contemporary chamber ensemble TORCH releases their first full-length album with a concert featuring the varied and vibrant sounds of their composer collective.
Sat, 3/10, 7:30pm, Alhadeff Studio at Cornish Playhouse | $10-$15

Women Who Score: HerStory
In honor of International Women’s Day weekend, HerStory celebrates some of music history’s most prolific and influential women composers with a performance of music by Amy Beach, Clara Schumann, Louise Farrenc, and Libby Larsen. This special preview concert benefits the Women Who Score’s inaugural season in the Fall of 2018.
Sun, 3/11, 7pm, Nordstrom Recital Hall | $37

Pacific Northwest Ballet: Director’s Choice
PNB Artistic Director Peter Boal’s annual selection promises modern and experimental music paired with bold, beautiful choreography. PNB dancers perform to music by Francis Poulenc, Richard Einhorn, Gavin Bryars, and Thom Willems.
3/16-3/25, Various times, McCaw Hall | $37-$187

Seattle Pro Musica: Sounds & Sweet Airs
As part of a citywide celebration of William Shakespeare, Seattle Pro Musica performs choral settings of poetry and prose by the Bard of Avon—including world premieres from Northwest composers Jessica French, Don Skirvin, and Giselle Wyers.
Sat, 3/17, 7:30pm, Seattle First Baptist Church | $12-$28

Emerald City Music: In Blue…
Journey to the American South with this concert exploring the influence of blues music on American composers. Hear George Gershwin’s timeless Rhapsody in Blue performed on two pianos alongside music by Leonard Bernstein, Frederic Rzewski, and more.
Fri, 3/23, 8pm, 415 Westlake Ave (Seattle) | $45
Sat, 3/24, 7:30pm, The Minnaert Center (Olympia) | $10-$43

Baltic Centennial: 100 Years of Statehood
Seattle Choral Company, the Mägi Baltic Ensemble, and other Seattle choirs come together to celebrate 100 years of independence for Estonia, Latvia, and Lithuania in a concert featuring 20th and 21st century music from the leading composers of the Baltic states.
Sat, 3/24, 8pm, St. Mark’s Cathedral | $5-$25

Messiaen’s ‘Quartet for the End of Time’
Composed in 1941 while captive in a Nazi prisoner of war camp, Olivier Messiaen’s sublime Quartet for the End of Time is one of the great masterpieces of the 20th century and a deeply spiritual work contemplating faith, time, and love. It is performed by Seattle new music luminaries Luke Fitzpatrick, Rose Bellini, James Falzone, and Jesse Myers.
Sun, 3/25, 2pm, St. Mark’s Cathedral | $15-$20

Deceptive Cadence: Celebrating Paul Taub’s 38 Years at Cornish
In celebration of Paul Taub’s decades-long career at Cornish, the flutist performs a program of 21st century works, including music by his late Cornish colleague Bern Herbolsheimer as well as a newly commissioned piece by alumna Beth Fleenor.
Sun, 3/25, 7pm, PONCHO Concert Hall | $5-$10

Seattle Symphony: John Luther Adams ‘Become Desert’
Pulitzer Prize-winning composer John Luther Adams created an entire sea of sound with his illustrious Become Ocean, which received its world premiere at the Seattle Symphony in 2013. Now he’s back with a sequel: Become Desert.
Thurs, 3/29, 7:30pm, Benaroya Hall | $22-$122
Sat, 3/31, 8pm, Benaroya Hall | $22-$122