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THERE WOMEN BETOVEN? V

The first representative of the modern era composers of this new era was Ethel Smythe. Unlike its predecessors which are of patriarchal rule were excluded due to the acquisition of privilege by birth or membership of a particular social classes that live on the edges of the social order, Ethel was born in najuskogrudijoj possible destination – Victorian middle class. Managing to overcome all discipline by its environment tried to impose on her, Ethel Smythe therefore represents the brightest example of women’s perseverance, ambition and talent, we can offer you on this list. In many ways, Etel represented a break with their Parkinson ‘traditional’ female composition; above all, he employed the form of false modesty that generations of women before her had to have, humiliation of their own work, education (in the case of Hildegarde) and talent (in the case of Clara Schumann) to avoid ridicule. Not. And in character, and creativity, Ethel was the true successor to Wagner: no excuses, no false modesty, big egos, big stubbornness. At 17, after years of “house” music education, Ethel decided she wanted to go to school for composers and after (of course) great quarrel with his father, somehow managed to get permission and go to Germany, where he soon met all the leading composers of that age: and Clara Schumann and Johannes Brahms, and Tchaikovsky, Dvorak and Grieg. From birth contrarian, she loved to dress like a man, smoking a cigar, had several passionate relationship with a colleague from the ranks of suffragettes, a movement which in his later years was extremely dedicated (written by them and anthem), and served and for a while in jail. In artistic terms was also revolutionary: after training in Germany, ceased to write small, “women” musical forms (short works such as those used by the Clara Schumann) and turned towards the big genres, and most of all – opera. She has written six operas for the life of them, due to the fusion of two musical traditions – English and German – Stranded (1903) is considered the most successful, and even the most significant English opera of the time. Her previous opera, Forest (1902) was the first, and until 2016 (ie, more than a century!), And the only woman to ever work performed on the stage of New York’s Metropolitan Opera. In the late season, reached her greatest tragedy of all for a musician: hearing loss. Sounds familiar? Unlike Beethoven, who, upon learning that they will lose their hearing, wrote a will and bade farewell to life (very melodramatic), Etel is simply switched from 1910 until his death, she continued to work as an activist, and devoted himself to writing instead of writing music in 1893, closest to explaining the lack of a great woman the works in the music to which the musical “experts” There was this: it is said that women in music does not create, but only interpreted or reproduced; and it is believed that women are perishing as creative musicians because they approach the composition of the male way. But what is it men’s music, and what is female music? And is there any truth in his hometown celebration of compositions and composers? Are the works of these composers considered different, special, just because they were women, or because they are written in a specific music, women’s style? This issue will be addressed in this article, through studying the wonderful and bizarre historical banalities that are derived from a compound of gender politics, sexuality, and music. Until then, take a walk through the fringe of YouTube, click on a few things. I listen carefully.

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