In all likelihood you’ll be asleep by that time, thanks to the clock change, but in the event that you’ve overcompensated with too much caffeine, consider joining me tonight for “The Lost Chord,” when the focus will be on outstanding works by two extraordinary female composers.
Vitězslava Kápralová (1915-1940) was one of the great hopes of Czech music, a figure who undoubtedly would be much better known had she not died of tuberculosis at the age of 25. As it stands, her reputation is only beginning to emerge from the shadow of her teacher and lover, Bohuslav Martinu.
Kápralová’s String Quartet was written while she was yet a student at the Prague Conservatory, where her teachers included Vitězslav Novák and Václav Talich. (She studied with Martinu later in Paris.) The work was completed in 1936, when Kápralová was about 21 years-old.
More about Kápralová here, in this article written to mark her centenary in 2015:
Ethel Smyth (later DAME Ethel Smyth, 1858-1944) was one of the most vocal advocates of the women’s suffrage movement in England. She overcame early opposition to a career in music on the part of her father to receive the praise of George Bernard Shaw, who called her Mass “magnificent.”
However, her works were often better-appreciated abroad. Her operas, in particular, were embraced in Germany. One of them, “Der Wald,” was the only opera by a woman composer mounted by New York’s Metropolitan opera for over a century!
Smyth served time in prison for putting out the windows of politicians who opposed a woman’s right to vote. She also wrote for the cause “The March of the Women.” When Sir Thomas Beecham went to visit her in jail, he witnessed her conducting through the bars of her window with a toothbrush as her associates gathered for exercise in the courtyard.
Smyth’s “Serenade in D” – a symphony in all but name – was her first orchestral score, composed in 1890, when she was about 32 years-old. In my opinion, it’s better than just about anything composed by her contemporary, Sir Hubert Parry, and much more compelling than the symphonies of Sir Charles Villiers Stanford.
More about Smyth here, in this piece put together in connection with a revival of her opera, “The Wreckers,” by the great Leon Botstein:
I hope you’ll join me for music by these two extraordinary women – “A Woman’s Place is in the Concert Hall” – this Sunday night at 10:00 EDT, on WWFM – The Classical Network and wwfm.org.
PHOTOS: Ethel Smyth at her desk (top); Vitězslava Kápralová taking up the baton (she studied conducting in Prague with Václav Talich and in Paris with Charles Munch)
