Women in Music – serie

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5 produkter

Grazyna Bacewicz
AvJoanna Sendlak
Inbunden, Engelska, 2024
486 kr
Skickas inom 5-8 vardagar
Grażyna Bacewicz (1909-1969): a composer with an individual, expressive style, an excellent violinist, a very fine pianist, and a talented author. At the Conservatory in Warsaw she studied composition with Kazimierz Sikorski, her violin tutor was Józef Jarzębski and her piano professor was Józef Turczynski. Graduating in 1932, she travelled to Paris to study with Nadia Boulanger, later returning there to work with Carl Flesch. Her compositional output covered many genres, from ballets to songs and choral works, but also ranging from symphonies, concerti, and chamber works to pieces for solo piano. In 1936 she became principal violinist in the Polish Radio Orchestra. She then toured Europe as a soloist in the two years leading up to World War II, later resuming her career as a concert violinist and pianist after the war. For many years, Grażyna Bacewicz held the post of Vice-President of the Union of Polish Composers. She also served as a judge in many prestigious international music competitions. Strong and sensitive, and exceptionally family oriented, Grażyna Bacewicz was also blessed with unusual charm, phenomenal energy and huge creative potential.Grażyna Bacewicz became world famous and won numerous prizes for her compositions, which were regularly performed by the best musicians, and picked up for publication. She received enthusiastic reviews from music critics, among them Stefan Kisielewski, who noted the ‘passionate ferocity’ of her playing and described her concerto for string orchestra as ‘a rare piece of healthy and tasty music’.This biographical story, based in large measure on letters and other family documents, has been brought to us first hand by the composer’s grand-daughter, the writer Joanna Sendłak.
Dora Bright
Her Life and Works in the Public Eye
AvAnthony Bilton
Inbunden, Engelska, 2023
451 kr
Skickas
Dora Bright was a 'stage star' before the term 'star' had even been invented. After a successful period at the Royal Academy of Music, reports of her ability circulated the globe from America, across Europe and as far as Australia. She became known as one of the finest pianists of her generation and was the first woman to be invited to perform at a Philharmonic Society concert in 1892, where she performed her newly composed Fantasia No. 2. A woman of considerable determination and stamina, she was at the forefront of the English Musical Renaissance at the turn of the twentieth century, and an avid supporter of the music of her friends and colleagues. Marriage did not prevent her from performing and composing, but the death of her husband made her turn away from public view for a time as she mourned his loss. Returning to the stage, she became friends with Adeline Genee, and together they returned English ballet to the centre of London Theatre, and were key to the creation of the Royal Academy of Dancing. This book takes the reader from the arrival of Dora Bright's grandfather in Sheffield in 1769 through to her death in 1951 providing, through a rich variety of archival materials, a public perspective on the life of this important, but now little-known, musician and composer.
Hired Guns
Portraits of Women in Alternative Music
AvAmanda Kramer,Wayne Byrne
Inbunden, Engelska, 2024
367 kr
Skickas
Hired Guns is a look across several decades of the music industry through the experiences and careers of a selection of professional female musicians. Those women profiled are members of influential, acclaimed bands and touring musicians with major acts; they each represent important music scenes and movements, having respectively emerged from and thrived in seminal moments of music such as the California hardcore punk scene, the Minneapolis alternative boom, and much more. This book presents a frank and unique female perspective on the music business, charting their professional challenges and triumphs, providing an insight into the machinations of the industry, and offering a glimpse into the education, work, and lifestyle required of such professionals. The authors conduct candid interviews with their subjects and compose an insightful cultural and historical discourse, drawing readers into the artistic, social, and industrial contexts of several seminal musical movements as they give voice to these female road warriors who have enthralled millions of fans across the world while remaining largely anonymous to the public. Kramer and Byrne now bring them center-stage to tell their story. This book features comprehensive chapters on: Gail Ann Dorsey (David Bowie, Tears for Fears, Indigo Girls) Sue Hadjopoulos (Joe Jackson, Simple Minds, Cyndi Lauper) Clare Kenny (Sinead O’Connor, Orange Juice, Shakespeare’s Sister) Susan Miller (Frightwig, Bad Posture) Tracy Wormworth (The Waitresses, Sting, B-52’s) Joy Askew (Joe Jackson, Laurie Anderson, Peter Gabriel) Sara Lee (Gang of Four, Robyn Hitchcock, Thompson Twins) Lori Barbero (Babes in Toyland) Caroline Dale (David Gilmour, U2, David Gray, Page and Plant) Angie Pollock (The Lightning Seeds, Goldfrapp, Peter Gabriel)
Nyhet
Szymanowska
Pianist, Composer, Muse
AvDanuta Gwizdalanka
Inbunden, Engelska, 2026
664 kr
Skickas inom 3-6 vardagar
As the first Polish pianist to achieve European fame, Maria Szymanowska (1789–1831) is an extraordinary figure and still far too little-known, even in music circles. A confident, independent woman, and mother of three children, the poet Adam Mickiewicz called her the “Queen of Tones.” Goethe praised her talent, her contemporaries considered her almost a goddess, and she was supported by the greatest composers, such as Cherubini and Rossini.A talented pianist from an early age, she had already gained a reputation for her performances in Warsaw when she married a wealthy landowner in 1810. But she had the urge to perform and, after publishing her Twenty Exercises and Preludes in 1819 (much admired by Robert Schumann), she decided to separate from her husband and support her children by giving piano recitals. This made her a pioneer of female concert performing in Europe, and – even before Clara Schumann – she became famous for playing difficult works from memory. She also continued to compose, before deciding to stop touring and base herself in St Petersburg, where she lived from 1828. Her salon in the city was famous as a meeting place for some of the finest composers and performers of the age. During her touring years, her performances aroused admiration and adoration wherever she appeared – ranging from Warsaw to St. Petersburg, Moscow and Kyiv, but also to London and Paris, as well as major German and Italian musical centres.This book presents in an accessible but academically rigorous way, the life of this independent self-made woman.
I'm Used to Playing Lead
Memoirs by Women in Jazz
AvAmy Tucker
Inbunden, Engelska, 2027
378 kr
Kommande
Over 100 autobiographies have been written by figures in the world of jazz, but scholarship on these books has been spotty. Most studies of jazz memoir concentrate on a single icon chosen from a short list: Bechet, Armstrong, Holiday, Basie, Ellington, Mingus, and Miles, occasionally accompanied by Art Pepper and the musically challenged Mezz Mezzrow. In other words, apart from Billie Holiday’s Lady Sings the Blues, autobiographies by women in jazz have largely been left out of the critical conversation.Amy Tucker’s 'I’m Used to Playing Lead': Memoirs by Women in Jazz examines the overlooked and under-theorized literary production of women who know what it means, as Nellie Monk put it, to live every day in jazz.The memoirs discussed in this book are among the most shockingly frank and innovative in the literature of jazz. Tucker brings extensive archival research and cultural context to her re-examination of Holiday’s memoir, as well as to her incisive readings of Ethel Waters’s His Eye Is on the Sparrow, Anita O’Day’s High Times Hard Times, Laurie Pepper’s Why I Stuck with a Junkie Jazzman, and Jeannie Cheatham’s Meet Me with Your Black Drawers On. The author comes to the project as a lifelong fan of the music, but the book is primarily a literary study that draws on her 35 years as a professor (now Emerita) of American literature and cultural studies at a large urban college. Her approach to jazz autobiography reflects major developments in critical theory during this period. Literary analysis has become increasingly layered and nuanced in the wake of ongoing discussions of rhetorical performativity, canon formation, race theory, and gender studies.Jazz studies have followed the same trajectory. Current scholarship investigates the ways musical and written performances have historically been muted by prevailing cultural assumptions about race and gender. Tucker shows how common themes in jazz autobiographies—professional ambition, endless road travel, self-fashioning and image-tending, sexual freedom, and substance addiction—resonate differently when the narrator is a woman. Equally important, she considers how women’s texts encourage readers to interrogate the systems of valuation and record-keeping on which most surveys of the jazz tradition are built.

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Women in Music – serie

Grazyna Bacewicz

Dora Bright

Hired Guns

Szymanowska

I'm Used to Playing Lead

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