# American Composer Corner: Amy Beach



## Mirror Image

AMY BEACH
















Composer Amy Beach began her musical training early, singing over 40 tunes accurately at the age of 1, improvising harmonic lines before age 2, and composing at 4. A child prodigy on the piano, Amy began lessons at age 6 and gave her first public recitals at age 7, including works by Handel, Beethoven, and Chopin. Enrolled in a private school in Boston, Amy studied piano, theory, and composition, and taught herself orchestration and fugue. Her earlier development was admired by several, including Longfellow, Oliver Wendell Holmes, William Mason, and Henry Harris Aubrey Beach (her future husband).

Embarking on her professional performing career in 1883, Beach debuted in a concerto performance with an orchestra conducted by Adolf Neuendorff. She performed with the Boston Symphony Orchestra in March 1885 in the first of several performances. After marrying Dr. Beach, Amy lessened the number of public performances, out of respect for her husband's wishes, and turned her concentration to composition. Her first published work, The Rainy Day (1880), was a setting of a Longfellow poem. Beach's compositional style was that of the late Romantics, rich in lyricism, chromaticism, thick textures, and frequent modulation. She was disciplined in her composition, often producing massive amounts of music in a matter of days. The works written during the period of her marriage (1885-1910) include the Mass in E flat, Op. 5; Eilende Wolken, Op. 18; Symphony, Op. 32; and Piano Concerto, Op. 45, all of which were premiered by the important performing groups of Boston. The significance of this honor lies in the fact that seldom did orchestras perform works of "local" composers, and even less often did they perform works composed by a woman.

Several of Beach's compositions were commissioned for significant events and organizations, including the dedication of the Women's Building of the World's Columbian Exposition in Chicago (Festival Jubilate, Op. 17, 1893), the Trans-Mississippi Exposition in Omaha (Song of Welcome, Op. 42, 1898), the International Exposition in San Francisco (Panama Hymn, Op. 74, 1915), and the San Francisco Chamber Music Society (Theme and Variations for Flute and String Quartet, Op. 80). The range of commissions indicates that interest in Beach's music was not limited to the Boston area. In fact, many consider her to be the most successful American woman composer.

After the death of her husband in 1910, Beach traveled to Europe to establish her performing career, to spread her recognition as a composer, and to promote the sale of her published works. She received favorable reviews of both her compositional and performance ability. Beach returned to the United States at the beginning of World War I to a busy touring schedule. She continued to perform and compose, working to promote young musicians, and serving as leader of several organizations. She served in the Music Teachers National Association and the Music Educators National Conference, and was president and co-founder of the Association of American Women Composers. Her recognition did not wane, and honors included two retrospective concerts in 1942, in honor of Beach's 75th birthday. She died in 1944 of heart disease.

[Article taken from All Music Guide]

Possibly one of the first American female composer of significance. There seems to be a newfound interest in her works. She was a great pianist, composer, and she was apart of a group called "The Boston Six," which comprised of several other prominent New England composers.


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## Scott Good

Came across this - a little history about Maude Powell, and a performance of Amy Beach.

Light piece - certainly listenable.


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## Elgarian

I bought her Gaelic Symphony a few years ago, and grew quite fond of it. It sounds very much of its time - not that there's anything wrong with that. Her story is quite a moving one: abandoning almost all performing at her husband's request, only resuming her career after he died. That's a lot to be asked to give up.

But to anyone with an interest in that late Romantic style, her Gaelic Symphony will be of interest I think, and the experiment won't cost much if you buy the Naxos disc. If she'd been a man, or if the music had carried the name of Parry or Stanford, a lot more fuss would have been made of it, I reckon.


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## Kuntster

really quick, Amy Beach f-ing rocks!!!!


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## Mirror Image

Elgarian said:


> I bought her Gaelic Symphony a few years ago, and grew quite fond of it. It sounds very much of its time - not that there's anything wrong with that. Her story is quite a moving one: abandoning almost all performing at her husband's request, only resuming her career after he died. That's a lot to be asked to give up.
> 
> But to anyone with an interest in that late Romantic style, her Gaelic Symphony will be of interest I think, and the experiment won't cost much if you buy the Naxos disc. If she'd been a man, or if the music had carried the name of Parry or Stanford, a lot more fuss would have been made of it, I reckon.


Yes, this is the recording I have coming and I'm looking forward to hearing it. I've heard nothing but good things about her music.

I think it is interesting that she is a female composing classical music. I mean this is quite unheard of, but not that it hasn't happened before. Look at Carla Schumann or Germaine Tailleferre they were both good female composers, but they never achieved the kind of success their male compatriots attained.

Anyway, it will be an interesting listen for sure and I look forward to it.


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## Bach

A woman expressing herself through art! This is repugnant. I shall be contacting Krummhorn to have this thread removed immediately.


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## jhar26

Elgarian said:


> I bought her Gaelic Symphony a few years ago, and grew quite fond of it. It sounds very much of its time - not that there's anything wrong with that. Her story is quite a moving one: abandoning almost all performing at her husband's request, only resuming her career after he died. That's a lot to be asked to give up.


She should have told him to stick it where the sun don't shine and gone on to do whatever she pleases. Good disc that one by the way, I agree.


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## ecg_fa

One nice Amy Beach recording I like is on BIS, Emma Kirkby (of all people) & group called
the 'Romantic Chamber Group of London' doing songs & some chamber pieces. Very
pretty. I think it's called 'Amy Beach: Chanson d'Amour.' Rachel Barton Pine's tribute album to Maud Powell features some Beach works.

Ed


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## Tapkaara

Bach said:


> A woman expressing herself through art! This is repugnant. I shall be contacting Krummhorn to have this thread removed immediately.


I quite agree. She needed to stay in her burqa and keep quiet.


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## handlebar

Try the Beach songs on Bridge Records. Truly fine.

Jim


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## Elgarian

Mirror Image said:


> Yes, this is the recording I have coming and I'm looking forward to hearing it. I've heard nothing but good things about her music.


I'll be really shocked if it doesn't win you over - it's not extravagant or original, but it makes interesting use of celtic tunes and has very genuine feeling. Not one of the 'greatest' symphonies maybe, but one definitely worth a place in the repertoire. (Reminds me of Parry's symphonies in that respect.)


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## Mirror Image

Elgarian said:


> I'll be really shocked if it doesn't win you over - it's not extravagant or original, but it makes interesting use of celtic tunes and has very genuine feeling. Not one of the 'greatest' symphonies maybe, but one definitely worth a place in the repertoire. (Reminds me of Parry's symphonies in that respect.)


You keep mentioning Parry and he's somebody who I haven't heard yet and you know how I'm fond of English composers. I know Chandos has a set of Parry's symphonies. Do you have any recommendations, Elgarian?

By the way, I'm sure I'll like the Beach recording. I haven't been disappointed with anything I've bought, except for set of Mendelssohn with Claudio Abbado on Deutsche Grammophon that was particularly lackluster. Abbado isn't a good Mendelssohn conductor. Anyway...


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## handlebar

The Parry set on Chandos is the one I own. Highly recommended as well as the Stanford set. Must haves for the English composer fanatic (like myself).

Jim


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## Mirror Image

handlebar said:


> The Parry set on Chandos is the one I own. Highly recommended as well as the Stanford set. Must haves for the English composer fanatic (like myself).
> 
> Jim


Thanks Jim. I've owned two cycles of Stanford for a while now: Handley and Lloyd-Jones and not to mention the "Six Irish Rhapsodies" disc with Handley/Ulster Orchestra on Chandos, but I think we've talked about his before.


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## handlebar

Mirror Image said:


> Thanks Jim. I've owned two cycles of Stanford for a while now: Handley and Lloyd-Jones and not to mention the "Six Irish Rhapsodies" disc with Handley/Ulster Orchestra on Chandos, but I think we've talked about his before.


We have,thats right. The symphonies of Stanford are really the revival of the English symphony and paved the way for the flood that followed by Bax,Vaughn-Williams,Wallace,Elgar,etc,etc. Stanford's teachings were instrumental(pardon the pun) in forming the new British cycle of composers. Parry as well though on a more limited scale.
Granted,Stanford's compositions are not on par with Elgar or Vaughn-Williams by any degree. But they are good and at times charming in their own way.

Just my opinions of course. I have them on my computer here at work I like them that much. And yes, the Irish Rhapsodies are sheer delight. I like them better than the symphonies actually.

Jim


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## Mirror Image

handlebar said:


> We have,thats right. The symphonies of Stanford are really the revival of the English symphony and paved the way for the flood that followed by Bax,Vaughn-Williams,Wallace,Elgar,etc,etc. Stanford's teachings were instrumental(pardon the pun) in forming the new British cycle of composers. Parry as well though on a more limited scale.
> Granted,Stanford's compositions are not on par with Elgar or Vaughn-Williams by any degree. But they are good and at times charming in their own way.
> 
> Just my opinions of course. I have them on my computer here at work I like them that much. And yes, the Irish Rhapsodies are sheer delight. I like them better than the symphonies actually.
> 
> Jim


I like Stanford pretty good. He's not a composer I listen to very much, but I enjoy his music.


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## Elgarian

Mirror Image said:


> You keep mentioning Parry and he's somebody who I haven't heard yet and you know how I'm fond of English composers. I know Chandos has a set of Parry's symphonies. Do you have any recommendations, Elgarian?


I have all the symphonies on Chandos, as others are mentioning here. My _personal_ favourite is the second (Cambridge), which has a really lovely tune that forms the core of the slow movement, and there's an attractive 'programme' to the symphony too, which I like. But the third and the fourth will surprise you in several ways and are, I think, more substantial achievements. Time and again as I listen, I hear bits in them that remind me of Elgar. When you listen to Parry's 3rd (English) symphony, you realise that Elgar's great achievement in his 1st symphony didn't just come from nowhere.

I'd be amazed if you didn't enjoy Parry's 3rd and 4th symphonies, MI, and they both come together on the same disc.


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## Mirror Image

Elgarian said:


> I have all the symphonies on Chandos, as others are mentioning here. My _personal_ favourite is the second (Cambridge), which has a really lovely tune that forms the core of the slow movement, and there's an attractive 'programme' to the symphony too, which I like. But the third and the fourth will surprise you in several ways and are, I think, more substantial achievements. Time and again as I listen, I hear bits in them that remind me of Elgar. When you listen to Parry's 3rd (English) symphony, you realise that Elgar's great achievement in his 1st symphony didn't just come from nowhere.
> 
> I'd be amazed if you didn't enjoy Parry's 3rd and 4th symphonies, MI, and they both come together on the same disc.


Well that sounds great. I am, as you know, very fond of English composers and am quite surprised I haven't got around to hearing Parry's music now. It's definitely on my to-do list no question about it.

Thanks for the information regarding this very seldom discussed composer.


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## jhar26

Mirror Image said:


> By the way, I'm sure I'll like the Beach recording. I haven't been disappointed with anything I've bought, except for set of Mendelssohn with Claudio Abbado on Deutsche Grammophon that was particularly lackluster. Abbado isn't a good Mendelssohn conductor. Anyway...


Agreed. I was quite disappointed by the Abbado set myself. It's only after I later bought the Karajan set that I began to appreciate how good Mendelssohn the symphonist really is.


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## Mirror Image

jhar26 said:


> Agreed. I was quite disappointed by the Abbado set myself. It's only after I later bought the Karajan set that I began to appreciate how good Mendelssohn the symphonist really is.


I compared the Abbado set to others I have (Karajan, Masur, Flor) and pales in comparison with these. Poor interpretation and nothing of substance in overall emotional content from Abbado.


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## Elgarian

Mirror Image said:


> Well that sounds great. I am, as you know, very fond of English composers and am quite surprised I haven't got around to hearing Parry's music now. It's definitely on my to-do list no question about it.


Just a footnote to what I said before: this wouldn't be your_ first_ Parry purchase, but it might be your third or fourth:










These pieces are full of all kinds of charm - just the sort of things to play in those Pump Rooms we like over here. And the Symphonic Variations are tremendous, boisterous, wonderfully inventive fun. Sir Adrian on top form throughout. There are samples here.


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## Mirror Image

Elgarian said:


> Just a footnote to what I said before: this wouldn't be your_ first_ Parry purchase, but it might be your third or fourth:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> These pieces are full of all kinds of charm - just the sort of things to play in those Pump Rooms we like over here. And the Symphonic Variations are tremendous, boisterous, wonderfully inventive fun. Sir Adrian on top form throughout. There are samples here.


Ah, you see when I purchase something I really get into it, so that box set will probably be my first purchase, but right now, it's too expensive.

This Boult recording sounded lovely. I know I'll enjoy Parry's music, but right now, I'm delving deeply into my own country's rich music history and I'm able to do thanks to the wonderful folks at Naxos.

Thanks for this recommendation by the way. I will be getting into Parry soon I assure you.


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## Romantic Geek

OK TC community, enough of this bull around here, not knowing Amy Beach and her incredible skill as a composer. It is time for me to educate you on her music and how fantastic of a composer she was.

Amy Beach composed during one of the most volatile times in music history and managed to smooth her style from late-Romantic to early 20th-century. I am going to play you what I consider is her best piano work. This is Variations on Balkan Themes, Op. 60 (the full length version.) This piece is 30 minutes long, so be prepared. An edited version came out later which cut the work dramatically, and quite honestly, is not the same.

And I'm going to keep posting videos as good ones are posted on Youtube to show you why she should become part of standard repertoire rather than the token female composer that everyone plays.

If you like to look at a score: http://erato.uvt.nl/files/imglnks/u...each_-_Op.60__Variations_on_Balkan_Themes.pdf


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## Art Rock

Blogged about her two year ago:
http://artrock2006.blogspot.com/2010/03/beach-female-symphonist.html

Since then, I have also obtained her songs and piano music, all well worth listening to.


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## frankentomato

I've really only heard some of her sketches, and my piano teacher always played _Fireflies_. I need to listen to some more of her music.


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## Vesteralen

*Mamma's Waltz*

At the tender age of 4, in 1872, Amy composed "Mamma's Waltz" for piano. I am of the opinion that 9 out of 10 listeners who would have an opportunity to hear this little piece in a blind listening test would not be able to guess the age of the composer. I think this little gem could be inserted in Schumann's "Album for the Young" without disrupting the whole.

It has a memorable opening theme and enough variety in the separate segments to avoid the usual pitfalls of the youthful composer.

She must have been an incredible prodigy.


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## millionrainbows

Amy Beach. Nice music. I have some. But give me Ruth Crawford Seeger, or Ellen Taffe Zwillich, or Clara Schumann.


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## Vesteralen

*Small Piano Pieces from 1877 and 1878*

The next available pieces from Amy come from age nine and ten. The 1877 Menuetto and Romanza are small Schumannesque pieces that seem pleasant but not particularly noteworthy.

Of a little more interest is the 1877 piece called "Air & Variations". Not a masterpiece, of course, but a little miniature gem that I find very listenable and interesting in its own right.

I can almost say the same about the 1878 Petite Waltz, another miniature piano work that does not suffer from too much repetition.


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## schigolch

Amy Beach wrote her only opera, "Cabildo", in 1932, but it was not staged until after the death of the composer. It's available on youtube:


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## hreichgott

Like Clara Schumann, she strikes me as a first-rate pianist who was not also a first-rate composer.
But I really like some of her music and often play the "Scottish Legend."


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## captainladyace

The Shanghai Quartet and Eugenia Zukerman did Beach's Theme and Variations, Op. 80 in 1995, which is a great example of balancing in the composition for a chamber ensemble. It has a very Bach feel to me, though a lot of chamber music falls into that trap, I think.


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## Vesteralen

*Some Early Songs - Including a few from Opus 1 & 2*

The earliest song available for Amy Beach is a non-opus number piece called "The Rainy Day". Musically, it is moderately interesting. I think the biggest problem with it is one that would recur often later in her song output - mediocre to poor texts. There is a kind of naïve and overly-sentimental flavor to a lot of the poetry she set to music, including a number of items later that she set to poems of her husband.

I've been able to hear two of her songs from the set of four from her Opus 1. The first is #3 "Jeune fille et jeune fleur". This one runs to about four minutes. The first half strikes me as a bit too operatic, but the second half is quite effective. Opus 1 #4 (1886) is a very pleasant piece called "Ariette", and is one of her best known composition from her youthful days. She was eighteen or nineteen at the time of composition.

The 1887 song "Twilight" (Opus 2 #1) set to one of her own poems is listenable. But the 1889 "When Far From Her" (Opus 2 #2) from one of her husband's poems is my favorite of this early group.

There is nothing musically cutting edge (for her day) in any of these works, to be sure. There is still a very Schubertian/Schumannesque feel to most of them. But, the significant point to me is, that at least for some of these early pieces, the standard is pretty high. A couple of them are good enough to be on my permanent playlist.


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## Larkenfield

Superb performance of Amy's Piano Concerto No. 1:
https://genius.com/Amy-beach-piano-concerto-in-c-sharp-minor-op-45-lyrics


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