Our May 6, 2023 concert, "Hidden Gems - A Tribute to Women in Classical Music",
will be led by guest conductor Mercedes Juan Musotto.
Musotto is the Musical Director and coach for the award-winning Opera Program at
California State University Northridge, and Conductor of the Santa Monica College Symphony
Orchestra, and teaches conducting at Loyola Marymount University. A native of Argentina,
she was the winner of the 2012 Solti Foundation award.
will be led by guest conductor Mercedes Juan Musotto.
Musotto is the Musical Director and coach for the award-winning Opera Program at
California State University Northridge, and Conductor of the Santa Monica College Symphony
Orchestra, and teaches conducting at Loyola Marymount University. A native of Argentina,
she was the winner of the 2012 Solti Foundation award.
I am most delighted to present the works of four exceptionally creative and talented women composers: Mélanie Bonis, Clarice Assad, María Teresa Prietro, and Louise Farrenc. As I dived into the lives of these amazing women, I realized how important it is to keep programing works by women composers, and I am determined to keep promoting and discovering more of these gems. Some of the struggles of these composers have been, being denied education, arranged and/or forced marriages, not being able to get their work published, among many others. María Teresa Prietro’s work has not been published yet and has only been performed in Spain and Mexico. The life and works of Mélanie Bonis have had more exposure in France than in the United States, largely due to the work of family members, who continue to promote the legacy, history, and work of their ancestor. Upon Louise Farrenc passing, the Revue et Gazette musicale published the following patronizing review: “without question the most remarkable of all women who have devoted themselves to musical composition...Her works bear witness to a power and imagination as well as to a degree of knowledge which have never before been the attributes of a woman.” Living in a society where power, imagination, and knowledge were not considered attributes of a woman may have been one of the most challenging obstacles to overcome as a creative woman.
I want to thank the Culver City Symphony Orchestra board of directors for welcoming women composers to its season. May this be an inspiration to all women composers to continue thriving and creating beautiful music.
Mercedes Juan Musotto
Guest Conductor
I want to thank the Culver City Symphony Orchestra board of directors for welcoming women composers to its season. May this be an inspiration to all women composers to continue thriving and creating beautiful music.
Mercedes Juan Musotto
Guest Conductor
Mélanie Bonis (1858-1937, French)
Trois Femmes de légende: Ophélie op. 165, Salomé op. 100/2, Le Songe de Cléopâtre op. 180
Mélanie Bonis (1858-1937) came from humble origins among the Parisian petit bourgeois and began her musical education by teaching herself piano until her parents allowed her to take lessons. Thanks to her talent and willpower, she met César Franck (1822-1890) who made it possible for her to attend the Conservatory of Paris in 1876. Despite excelling in her education, her parents made her leave the Conservatory in order to put an end to her romance with the celebrated Amédée Hettich (1856-1937), a young voice student. Melanie then entered into a marriage of convenience, with the rich Parisian industrialist Albert Domange. Her family duties took her away from music, but she was later inspired by her forbidden love with Hettich, her deeply Christian ideals, and her feelings about her illegitimate child with Hettich. After her return to music, she felt as though she needed to complete her interrupted training and studied with Charles Koechlin (1908-1909). Her body of work encompasses over 300 pieces covering virtually every genre, embodying the post-Romantic style. She displays great emotional variety, and often encompasses sensuality and exoticism. These are intimate pieces easily identified by their harmonic and rhythmic originality.
Although the manuscripts of the cycle Troi femmes de légende (Three women of legend) are undated, they were obviously written after her lessons in modern orchestration with Koechlin due to the masterful orientalising style, the size of the orchestra and the symbolist ambition of the subjects. The first piece, “Ophélie”, refers to the lover of Shakespeare's Hamlet who falls into madness after Hamlet's departure and drowns under mysterious circumstances in a river. This impressionistic piece, with shimmering harmonies, delicate and icy beauty, and moments of passion is a hymn to life, love, and death. The second piece in the cycle is “Salomé” in reference to the biblical character. The introduction and finale, whose slow five-beat rhythm is accentuated by the basses, are evocative of a caravan in the distance. The Modéré depicting the famous dance of veils is initially slow and reserved in the oboe and then increasingly lively, with the colors of the flutes and the strings. The entire piece thrives on the alternation of atmosphere:
slow syncopations are followed by light-footed glissandi, haunting and mysterious psalmodies
accompany sensual passages, and surprising changes in tempo make passion and destruction
determine the musical form. “Le Songe de Cléopâtre” (the drem of Cleopatra) closes the cycle with passion and complexity. With the original and elegant harmonies, longing rhythms, and sensuality, this piece has all the characteristics of the great works of Mélanie Bonis. She designs the image of a powerful and seductive Cleopatra in her splendid palace, using all the possibilities of a full orchestra. She takes her time to lead the musical discourse several times to the highest heights of emotion.
Trois Femmes de légende: Ophélie op. 165, Salomé op. 100/2, Le Songe de Cléopâtre op. 180
Mélanie Bonis (1858-1937) came from humble origins among the Parisian petit bourgeois and began her musical education by teaching herself piano until her parents allowed her to take lessons. Thanks to her talent and willpower, she met César Franck (1822-1890) who made it possible for her to attend the Conservatory of Paris in 1876. Despite excelling in her education, her parents made her leave the Conservatory in order to put an end to her romance with the celebrated Amédée Hettich (1856-1937), a young voice student. Melanie then entered into a marriage of convenience, with the rich Parisian industrialist Albert Domange. Her family duties took her away from music, but she was later inspired by her forbidden love with Hettich, her deeply Christian ideals, and her feelings about her illegitimate child with Hettich. After her return to music, she felt as though she needed to complete her interrupted training and studied with Charles Koechlin (1908-1909). Her body of work encompasses over 300 pieces covering virtually every genre, embodying the post-Romantic style. She displays great emotional variety, and often encompasses sensuality and exoticism. These are intimate pieces easily identified by their harmonic and rhythmic originality.
Although the manuscripts of the cycle Troi femmes de légende (Three women of legend) are undated, they were obviously written after her lessons in modern orchestration with Koechlin due to the masterful orientalising style, the size of the orchestra and the symbolist ambition of the subjects. The first piece, “Ophélie”, refers to the lover of Shakespeare's Hamlet who falls into madness after Hamlet's departure and drowns under mysterious circumstances in a river. This impressionistic piece, with shimmering harmonies, delicate and icy beauty, and moments of passion is a hymn to life, love, and death. The second piece in the cycle is “Salomé” in reference to the biblical character. The introduction and finale, whose slow five-beat rhythm is accentuated by the basses, are evocative of a caravan in the distance. The Modéré depicting the famous dance of veils is initially slow and reserved in the oboe and then increasingly lively, with the colors of the flutes and the strings. The entire piece thrives on the alternation of atmosphere:
slow syncopations are followed by light-footed glissandi, haunting and mysterious psalmodies
accompany sensual passages, and surprising changes in tempo make passion and destruction
determine the musical form. “Le Songe de Cléopâtre” (the drem of Cleopatra) closes the cycle with passion and complexity. With the original and elegant harmonies, longing rhythms, and sensuality, this piece has all the characteristics of the great works of Mélanie Bonis. She designs the image of a powerful and seductive Cleopatra in her splendid palace, using all the possibilities of a full orchestra. She takes her time to lead the musical discourse several times to the highest heights of emotion.
Clarice Assad (1978, Brazilian-American)
Brazilian Fanfare (2005)
A powerful communicator renowned for her musical scope and versatility, Brazilian-American Clarice Assad is a significant artistic voice in the classical, world music, pop, and jazz genres and is acclaimed for her evocative colors, rich textures, and diverse stylistic range. A prolific Grammy Award–nominated composer with more than 70 works to her credit, she has been commissioned by internationally renowned organizations, festivals, and artists and is published in France (Editions Lemoine), Germany (Trekel), Brazil (Criadores do Brasil), and the U.S. (Virtual Artists Collective Publishing). An in-demand performer, she is a celebrated pianist and inventive vocalist who inspires and encourages audiences’ imaginations to break free of often self-imposed constraints. Assad has released seven solo albums and appeared on or had her works performed on another 34. Her music is represented on Cedille Records, SONY Masterworks, Nonesuch, Adventure Music, Edge, Telarc, NSS Music, GHA, and CHANDOS. Her innovative, accessible, and award-winning VOXploration series on music education, creation, songwriting, and improvisation has been presented throughout the world. Sought-after by artists and organizations worldwide, the multi-talented musician continues to attract new audiences both onstage and off.
From the Composer:
Composing a Brazilian orchestral work has been a very exciting experience for me. I was thrilled with the immense arsenal of possibilities. Still, I was also a bit skeptical because I knew that it would be virtually impossible to incorporate all aspects of Brazilian music into one single piece. Brazil is a very young country with a very young history, but it is also the largest country in South America. Consequently, each little region has a great variety of cultures and sub-cultures. It would be challenging to describe the many different styles and genres that make up the music of Brazil.
Still…I wanted Brazilian Fanfare to comprise as many of these elements as possible, portraying a portion of every region as a caricature; while focusing on the joyful, light, humorous, and warm aspects of this country because this is how most people relate to Brazil. I also wanted this work to be easily recognizable as ‘Brazilian’ without having to write a ‘bossa nova’ section in the middle!
This piece uses the most commonly known Brazilian rhythms in their raw form. There are as many as five, and they all come from different origins within Brazil. For example, the Olo- dum from Bahia, the Samba from Rio de Janeiro, Chorinho from Sao Paulo, Baiao from the Northeast part of the country, and some other rhythms that may be derivative of those regions or variations on the rhythms themselves.
However, this work is not based solely on Brazil’s rhythms and regions. It also tends to “time travel” throughout the years of Brazilian styles comprising elements from early Brazilian music of the 17th century (slow/waltz )to the more recent trends.
There exists a few definitions of the word Fanfare. One is… a brief ceremonial piece of music usually played solely by the brass family of instruments. Fanfare is also known to be played as an introduction to something or someone of particular importance. And lastly, Fanfares have been traditionally pretty loud selections practically screaming for attention. To that effect, this piece contains solid use of the winds and brass as it makes its statement loud, clear, and humorous. I wish Brazilian Fanfare could showcase a little bit of all of these definitions… introducing the listener to many different styles and genres of Brazilian music.
Brazilian Fanfare (2005)
A powerful communicator renowned for her musical scope and versatility, Brazilian-American Clarice Assad is a significant artistic voice in the classical, world music, pop, and jazz genres and is acclaimed for her evocative colors, rich textures, and diverse stylistic range. A prolific Grammy Award–nominated composer with more than 70 works to her credit, she has been commissioned by internationally renowned organizations, festivals, and artists and is published in France (Editions Lemoine), Germany (Trekel), Brazil (Criadores do Brasil), and the U.S. (Virtual Artists Collective Publishing). An in-demand performer, she is a celebrated pianist and inventive vocalist who inspires and encourages audiences’ imaginations to break free of often self-imposed constraints. Assad has released seven solo albums and appeared on or had her works performed on another 34. Her music is represented on Cedille Records, SONY Masterworks, Nonesuch, Adventure Music, Edge, Telarc, NSS Music, GHA, and CHANDOS. Her innovative, accessible, and award-winning VOXploration series on music education, creation, songwriting, and improvisation has been presented throughout the world. Sought-after by artists and organizations worldwide, the multi-talented musician continues to attract new audiences both onstage and off.
From the Composer:
Composing a Brazilian orchestral work has been a very exciting experience for me. I was thrilled with the immense arsenal of possibilities. Still, I was also a bit skeptical because I knew that it would be virtually impossible to incorporate all aspects of Brazilian music into one single piece. Brazil is a very young country with a very young history, but it is also the largest country in South America. Consequently, each little region has a great variety of cultures and sub-cultures. It would be challenging to describe the many different styles and genres that make up the music of Brazil.
Still…I wanted Brazilian Fanfare to comprise as many of these elements as possible, portraying a portion of every region as a caricature; while focusing on the joyful, light, humorous, and warm aspects of this country because this is how most people relate to Brazil. I also wanted this work to be easily recognizable as ‘Brazilian’ without having to write a ‘bossa nova’ section in the middle!
This piece uses the most commonly known Brazilian rhythms in their raw form. There are as many as five, and they all come from different origins within Brazil. For example, the Olo- dum from Bahia, the Samba from Rio de Janeiro, Chorinho from Sao Paulo, Baiao from the Northeast part of the country, and some other rhythms that may be derivative of those regions or variations on the rhythms themselves.
However, this work is not based solely on Brazil’s rhythms and regions. It also tends to “time travel” throughout the years of Brazilian styles comprising elements from early Brazilian music of the 17th century (slow/waltz )to the more recent trends.
There exists a few definitions of the word Fanfare. One is… a brief ceremonial piece of music usually played solely by the brass family of instruments. Fanfare is also known to be played as an introduction to something or someone of particular importance. And lastly, Fanfares have been traditionally pretty loud selections practically screaming for attention. To that effect, this piece contains solid use of the winds and brass as it makes its statement loud, clear, and humorous. I wish Brazilian Fanfare could showcase a little bit of all of these definitions… introducing the listener to many different styles and genres of Brazilian music.
María Teresa Prieto (1896-1982, Spanish-Mexican)
Chichén Itzá, symphonic poem (1944)
María Teresa Prieto (1896-1982) was a Spanish composer who did most of her work in Mexico. She studied with pianist and composer Saturnino del Fresno (1867-1952) in Asturias who introduced her to the music of Johann Sebastian Bach, which greatly influenced her. Prieto then moved to Madrid and studied harmony at the Madrid Conservatory under the teaching of maestro Benito García de la Parra (1884-1953) who encouraged her to use modal scales, which are prevalent features of her work. She went to stay with her brother Carlos in Mexico in 1936 during the Spanish Civil War where she studied with Manuel Ponce (1882-1948), one of the great Mexican composers and one of the most prominent figures in Latin America as well as Carlos Chavez (1899-1978), who taught her and conducted many of her orchestral works. During this period, she premiered several works, such as her first orchestral work, Impresión Sinfónica (1940) and her first three symphonies Sinfonía Asturiana (1942), Sinfonía Breve (1945) and Sinfonía de la Danza Prima (1949). In addition, she also premiered Sinfonía Cantabile (1954), her symphonic poem Chichén Itzá (1944), and Variación y Fuga (1946). Prieto was heavily influenced by Rodolfo Halffter (1900-1987) who taught her the art of dodecaphony, which she studied diligently. Some works which can be highlighted from this period are: “Tema variado y fuga” (1963-1967), “24 Variaciones” (1964), “Fuga serial para cuarteto de cuerda” (1965) and “Cuadros de la Naturaleza” (1965-1967). In 1958, Prieto returned to Spain to receive the Samuel Ross prize for Modal Quartet, an orchestral adaptation of her cycle for voice and piano, however she never returned to live there. Overall, her work can be described with her representation of her loss of Spain, focusing on simplicity and elegance with a heavy focus on counterpoint. After devoting her entire life to music, her health began to fail and on January 24, 1982 she died surrounded by her loved ones.
Chichén Itzá, the Mayan name meaning “at the mouth of the well of the Itza”, is the subject of Prieto’s 1944 symphonic poem. This sacred site was one of the greatest Mayan hubs of the Yucatán peninsula. Over its long history, many civilizations have left their marks on the great city. The monuments left behind give insight into the Maya and Toltec people and their worldview. In November 1943, Prieto took a fifteen-day visit to Chichén-Itzá, inspired by the indigenous compositional trend that Carlos Chávez was trying to develop. She wrote a single movement symphonic poem in C major with three themes, one suggested by the monument or system of structures that make up what is called the ball court, one that, sung by the oboe, evokes the feathered serpent climbing up one of the stairs, cautiously first and enraged and sibilant afterwards, and one which expresses the advance of the maiden destined for sacrifice, towards the Sacred Cenote, carried in a priestly procession, so that her spirit would favor the God of Rain and appeases his fury. The people silently follow this march towards the place of torture, into whose mysterious green waters the maiden is thrown. In a brief English horn solo, the mystical expression of the propitiatory maiden is perceived, remotely, already in ecstasy. Once the ceremony is over, the returning procession and the funeral song of the people is heard again. The work premiered on June 30, 1944, at the Palacio de Bellas Artes, performed by the Orquesta Sinfónica de México, under the direction of maestro Carlos Chávez.
Chichén Itzá, symphonic poem (1944)
María Teresa Prieto (1896-1982) was a Spanish composer who did most of her work in Mexico. She studied with pianist and composer Saturnino del Fresno (1867-1952) in Asturias who introduced her to the music of Johann Sebastian Bach, which greatly influenced her. Prieto then moved to Madrid and studied harmony at the Madrid Conservatory under the teaching of maestro Benito García de la Parra (1884-1953) who encouraged her to use modal scales, which are prevalent features of her work. She went to stay with her brother Carlos in Mexico in 1936 during the Spanish Civil War where she studied with Manuel Ponce (1882-1948), one of the great Mexican composers and one of the most prominent figures in Latin America as well as Carlos Chavez (1899-1978), who taught her and conducted many of her orchestral works. During this period, she premiered several works, such as her first orchestral work, Impresión Sinfónica (1940) and her first three symphonies Sinfonía Asturiana (1942), Sinfonía Breve (1945) and Sinfonía de la Danza Prima (1949). In addition, she also premiered Sinfonía Cantabile (1954), her symphonic poem Chichén Itzá (1944), and Variación y Fuga (1946). Prieto was heavily influenced by Rodolfo Halffter (1900-1987) who taught her the art of dodecaphony, which she studied diligently. Some works which can be highlighted from this period are: “Tema variado y fuga” (1963-1967), “24 Variaciones” (1964), “Fuga serial para cuarteto de cuerda” (1965) and “Cuadros de la Naturaleza” (1965-1967). In 1958, Prieto returned to Spain to receive the Samuel Ross prize for Modal Quartet, an orchestral adaptation of her cycle for voice and piano, however she never returned to live there. Overall, her work can be described with her representation of her loss of Spain, focusing on simplicity and elegance with a heavy focus on counterpoint. After devoting her entire life to music, her health began to fail and on January 24, 1982 she died surrounded by her loved ones.
Chichén Itzá, the Mayan name meaning “at the mouth of the well of the Itza”, is the subject of Prieto’s 1944 symphonic poem. This sacred site was one of the greatest Mayan hubs of the Yucatán peninsula. Over its long history, many civilizations have left their marks on the great city. The monuments left behind give insight into the Maya and Toltec people and their worldview. In November 1943, Prieto took a fifteen-day visit to Chichén-Itzá, inspired by the indigenous compositional trend that Carlos Chávez was trying to develop. She wrote a single movement symphonic poem in C major with three themes, one suggested by the monument or system of structures that make up what is called the ball court, one that, sung by the oboe, evokes the feathered serpent climbing up one of the stairs, cautiously first and enraged and sibilant afterwards, and one which expresses the advance of the maiden destined for sacrifice, towards the Sacred Cenote, carried in a priestly procession, so that her spirit would favor the God of Rain and appeases his fury. The people silently follow this march towards the place of torture, into whose mysterious green waters the maiden is thrown. In a brief English horn solo, the mystical expression of the propitiatory maiden is perceived, remotely, already in ecstasy. Once the ceremony is over, the returning procession and the funeral song of the people is heard again. The work premiered on June 30, 1944, at the Palacio de Bellas Artes, performed by the Orquesta Sinfónica de México, under the direction of maestro Carlos Chávez.
Louise Farrenc (1804-1875, French)
Symphony No.3, op.36, G minor (1847)
Louise Farrenc (1804-1875) was a renowned person in the 19th century Parisian musical society. Born to a family of visual artists, she was encouraged to pursue music by her godmother, Anne-Élisabeth Cécile Soria. As female students in those days were not accepted to higher courses in composition at the Paris Conservatoire, at age 15 Farrenc she began her private studies with Anton Reicha, professor of counterpoint and fugue at the Paris Conservatoire, who influenced her in the practices of Viennese classicism. Her marriage to music publisher Aristide Farrenc (1794-1865), was mutually beneficial and supportive, a rarity for the time, and allowed for her compositions to be published. Throughout her career, she served as the only woman scholar of early keyboard music, professor of piano at the prestigious Paris Conservatoire, and a composer whose chamber, orchestral, vocal, and solo piano works were heard throughout the concert halls of Paris. Unfortunately, the death of her daughter, Victorine, at the start of 1859 led to her withdrawing from all musical life for a time, halting her performing and compositional careers in favor of devoting her energy to teaching. However, in 1861, and later in 1869, the Académie des Beaux-Arts announced Farrenc the winner of the prix Chartier, a recognition of those who had contributed works of high esteem to the genre of chamber music, which gave her the inspiration to return to composition. In order to cope with the loss of her daughter, she also began assisting her husband with working on his Le Trésor des Pianistes, an anthology of works from the sixteenth through nineteenth centuries. Unfortunately, in 1865, her husband passed away, leaving her as the sole contributor to the project. She continued to work on the anthology long after he passed and a total of 23 volumes were published by the year of her death in 1875.
Farrenc’s Symphony No. 3 begins with a slow introduction in a first movement, then moves into an allegro section. This first movement, as in her other symphonies, is in sonata form. Notable are the frequent changes in both texture and dynamics. Notable features of the following slow movement are her writing for woodwinds which is reminiscent of Mozart and the influences of variation and sonata forms in the development section. The scherzo bears the influence of Mendelssohn, primarily from its vivace tempo and flowing melody. The finale begins with the strings, who all play strongly in unison, which is a feature of this movement. Quick tempo changes add interest into the music leading to the entire symphony ending on triumphant final chords.
Symphony No.3, op.36, G minor (1847)
Louise Farrenc (1804-1875) was a renowned person in the 19th century Parisian musical society. Born to a family of visual artists, she was encouraged to pursue music by her godmother, Anne-Élisabeth Cécile Soria. As female students in those days were not accepted to higher courses in composition at the Paris Conservatoire, at age 15 Farrenc she began her private studies with Anton Reicha, professor of counterpoint and fugue at the Paris Conservatoire, who influenced her in the practices of Viennese classicism. Her marriage to music publisher Aristide Farrenc (1794-1865), was mutually beneficial and supportive, a rarity for the time, and allowed for her compositions to be published. Throughout her career, she served as the only woman scholar of early keyboard music, professor of piano at the prestigious Paris Conservatoire, and a composer whose chamber, orchestral, vocal, and solo piano works were heard throughout the concert halls of Paris. Unfortunately, the death of her daughter, Victorine, at the start of 1859 led to her withdrawing from all musical life for a time, halting her performing and compositional careers in favor of devoting her energy to teaching. However, in 1861, and later in 1869, the Académie des Beaux-Arts announced Farrenc the winner of the prix Chartier, a recognition of those who had contributed works of high esteem to the genre of chamber music, which gave her the inspiration to return to composition. In order to cope with the loss of her daughter, she also began assisting her husband with working on his Le Trésor des Pianistes, an anthology of works from the sixteenth through nineteenth centuries. Unfortunately, in 1865, her husband passed away, leaving her as the sole contributor to the project. She continued to work on the anthology long after he passed and a total of 23 volumes were published by the year of her death in 1875.
Farrenc’s Symphony No. 3 begins with a slow introduction in a first movement, then moves into an allegro section. This first movement, as in her other symphonies, is in sonata form. Notable are the frequent changes in both texture and dynamics. Notable features of the following slow movement are her writing for woodwinds which is reminiscent of Mozart and the influences of variation and sonata forms in the development section. The scherzo bears the influence of Mendelssohn, primarily from its vivace tempo and flowing melody. The finale begins with the strings, who all play strongly in unison, which is a feature of this movement. Quick tempo changes add interest into the music leading to the entire symphony ending on triumphant final chords.