Reloading the canon: what about music by women?

Waterloo Festival is an annual celebration of arts, community and heritage in the heart of London. We were invited to give a concert this year, so when the Festival was forced to switch to an online offering, our conductor Dan Shilladay contributed a fascinating story about women composers. He discusses why they are so neglected, and what the Nonesuch Orchestra is doing about it. His piece includes videos of works by some of our favourite women composers.

Read and listen here.

One of our favourites - Grace Williams. Nonesuch has performed her powerful “Sea Sketches” twice

"I couldn't have done this when I was their age...."

The Nonesuch Orchestra were delighted to welcome Judith Weir CBE, Master of the Queen’s Music, to our “From Page to Performance” showcase concert on 5th March, where eight compositions by GCSE and A-level students from Chiswick School, Twyford C of E High School, and Christ's School, Richmond were performed. Judith says “I was taken aback by the skill and ease with which each young composer had faced this medium; it can be so tricky, especially for non-string players.”

See Judith’s blog here.

Prior to the performance, the orchestra rehearsed the new pieces with the composers and their fellow-students in attendance, offering suggestions on technical and notation matters. Andrew Toovey, celebrated composer and eloquent teacher, has worked with the students through the process; and he shared gems of insight from his own experience.

Judging by the reception accorded them by the enthusiastic audience at the public concert two days later, when they shared the billing with Sally Beamish, Dorothy Howell, and Elgar, these young people have talents that are an inspiration to us all.

Line-up of composers with Andrew Toovey (centre)

First performance of Joshua Laye-Sion’s “Transmission”: conductor concentrates while composer (centre) critiques. Photo by Chris Adams

Grand finale - Elgar’s Introduction and Allegro, with quartet of soloists: Riki Kikuchi (violin I), James Greener (violin II), Rosemary Cook (viola), and John Lacy (cello)

NONESUCH ORCHESTRA REDISCOVERS A MINIATURE MASTERPIECE

In an age when it seems everything that was ever written can be called up with a mouseclick, the possibility of hunting down a forgotten piece of music, for which the parts are lost and no recording exists, is tantalising.

Dan Shilladay, conductor of the pioneering Nonesuch Orchestra, has been on a quest for Dorothy Howell’s Two Pieces for Muted Strings – last performed in 1959.  At the home of Merryn and Columb Howell – the niece and nephew of the composer, discreet custodians of her legacy – he was overjoyed to be offered an early proof of the score.

Merryn and Columb Howell

The score of “Two Pieces for Muted Strings”

Even acknowledging the indifference that women composers generally have suffered, it is astonishing that Dorothy Howell is so neglected.  Her 1919 symphonic poem Lamia was championed by Henry Wood and performed at the Proms four times in the 1920s alone.  She was lauded as “the English Strauss” and became a respected teacher at the Royal Academy of Music.  Howell retired to Malvern, where she tended Elgar’s grave for many years.  The orchestra’s tribute to her has been made possible by a generous grant from The Ambache Charitable Trust.  

As part of CoMA’s Festival of Contemporary Music for All, Dan has transcribed orchestral parts and the Nonesuch Orchestra will give a performance of this delicious work on Saturday 7th March at 7.30pm at St Alban’s Church, Acton Green W4. 

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In Concert: Inspirational Women Composers – Past, Present and Future

Dorothy Howell

Sally Beamish

Louise Martin being coached by Andrew Toovey

For too long, women composers have been unjustly neglected. A shockingly low percentage of classical music performed today is by women. The Nonesuch Orchestra wants to change that. On Saturday 7th March 2020 at 7.30pm at St Alban’s Church, Acton Green W4, we will perform Dorothy Howell’s delicious Two Pieces for Muted Strings and Sally Beamish’s hauntingly beautiful The Day Dawn.

Dorothy Howell – whose music was played at the Proms in the 1920s and who was celebrated as “the English Strauss” – has been almost completely forgotten. Yet Two Pieces – rediscovered and transcribed by the Nonesuch Orchestra, with support from The Ambache Charitable Trust - is a miniature masterpiece.

Also on the programme will be new compositions by GCSE and A-level students from West London schools - among them some inspirational women. They have been working with composer Andrew Toovey to translate their original ideas into finished works. They have had to bring creativity, intellect, critical listening, and grit to the task – qualities that will stand them in good stead wherever their careers take them. Louise Martin from Chiswick School tells us how it’s going here:

The concert will finish with a glorious flourish: Elgar’s Introduction and Allegro – one of the greatest works for string orchestra.

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