Romantic
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Romantic
20th century
21st century
Solo repertoire
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Beach Amy
Akimenko, Theodore
Albeniz, Isaac
Andersen, Joachim
Barnett, John Francis
Bazzini, Antonio
Beach, Amy
Bellini, Vincenzo
Bizet, George
Blahetka, Leopoldine
Blodek, Wilhelm
Boehm, Theobald
Bonis, Mel
Borne, François
Brahms, Johannes
Briccialdi, Giulio
Bruch, Max
Caplet, André
Chaminade, Cécile
Chopin, Frédéric
Danzi, Franz Ignaz
Debussy, Claude
Demersseman, Jules-Auguste Edouard
Donizetti, Gaetano
Donjon, Johannes
Doppler, Albert Franz
Du Puy, Édouard
Dvořák, Antonin
Elgar, Edward
Fauré, Gabriel
Foote, Arthur
Franck, César
Frühling, Carl
Fürstenau, Anton Bernhard
Gade, Niels Wilhelm
Ganne, Louis
Génin, Paul Agricole
German, Edward
Glière, Reinhold
Godard, Benjamin
Gounod, Charles
Grandval, Clémence
Hahn, Reynaldo
Hüe, Georges Adolphe
Hummel, Johann Nepomuk
Jadassohn, Solomon
Kohler, Ernesto
Kreisler, Fritz
Kuhlau, Friedrich
Lefebvre, Charles Edouard
Liszt, Franz
Maier, Amanda
Massenet, Jules
Mendelssohn, Fanny
Mendelssohn, Felix
Mercadante, Saverio
Meyer-Olbersleben, Max
Molique, Wilhelm Bernhard
Morlacchi, Pietro
Mouquet, Jules
Nielsen, Carl
Paganini, Niccolo
Périlhou, Albert
Pierné, Gabriel
Popp, Wilhelm
Rabboni, Giuseppe
Reger, Max
Reichert, Matthieu Andre
Reinecke, Carl Heinrich Carsten
Ries, Ferdinand
Rietz, Julius
Rossini, Gioacchino
Saint-Saëns, Camille
Sarasate, Pablo de
Schubert, Franz
Schumann, Clara
Schumann, Robert
Sibelius, Jean
Silcher, Friedrich
Strauss, Richard
Taffanel, Claude Paul
Tulou, Jean-Louis
Vitali, Tomaso Antonio
Wagner, Siegfried
Widor, Charles Marie Jean Albert
Amy Beach: Romance for flute and piano Op. 23 was written in 1893. Originally for violin and piano. The work is dedicated to the pioneering American virtuoso violinist Maud Powell, who was a close personal friend of the composer. Beach and Powell premiered the piece together on July 6, 1893, at the World’s Columbian Exposition in Chicago. It was performed during the Women’s Musical Congress, an event specifically designed to highlight the contributions of female musicians. The performance was an overwhelming success; the audience was so moved that they reportedly demanded the duo play the entire six-minute work a second time immediately.
Despite her fame, she was professionally known as "Mrs. H.H.A. Beach" following her 1885 marriage to a prominent Boston physician. Her husband restricted her public piano performances to two per year (usually for charity), which led her to focus primarily on composition.
In 1893, Beach was 26 years old and establishing herself as America's leading female composer. That same year, she was commissioned to write the Festival Jubilate, Op. 17, for the dedication of the Woman’s Building at the Chicago World's Fair.
1893 was the year Antonín Dvořák pronounced that American composers should look to African American and Native American melodies for inspiration. While Beach's Romance remains firmly in the European Romantic tradition, the debates of that year directly influenced her next major project, the Gaelic Symphony (1894–1896).
Charles Abramovic (piano), live performance at Field Concert Hall, Curtis Institute of Music, Philadelphia, January 24, 2016
Romance
Amy Beach (1867–1944) was the first successful American female composer.
Born in Henniker, New Hampshire, she was a musical wunderkind. By age one, she could sing forty tunes; by four, she was composing piano pieces in her head; and by seven, she was performing public recitals of Beethoven and Chopin.
Unlike her male contemporaries, who traveled to Europe for training, Beach was almost entirely self-taught in composition. She studied original scores by Bach, Beethoven, and Brahms, and she translated the theoretical treatises of Berlioz and Gevaert from French to English herself to master orchestration.
In 1885, at age 18, she married Dr. Henry Harris Aubrey Beach. Per his request and social norms, she curtailed her performing career and published under the name Mrs. H.H.A. Beach, focusing her creative energy on composition.
Her style is rooted in the rich harmonic language of the late 19th century, comparable to Brahms or Wagner, but with a uniquely lyrical "New England" sensibility. Beach was an early advocate for using folk melodies to create a national identity. She frequently incorporated Irish (Gaelic) and Balkan folk tunes, as well as bird songs, into her complex structures.
Among her most notable compositions: "Mass in E-flat major" (1890), the "Gaelic Symphony" (1896), the Piano Concerto in C-sharp minor (1899), and the opera "Cabildo" (1932), which utilized a chamber ensemble and reflected her later, more innovative style.