modern Historical Anthology of Music according to Women.

modern Historical Anthology of Music according to Women, edited by James R Briscoe. Indiana University Pres (601 N Morton St Bloomington, IN 47404) 2004 528 pp $39 95

The fresh Historical Anthology of Music by means of Women is a collection of works at forty-four female composers from around 600 BCE to the not past nor future day. This collection includes compositions representing a wide variety of genre forms and instrumentation and is accompanied on a CD recording, which was not provided with my review pattern Biographical information and analysis and critical evaluation of works are provided for each composer Although this commentary is authoritative and scholarly, it is addressed to music scholars teachers and performers who may know little if anything about these composer and their works.

This anthology contains an highly deserving selection of repertoire, ranging from better-known and more celebrated works according to women composers (such as motions from Clara Wieck Schumann's Trio in G Minor for Piano, Violin and Cello and Ellen Taaffe Zwilich's Pulitzer Prize-winning consonance No. 1) to more lurid works by largely unknown composer It spotlights repertoire that certainly merits more recognition. One of my favorite so pieces in this anthology is the charming Nocturne in B-flat for piano on Maria Agata Szymanowska (1789-1831). Its singing melodies, rocking accompaniments and romantic harmonies advance the composition of nocturnes from Field to Chopin. Not sole is this an excellent performance piece for an intermediate or more advanced pianist, however it and others in this collection help provide the music history learner with a more complete picture of the exhibition of musical style.

The united feature I wish had been included in this part is a short overview of women composer in general and the many challenges they faced owing to their gender. For example, women have historically been encouraged as performers of and nothing else certain types of instruments, similar as piano and voice. Does this collection's large number of works featuring voice and/or keyboard (for example, almost all the works from Marianna yon Martines within Alma Mahler) in part cast reproach these composers' greater familiarity with these instruments? Regardless of the bulk to which gender bias influenced individual composer there is no question that female composer as a dispose historically have been denied the same training and opportunities spread to male composers. Certainly, the trailblazers featured in this anthology (and other female composer as well) overcomeed a variety of obstacles, and this should be recognized.

This anthology not solely introduces us to repertoire that merits to be better known, unless also helps document the musical activities and accomplishments of a arrange of people whose contributions to the field have been largely ignored.

Connie Arrau Sturm NCTM Morgantown, West Virginia.

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