AMY BEACH FOR THE NEW GENERATION: THE EFFECTS OF INCREASED INTEREST

IN BEACH’S WORKS ON THE CURRENT PLACE IN THE PERFORMANCE CANON OF

CONCERTO FOR PIANO AND ORCHESTRA IN C SHARP MINOR, OP. 45

by

MONICA SCHULTZ BAKER

KEVIN THOMAS CHANCE, CHAIR

JACOB ADAMS

JOANNA BIERMANN

LISA DORR

EDISHER SAVITSKI

AMIR ZAHERI

A DOCUMENT

Submitted in Partial Fulfillment of the requirements

for the degree of Doctor of Musical Arts

in the Department of Music

in the Graduate School of

The University of Alabama

TUSCALOOSA, ALABAMA

2019

Copyright Monica Schultz Baker 2019

ALL RIGHTS RESERVED

ii

ABSTRACT

Amy Beach sets an example of musical activism and dedication to her art that has

inspired and illuminated her successors. Beach’s music has particular significance considering

that she is arguably the most notable female American composer-pianist. Thus, her Concerto for

Piano and Orchestra in C sharp minor, Op. 45, a large-scale work that encompasses a wide range

of emotions and musical form, deserves a more established place in the performance canon. At

its premier, Beach’s concerto received a drastically different reaction than the premier of a piano

concerto by her male contemporary, Edward MacDowell. I seek to explore the relative merits of

the two works and to determine if any gender bias influenced their comparative canonization.

The goal for this project is to argue that the Beach concerto should gain more presence in

the modern performance canon based on its compositional merits. In addition, I seek to

disseminate reactions to Beach’s concerto at its premier and those elicited by her works now; to

examine trends in performances within the US, such as the recent performance of the Beach

concerto at the University of Georgia in January 2017; and to motivate further scholarship and

performances of Beach’s concerto.

iii

DEDICATION

This document is dedicated to my husband, Chase Baker, who supported me every step of

the way. Music has been my first love. The dedication and commitment I developed during my

music studies prepared me for you, my new love. Thank you for helping me find a balance

between being a musician and being a human. I have learned so much about myself and about

our marriage in the time that I have been preparing this document. You have been the anchor that

has helped me maintain my sanity, and the warmth and consolation that I needed when I

struggled with sleep deprivation and when I missed deadlines. Thank you for always being there

to celebrate the joys as well as to endure the sorrows we have both encountered these past three

years. In preparing the research for this document I learned much about marriage. May ours be as

enduring and as musical as that of Henry and Amy Beach.

iv

ACKNOWLEDGMENTS

Many thanks to my sister, Brigid Doty, and my brother in law, Patrick Doty, for their

timely assistance in transcribing the musical examples in Finale. I was able to meet a tight

deadline because of your help. Thank you to my parents, Ann Schultz and Fr. Gregory Schultz,

for believing in me and for being proud of me. You inspired me and encouraged me when I

encountered obstacles. Thank you to my church family, the members of St. Michael the

Archangel Serbian Orthodox Church, for always expressing interest in my work, for supporting

me, and for making me feel loved and appreciated. Thank you to my dear professor, Dr. Kevin

Chance, for helping me develop my topic and for guiding me through the process of creating this

document. Thank you for never giving up on me as both a teacher and an advisor. Thank you to

my committee members, Dr. Jacob Adams, Dr. Joanna Biermann, Dr. Lisa Dorr, Dr. Jonathan

Noffsinger, Dr. Edisher Savitski, and Dr. Amir Zaheri for being excited about my topic and for

being a positive influence on the editing process. You all made yourselves available at the end of

the semester when time was running out. I greatly appreciate your service on my committee. If it

were not for all your support, this project would not have been possible. Thank you.

v

CONTENTS

ABSTRACT……………………………………………………………………………………....ii

DEDICATION……………………………………………………………………………………iii

ACKNOWLEDGMENTS……………………………………………………………………......iv

LIST OF MUSICAL EXAMPLES…………………………………………………………..…...vi

CHAPTER 1. BEACH’S BACKGROUND……………………..………………………………..1

CHAPTER 2. ANALYSIS OF BEACH’S PIANO CONCERTO IN C-SHARP MINOR, OP.45

AND COMPARISON TO THE RECEPTION AT THE TIME OF ITS PREMIER TO

MACDOWELL’S PIANO CONCERTO NO. 2 IN D MINOR, OP. 23………………………...13

CHAPTER 3. PERFORMANCE AND RECEPTION HISTORY OF BEACH’S CONCERTO,

OP. 45……………………………………………………………………………………………40

Recent Performance and Reception of Concerto, Op. 45………………………….…………….42

Conclusion………………………………………………………………………………….........47

REVIEW OF LITERATURE………...………………………………………………………….49

REFERENCES………………………………………………………………………………......71

vi

LIST OF MUSICAL EXAMPLES

Example. 1.1. Beach, “The Rainy Day”, mm. 1-9 ……………………………………………..…5

Example. 1.2. Beethoven, Sonata in C minor, Op. 13, Pathetique, Mvt. III, mm. 1-4……………6

Example 2.1. Beach, Concerto in C-Sharp Minor, Op. 45, Mvt. I, mm. 1-6, Theme 1………….19

Example 2.2. Beach, Concerto in C-sharp Minor, Op. 45, Mvt. I, Motive a, mm. 1-2………….20

Example 2.3. Beach, Concerto in C-sharp Minor, Op. 45, Mvt. I, Motive b, mm. 2-5………….20

Example 2.4. Beach, Mvt. I, mm. 407-410. Motive b…………………………………………...20

Example 2.5. Beach, Mvt. I, mm. 407-410. Motive b …………………………………………..20

Example 2.6. Beach, Mvt. I, mm. 223-227, Theme 1 …………………………………………...21

Example 2.7. Beach, Mvt. I, mm. 216-219, Theme 1 …………………………………………...22

Example 2.8. Beach, Mvt. I, mm. 69-74. Theme 2………………………………………………22

Example 2.9. Beach, “Jeune fille et jeune fleur,” Op. 1, No. 3, mm. 39-45. Theme 3 ………….23

Example 2.10. Beach, Concerto for Piano and Orchestra, Mvt. I, mm. 132-137, Theme 3……..24

Example 2.11. Beach, “Empress of Night,” Op. 2, No. 3, mm. 15-20…………………………..28

Example 2.12. “Empress of Night”, Op. 2, No. 3, mm. 1-5……………………………………..29

Example 2.13. Beach, Mvt. II, mm. 11-17………………………………………………………30

Example 2.14. Beach, “Empress of Night”, mm. 23-24…………………………………………30

Example 2.15. Beach, Mvt. II, mm. 101-108……………………………………………………31

Example 2.16. Beach, “Twilight,” Op. 2, No. 1, mm. 1-7…………………………………….…33

Example 2.17. Beach, Mvt. III, mm. 6-11……………………………………………………….34

Example 2.18. Beach, Mvt. III, mm. 1-2………………………………………………………...34

Example 2.19. Beach, “Twilight,” Op. 2, No. 1, mm. 47-53…………………………………….34

vii

Example 2.20. Beach, Piano Concerto, Mvt. IV, mm. 1-4, Theme A…………………………...35

Example 2.21. Beach, Piano Concerto, Mvt. IV, mm. 46-49, Theme 2…………………………36

Example 2.22. Beach, Piano Concerto, Mvt. IV, mm. 124-128, Theme C……………………...38

Example 2.23. Beach, “Twilight”, Op. 2, No. 1, mm. 53-55………………………………….....39

1

CHAPTER 1

BEACH’S BACKGROUND

Amy Beach (1867-1944) was born Amy Marcy Cheney to parents Charles Abbott

Cheney (1844-1895)1 and Clara Imogene Marcy (1845-1911)2 on September 5, 1867 in West

Henniker, New Hampshire. Her mother kept her away from the piano until she was four years

old, although she begged to be allowed to play it earlier.3 At two years old she was already

learning and singing complete songs. She had perfect pitch and synesthesia, making her pitch

associations exceptionally vivid.

Beach’s musicality was no coincidence. Her mother’s side of the family was musical as

well. Her grandfather, Chester Marcy (1818-1849)4, played clarinet; her aunt, Mrs. L. H.

Clement (1841-1925),5 was a singer; and her mother, who was her first music teacher, was an

accomplished singer and pianist, who sometimes performed publicly.6

When Beach was four years old she wrote three waltzes. She composed them in her head

with no assistance from a physical piano—a practice she would continue throughout her life. Her

mother, Clara Cheney, was determined to prevent Beach from becoming a child prodigy because

the cultural climate in the years directly after the civil war viewed child prodigies as cheap

entertainment, and Clara was determined that Beach would become a serious musician. Although

1 Block, Amy Beach, Passionate Victorian, 15. 2 Block, Amy Beach, 6. 3 Block, Amy Beach, 5-6. 4 Block, Amy Beach, 16. 5 Block, Amy Beach, 16, 247. 6 Jenkins, The Remarkable Mrs. Beach, American Composer, 5.

2

Clara could not hide Beach’s talent from friends and family, she did her best to prevent Beach’s

brilliance from making her too precocious by discouraging Beach’s listeners from expressing

their admiration too enthusiastically.7

Finally, when Beach turned six, Clara began giving her three lessons per week but limited

her practice time. A year later, when Beach was seven, Clara reluctantly allowed her to give her

first public performance, a musicale in a private home in Boston to which the public was invited.

The Folio, a Boston arts journal, published a favorable review, stating that she, “played with an

accuracy and style which surprised every listener…the young pianist is exciting much surprise

by the precocity of her musical talent.”8 She performed a Chopin waltz and one of her own

waltzes as an encore. Although the performance attracted the attention of concert managers Clara

resisted their advances, and Beach later stated she was grateful, “I shall always have the deepest

gratitude for my inexperienced young parents that they did not allow me to be exploited by

managers.”9

In 1875, when Beach was eight years old, the Cheneys moved to Boston. Clara searched

for a new piano teacher for Beach since she felt Beach had outgrown her abilities. The Cheneys

settled on Ernst Perabo, who was one of the foremost pianists and teachers in late nineteenth

century Boston. Beach studied with him from 1876–1882. Perabo was trained in Germany and

was so popular that it is estimated that during the course of his teaching he guided over a

thousand students. Although exacting high standards, Perabo was renowned as a warm-hearted

pedagogue with a positive attitude, who deeply cared for and respected his students.10

7 Block, Amy Beach, 8-10. 8 Block, Amy Beach, 12. 9 Block, Amy Beach, 13-14. 10 Block, Amy Beach, 23-24.

3

The precedents set for female pianists at the time were Clara Schumann (1810–1896);

Teresa Carreño (1853–1917); Julie Rivé (1854–1937), who gave a solo recital in Boston in

October 1876; Amy Fay (1844–1928), who studied for six years in Germany and was one of the

first American-born women to study in Europe; and Annette Essipoff (1851–1914). Essipoff was

favored by the Russian court and was married for a period to the famous pedagogue Theodor

Leschetizky (1830–1915). She came to Boston in March 1877 and performed a program of

American works by composers such as Louis Moreau Gottschalk, Arthur Foote, and William

Mason. She also included a piece by her teacher Ernst Perabo. Beach gave a private performance

of other works for Essipoff, which Essipoff lauded. In 1878, twelve-year-old Beach performed

for the famed pianist, Rafael Joseffy (1852–1915).11

After being schooled at home until 1879, the Cheneys at last enrolled Beach in Professor

William L. Whittemore’s preparatory school. Beach was stimulated by the structure of a child-

centered environment and the accessibility of a wider range of subjects. She excelled in natural

sciences, foreign languages, and mathematics equally. She also became part of a book club for

girls, the Attic Club, which existed from 1879–1953. Beach enjoyed the companionship the club

provided. As she later wrote to Edith B. Brown, one of the founding members of the Attic Club,

she had few other friends her age.

The Attic Club was one of the few relaxing pursuits Beach allowed herself while she was

studying hard in her preparatory school. Henry Wadsworth Longfellow lived near the meeting

place of the Attic Club. Without their parents’ knowledge, girls from the Attic Club went to his

house to get his autograph. Beach also had the opportunity to play for Longfellow in his home.

11 Block, Amy Beach, 24-25.

4

Longfellow thanked her for her “beautiful music,” and in response, Beach set his poem, “The

Rainy Day” to music, as shown in Example 1.1.12

The day is cold, and dark, and dreary

It rains, and the wind is never weary;

The vine still clings to the mouldering wall,

But at every gust the dead leaves fall,

And the day is dark and dreary.

My life is cold, and dark, and dreary;

It rains, and the wind is never weary;

My thoughts still cling to the mouldering Past,

But the hopes of youth fall thick in the blast,

And the days are dark and dreary.

Be still, sad heart! and cease repining;

Behind the clouds is the sun still shining;

Thy fate is the common fate of all,

Into each life some rain must fall,

Some days must be dark and dreary.13

“The Rainy Day,” which is Beach’s first published work, was printed in 1883 by Oliver

Ditson, a well-established publishing company in Boston. Beach took the melody from the third

movement of Beethoven’s Pathetique Sonata, shown in Examples 1.1 and 1.2. In their search for

a composition teacher, the Beach family contacted Wilhelm Gericke (1845-1925)14, the

conductor of the Boston Symphony. His advice was that Beach teach herself to compose by

studying the masters15, such as Beethoven and Brahms. Beach’s use of the Pathetique Sonata

shows how seriously she took the injunctions of her mentor to learn from the great masters.16

12 Block, Amy Beach, 27-28. 13 Longfellow, “The Rainy Day”, 1842. 14 Block, Amy Beach, 38. 15 Block, Amy Beach, 40. 16 Block, “Why Amy Beach Succeeded as a Composer: The Early Years”, 1983, 44. After Beach’s debut with the

Boston Symphony in 1885, when she performed Chopin’s Concerto in F Minor, Op. 21, Beach continued to

5

Ex. 1.1, Beach, “The Rainy Day”, mm. 1-9, based on the third movement of Beethoven’s

Sonata in C minor, Pathetique, Op. 13.17

maintain close ties with the Symphony and with Gericke. She observed many rehearsals, working individually with

Gericke and studying the scores of pieces performed by the Boston Symphony.

17 Block, Amy Beach, 37.

6

Ex. 1.2, Beethoven, Sonata in C minor, Op. 13, Pathetique, Mvt. III, mm. 1-4.

Melody in the right hand used in Beach’s song, “Rainy Day”.

In 1882, Beach left Perabo and began studying with Carl Baermann (1839-1913)18,

possibly because Perabo advocated that funds be raised to send Beach to Europe, which was

against the wishes of Clara Cheney. Baermann had studied with Liszt and taught at the Munich

Conservatory. Shortly before Beach began studying with him, Baermann had performed

Beethoven’s Piano Concerto in G Major No. 4, Op. 58 with the Philharmonic Society to gushing

reviews.19

Under Baermann, Beach was allowed to give her public debut. Perhaps this was a

concession to the disappointment Beach must have had at being denied the chance to study in

Europe. In October 1883, Beach performed Piano Concerto No. 2 in G minor by Moscheles, and

Rondo in E flat, Op. 16 by Chopin. Beach received rave reviews, and her presence in the music

scene of Boston was firmly established.20 Beach’s facility at the keyboard was evident when

performing Mendelssohn’s Piano Concerto No. 2 in D minor, Op. 40 in March of 1885. During

the last movement, the conductor, Theodore Thomas (1835–1905), began the orchestral

18 Gillespie, John, and Laura Moore Pruett. 2013. “Baermann, Carl.” Grove Music Online. 11 Dec. 2018. http://www.oxfordmusiconline.com.libdata.lib.ua.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/om

o-9781561592630-e-1002248208 19 Block, A ‘Veritable Autobiography?,’ 28. 20 Block, Amy Beach, 30-31

7

introduction under tempo thinking Beach would appreciate his consideration of how technically

difficult the piano part was in that movement. Beach, not realizing that he did this intentionally,

felt the tempo dragging and brought the movement back in tempo.21

Also in 1885, Arthur P. Schmidt published Beach’s song, “With Violets.” This was the

first piece of many that Schmidt published; for the next thirty years he would be Beach’s only

publisher. He was responsible for giving many American composers a chance to be performed,

publishing works by John Knowles Paine (1839-1906), Henry Kimball Hadley (1871-1937),

George Whitefield Chadwick (1854-1931), Horatio Parker (1863-1916), Arthur Foote (1853-

1937), Edward MacDowell (1860-1908), and female composers Clara Kathleen Rogers (1844-

1931), Helen Hopekirk (1846-1945), and Margaret Ruthven Lang (1867-1972). Schmidt had

emigrated from Germany in the 1860s and found greater opportunities in the US than he had in

Europe. His gratitude for these opportunities showed in his dedication to American composers,

providing a stage for American art music that had been previously lacking. In addition, Schmidt

showed no gender bias in his policies regarding royalties. He paid the same amount of royalties

to male and female composers alike—ten percent.22

In December 1885, at eighteen years old, Amy Cheney was married to Henry Harris

Aubrey Beach, who was forty-two years old, more than twice her age, and a little older than her

father. Henry was a successful physician who had been married before, but his former wife died

of a stroke five years before his marriage to Amy. It is likely that they met when Amy was ten

years old when Clara Cheney took her to Mr. Beach to treat an injured finger.23

21 Block, Amy Beach, 33 22 Block, Amy Beach, 41 23 Block, Amy Beach, 43-46

8

As a boy, Mr. Beach’s musical talent earned him a place with the famed choir of the first

Anglo-Catholic church in America, the Church of the Advent. The Church of the Advent

invested in their liturgical music by paying their choir members and came to be regarded as

having the best church music in Boston. Mr. Beach also studied piano and organ through his

involvement with the Church of the Advent.24

Eventually Mr. Beach chose medicine over a music career, a choice which may have

been influenced by his close personal relationship with the physicians who attended the Church

of the Advent. He was baptized in 1863 and took the name of one of his baptismal sponsors, the

organist Edmund Aubrey Matson, becoming Mr. Beach Harris Aubrey Beach. Three of the

founders of the Church of the Advent were physicians, and one, George C. Shattuck, Jr. (1813–

1893) became the dean of Harvard University in 1864–1869 after having served as a professor in

the Harvard Medical School. Mr. Beach eventually attended the Harvard Medical School during

the time that Shattuck served as Harvard’s dean.

Most likely as a result of the connections Mr. Beach made with the members of the

Church of the Advent who were physicians, Mr. Beach enlisted in the army in 1864 and became

a hospital steward. As a hospital steward in the army, Mr. Beach was able to complete his

medical apprenticeship before entering the Harvard Medical School.25

As a result of Mr. Beach’s equal interest in music and medicine from a young age,

although choosing to pursue medicine professionally, he remained very involved in the musical

life of Boston. He sang with the Handel and Haydn Society for many years beginning in 1863,

was part of the Harvard Musical Association—a group that hosted chamber and orchestral

24 Block, Amy Beach, 43 25 Block, Amy Beach, 44

9

performances—and was a member of the Euterpe Club, which organized chamber music

events.26

In 1880s Boston, it was considered socially acceptable for Mrs. Amy Beach to perform if

she did not receive payment, but it was not favorable for her to teach since this profession was

only for women of lower class, or old maids. It was not considered respectable for Mrs. Beach to

contribute substantially to her household’s income because the man of the house was expected to

provide exclusively for the household; it was considered shameful if he did not. However, it was

acceptable for Mrs. Beach to receive payment for the publication of her compositions, since

these identified her as a professional and not a mere amateur. As Ednah Dow Cheney (1824-

1904), Boston writer, philanthropist, and activist, stated in 1880, “In literature, the progress of

women has been so rapid that now a woman’s name on the title page of a book hurts neither its

acceptance with the publisher not its sale to the public.”27 Thus it was now acceptable for Mrs.

Beach to be a published composer. Her name began to become famous as her works drew more

and more attention.

Clara Cheney, Mrs. Beach’s mother, lived with the Beach couple and served as an

additional critic to Mrs. Beach’s work. The first thing Mr. Beach would say when he came home

in the evening was, “What did you compose today, dear?”28 Seemingly, Mrs. Beach did not mind

the direction and guidance of her mother and husband. Thankful of her husband’s

encouragement, she wrote to a friend:

It was he more than any one else who encouraged my interest upon the field of

musical composition in the larger forms. It was pioneer work, at least for this

country, for a woman to do, and I was fearful that I had not the skill to carry it on,

26 Block, Amy Beach, 46 27 Block, Amy Beach, 47-48 28 Block, Amy Beach, 48

10

but his constant assurance that I could do the work, and keen criticism whenever

it seemed to be weak in spots, gave me the courage to go on.29

Mr. Beach, as editor of a medical journal, had experience with publishers and guided

Mrs. Beach in her handling of entrusting her work to Arthur P. Schmidt. Because of Mr. Beach’s

instruction Mrs. Beach kept a close eye on Schmidt’s cover designs and editing of her

compositions. Thus, Mr. Beach assisted Mrs. Beach tremendously in supporting her emotionally,

professionally, and musically.30

Mrs. Beach stopped taking lessons with Carl Baermann during the first year of her

marriage, and Mr. Beach would not allow Mrs. Beach to take composition lessons, reasoning in

the gender prejudice of the day that, because she was a woman and therefore more malleable

than a man, her style would lose its uniqueness. Thus, Mrs. Beach had no objective musicians

from whom she could receive feedback, and was left completely to her own devices. She stated

that the public was her teacher, yet Mr. Beach withheld negative reviews, so Mrs. Beach only

saw favorable critiques of her work. There is no knowing what would have happened had Mrs.

Beach not been kept under such strict control by both her mother and her husband. It is likely she

would have performed and composed equally because she was so facile in both composition and

performance, and likely if she had had a professional composition teacher, her progress in

composing would have been easier and quicker as well. But Mr. Beach may have refused to

allow her to take composition lessons because the only professional teachers available would

have been male and Mr. Beach may not have wanted her to form any close attachments with any

men other than himself.31

29 Block, Amy Beach, 48 30 Block, Amy Beach, 48-49 31 Block, Amy Beach, 51.

11

In 1910 and 1911, Beach lost both her mother and her husband. Mr. Beach fell in April

1910, which led to prescribed bed rest, where he developed an abscess and passed away from the

infection on June 28, 1910 at age 66.32 Beach’s mother was already ill at the time of Mr. Beach’s

death. She passed away at age 64 on February 18, 1911.33 Only a few months later, on

September 5, 1911, Beach traveled to Europe to perform at the age of 44. She began playing solo

piano music and chamber music regularly, giving performances of her concerto in Leipzig and

Hamburg, in 1913, with the Winterstein Orchester and the Orchester des Vereins Hamburgischer

Musikfreunde, respectively. The Hamburg concert was Beach’s most successful. As she stated:

In Germany before the war they were skeptical enough about woman’s creative ability. I

was summarily warned of the fate that probably awaited me when my “Gaelic”

Symphony and my piano concerto were played in Hamburg. The audience would be cold,

the critics hostile . . . . The Symphony was splendidly played but had only a courteous

reception. . . . Immediately thereafter, I was to play the piano part of my Concerto. But I

rejected the invitation to discouragement, “got my mad up,” as we put it in New England,

and determined to force the audience to like it. My resolve won the victory, and a very

considerable one. The critics wrote well, and even the worst bear of all, Dr. Ferdinand

Pfohl, was eulogistic.34

In 1914 Beach returned to the US at the outbreak of World War I. She performed

extensively, primarily with singers and instrumentalists, but also as soloist. Her next documented

performance of the Concerto was in 1917, when she performed in St. Louis and in Boston with

the Boston Symphony Orchestra, to rave reviews. She performed it again the next season, 1917–

1918, in Chicago and Minneapolis.35

Beach performed her own chamber and solo music and that of the standard repertoire far

more than her concerto, but she performed the concerto twelve times with nine different

orchestras between 1913 and 1917: November 22nd, 1913 with the Winterstein Orchester,

32 Block, Amy Beach, 177. 33 Block, Amy Beach, 178. 34 Block, Amy Beach, 187. 35 Jenkins, 81-82.

12

Leipzig; December 2nd, 1913 with the Orchester des Vereins Hamburgischer Musikfreunde;

December 18th, 1913 with the Berlin Philharmonic; June 28th, 1915 with the Los Angeles

Symphony Orchestra; August 1st, 1915 with the Exposition Orchestra of the Panama-Pacific

International Exposition, San Francisco; February 4th, 1916 with the Chicago Symphony

Orchestra; January 12th through 13th, 1917 with the St. Louis Symphony Orchestra; March 2nd

through 3rd, 1917 with the Boston Symphony Orchestra; and December 14th through 15th, 1917

with the Minneapolis Symphony Orchestra.36

Beach divided her time later in life between her apartment in New York, and the

MacDowell Colony in New Hampshire. She passed away on December 27th, 1944 of heart

disease.37

36 Block, Amy Beach, 346. 37 Block, Amy Beach, 295.

13

CHAPTER 2

ANALYSIS OF BEACH’S PIANO CONCERTO IN C-SHARP MINOR, OP. 45 AND

COMPARISON TO THE RECEPTION AT THE TIME OF ITS PREMIER TO

MACDOWELL’S PIANO CONCERTO NO. 2 IN D MINOR, OP. 23

Beach’s Concerto for Piano and Orchestra in C-Sharp Minor, Op. 45 received mixed

reviews at its premier in 1900. To place the reception of Beach’s work in the context of late

nineteenth to early twentieth century society, it can be compared to another piano concerto by an

American composer premiered around the same time. Edward MacDowell’s Concerto No. 2 was

first performed with the New York Philharmonic in 1889 to rave reviews, some claiming that it

rivaled Tchaikovsky’s Fifth Symphony, which was on the same program. H. E. Krehbiel, a critic

for the Tribune, stated that MacDowell’s concerto “must be placed at the head of all works of its

kind produced by either a native or adopted citizen of America” and went on to say that he,

“derived keener pleasure from the work of the young American than from the experienced and

famous Russian.”38 In contrast, The Boston Herald declared Beach’s concerto to be,

“…weak in ideas, and, on the whole, crabbed and uninteresting. There is but little of the

flowing melody in it, with scarcely a moment of reposeful cantilena, the solo part being,

for the most part, little else than difficult, and not always clear passage work. The

orchestration is steadily thick and noisy, and too frequently so massive that the solo

instrument does not and cannot loom through it…the concerto is monotonously void of

contrasts. There are fire enough and passion enough in the work, but they did not appear

to lead to anything that was coherent or comprehensible.”39

The most critical words came from W. D. Quint, who wrote for the Boston Traveller,

“The most marked thing about Mrs. Beach’s new work is its masculinity, strength and largeness

38Nicholas, Jeremy. Liner notes for The Romantic Piano Concerto, Edward MacDowell (1860-1908). Seta Tanyel,

Scottish BBC Symphony Orchestra, Martyn Brabbins. Hyperion CDA67165, 2001, compact disc. 39 Jenkins, The Remarkable Mrs. Beach, American Composer, 48.

14

looming in every direction.”40 Indeed, it is a large concerto, four movements rather than the

standard three, with an expanded orchestra, and it is rigorous in its development of thematic

material. This “masculinity” seems to have negatively affected the concerto’s reception.

MacDowell’s Concerto No. 2 relied more heavily on virtuosity to expand and work out thematic

content and was treated more kindly by critics and audiences.

Another difference between the MacDowell concerto and the Beach concerto concerns

orchestration. The MacDowell concerto lacks tubas and bass clarinets, both included in the

Beach concerto. In general, the texture of the MacDowell tends to be lighter and less rich than

the orchestration of the Beach concerto. For example, in the first movement of the Beach,

already by m. 4 the entire orchestra, except for the low brass and timpani, plays, whereas the first

ten measures of the MacDowell feature only the strings. Although to some ears a richer

orchestration would be preferred, critics cast doubt on Beach’s skill as an orchestrator and

advised that Beach write shorter, less grandiose works.

No doubt there is much beauty in the work, no little genuineness of feeling, a

considerable fertility of invention. But there is too much going on at the same time; that

is, too much until the work has been so rescored as to make its complexity intelligible to

the ear. For one thing, however, she plays it wonderfully, with consummate technique

and great beauty of expression. She was enthusiastically received, as well she deserved to

be.41

The entire MacDowell concerto is much more piano-driven than the Beach. In her concerto, the

orchestra leads with musical material until the fourth movement, whereas the piano leads for the

entirety of the MacDowell piece. As evinced by the above quote, the Boston public apparently

preferred lighter orchestration and more prominence in the solo piano part, perhaps explaining

the harshness of the critic’s opinion of Beach’s orchestration skills. In the first movement of the

40 Jenkins, The Remarkable Mrs. Beach, American Composer, 49. 41 Walter S. Jenkins, The Remarkable Mrs. Beach, American Composer, A Biographical Account Based on Her

Diaries, Letters, Newspaper Clippings, and Personal Reminiscences, (Harmonie Park Press, 1994), 49.

15

Beach concerto, she delays the piano entrance until m. 35, whereas MacDowell brings in the

piano much earlier at m. 17 of the first movement of his concerto. More evidence of the piano’s

predominance in MacDowell’s concerto lies in the entrance of the first theme in the piano rather

than in the orchestra; in the Beach the first theme begins immediately in the orchestra.

Both Beach and MacDowell dedicated their concertos to Venezuelan pianist Teresa

Carreño (1853–1917). MacDowell studied with Carreño and knew her personally, but it is

somewhat ironic that Beach dedicated her concerto to Carreño as well, considering that Carreño

represented everything Beach’s parents abhorred. Carreño was a virtuoso performer who had

started her career as a child prodigy, she had been married four times, and thus would not have

been considered a lady by the conservative standards of 19th-century Boston. Carreño

performed MacDowell’s Concerto No. 1 in A minor, Op. 15 and his Concerto No. 2 in D minor,

Op. 23, but never played the Beach concerto.42

The MacDowell Concerto has three movements; Beach’s has four. Accordingly, the

performance time for Beach’s concerto runs approximately 35 minutes as opposed to

approximately 25 minutes for MacDowell. The larger scope of the Beach is also noted in the first

movement by the use of three themes. The first two themes are unique to the concerto and the

third is taken from Beach’s song, “Jeune fille et jeune fleur,” Op. 1, No. 3 (Example 2.9).43

MacDowell does not take thematic content from previously composed works, although the

original sketch of the second movement of his concerto became part of his Op. 24 piano suite.44

42 Block, Amy Beach, 24-25. 43 Rushing, 39-63. 44 Christine Bane Kefferstan, “The Piano Concertos of Edward MacDowell, (PhD diss., University of Cincinnati,

1984), 89.

16

The second movement of the Beach concerto has three themes, taken from sections of

“Empress of Night,” Op. 2, No. 3 (Examples 2.11, 2.12, and 2.14).45 The third movement is the

only movement with one theme unique to the movement, and it is also the shortest at 77

measures. The theme in the third movement is taken from “Twilight,” Op. 2, No. 1 (Example

2.16). The fourth movement incorporates three themes, all derived from “Twilight” (Examples

2.16, 2.19, and 2.20) and repeats the theme from the third movement (Example 2.16).46

Although most of the thematic content of the concerto is taken from Beach’s vocal

works, the first theme introduced by the strings in the first movement of the concerto (Example

2.6) is unique to the concerto. Since the vocal works referenced in the concerto have strong

associations to Beach’s mother and husband, and because Beach stated in an article for The

Etude that a composition can be a ‘veritable autobiography’, it is interesting to draw comparisons

between the vocal works used in the concerto and Beach’s life. Beach wrote in an article for The

Etude,

Composers are influenced in as many ways as there are composers. It might safely be

said that no two people could work in exactly the same way, or would be stimulated by

exactly the same impulse. That is one of the many wonderful aspects of musical creation.

Some writers have been influenced at once by some tremendous happening in their lives,

or in the world around them, and have been able to burst forth with some musical

utterance that was directly the result of (those) circumstances. Another composer might

remain apparently unaffected by even the most terrific onslaught upon all that was

deepest in his life, and years afterward give expression in music, perhaps unconsciously,

to all that the experience had cost him. Here we are touching upon perhaps the most

wonderful thing of all about musical composition. It may be not only the creation of an

art-form, but a veritable autobiography, whether conscious or unconscious.47

Adrienne Fried Block postulates that Beach was referring to herself and that the concerto

references aspects of Beach’s life through its use of her songs. It is unsurprising that Beach drew

45 Rushing, 49-50. 46 Rushing, 57-63. 47 Beach, “To The Girl Who Wants To Compose”, 1918.

17

from her body of vocal compositions for other works, considering that her total songs number

117, all for solo voice and piano.48

Although in sonata form, the concerto diverges from the traditional concerto-sonata form

in that it eliminates the double exposition, stating the exposition only once. Beach also departs

from traditional sonata form by employing not two, but three themes, albeit one built from

motivic fragments derived from the first theme as depicted in Example 2.1.49

These motives a, (Example 2.2), and motive b, (Example 2.3), are developed throughout

the movement. After the piano’s opening cadenza in m. 35, the piano’s tranquillo theme, or

Theme 2, is based on Motive b. Theme 1 (Example 2.1), is stated in its entirety in mm. 1-20, first

in the strings in mm. 1-6, and then in the woodwinds in mm. 6-15. Beach develops Theme 1 by

elongation in mm. 11-15, inverting the last two measures of Theme 1 in the flutes, while also

sequencing it in descending steps. The oboes pick up where the flutes leave off in mm. 15, again

sequencing a fragment of Theme 1, still descending by step. In mm. 21 a new section begins, this

time in the clarinets, fragmenting the first two measures of Theme 1 (with Motive a), ascending

by thirds, then passing the fragment of Theme 1 to the oboes in m. 25.

After the piano’s opening cadenza in mm. 35-64, which is based on Motive a from

Theme 1, Beach creates a new theme from Motive b of Theme 1. Theme 1 thus serves as

thematic material for three other themes within the movement; as material for the piano’s

opening cadenza, as a stand-alone motive, lending texture and thematic depth, and as Theme 2,

which enters in m. 69 (Example 2.8).

48 Mary Katherine Kelton, “Mrs. H. H. A. Beach and Her Songs for Solo Voice.” Journal of Singing 52 (January-

February 1996): 1. 49 Katrina Carlson Rushing, “Amy Beach’s Concerto for Piano and Orchestra in C-sharp Minor, Op. 45: A

Historical, Stylistic, and Analytical Study,” (PhD diss., Louisiana State University, 2000), 39.

18

In the otherworldly transition section in mm. 69-100 (Example 2.8), Motive b can be

heard clearly in the first violins (m. 79) under the piano’s building sequence of F sharp, G sharp,

A, C sharp, a pentatonic motive derived from Motive b, which will later be heard in the timpani

just before the coda (Example 2.4) and in the strings in the transition section leading to the

recapitulation (Example 2.5).

Beach was remarkably inventive in her construction of a new theme out of Motive b, yet

keeping the original Motive b as a reminder, always tying Theme 2 back to Theme 1, its original

source (Example 2.8). In the transition material in mm. 93-100, we hear Motive b clearly

framing the transition material in the flutes and first violins, and also in the woodwinds (mm.

115-119) over the piano’s closing material, transitioning to Theme 3 in m. 132 (Example 2.9).50

Another notable testament to Beach’s creativity and skill in her construction of the

concerto is the way in which she weaves Theme 1 in the first and second violins above Theme 1

inverted in the cellos and basses (mm. 223-227). In mm. 216-219 (Example 2.7), Beach uses the

same technique again, but this time Theme 1 is inverted in the first and second violins and in the

cellos and basses it maintains its original shape. Theme 2, which enters in the piano in m. 69

(Example 2.8), can be considered a true theme and not simply a development of Theme 1,

because of how often it reappears and its precedence over the musical material surrounding it.51

Theme 3, which enters in mm. 132 (Example 2.9), is taken from the middle section, mm.

39-45, of Beach’s song “Jeune fille et jeune fleur,” Op. 1, No. 3 (Example 2.10). Beach’s

concerto is not the only work in which she borrows thematic material from her songs. Her

“Gaelic” Symphony in E minor, Op. 32, takes the first theme of the last movement from the

song, “Dark is the night!” Op. 11, No. 1. She also uses a fragment of “Dark is the night!” in the

50 Rushing 2000, 41. 51 Rushing, 42.

19

first movement of the symphony.52 The “Gaelic” Symphony received rave reviews and

motivated George Whitefield Chadwick to communicate his admiration of her work, although

with a chauvinist slant:

I want you to know how much Mr. Parker and I enjoyed your symphony on Saturday

evening. It is full of fine things, melodically, harmonically, and orchestrally, and mighty

well built besides. I always feel a thrill of pride myself whenever I hear a fine work by

any one of us, and as such you have to be counted in, whether you will or not—one of the

boys.53

Ex. 2.1. Beach, Concerto in C-Sharp Minor, Op. 45, Mvt. I, mm. 1-6, Theme 1. Theme 1

contains Motives a and b, which form the basis for other thematic material in the

movement.

52 Block, Amy Beach: Passionate Victorian, The Life and Work of an American Composer 1867-1944 (Oxford

University Press, 1998), 99. 53 Block, Amy Beach, 103.

Motive a Motive b

20

Ex. 2.2. Beach, Concerto in C-sharp Minor, Op. 45, Mvt. I, Motive a, the first part of Theme 1,

mm. 1-2.

Ex. 2.3. Beach, Concerto in C-sharp Minor, Op. 45, Mvt. I, motive b, the second part of Theme

1, mm. 2-5.

Ex. 2.4. Beach, Mvt. I, mm. 407-410. Motive b is developed in the timpani.

Ex. 2.5. Beach, Mvt. I, mm. 407-410. Motive b is developed and fragmented in

this passage.

1 2

2 3 4 5 Motive b

Motive a

21

Ex. 2.6. Beach, Mvt. I, mm. 223-227, Theme 1 in the first and second violins and inverted in the

cellos and basses.

22

Ex. 2.7. Beach, Mvt. I, mm. 216-219, Theme 1 in the cellos and basses and inverted in

the first and second violins.54

Ex. 2.8. Beach, Mvt. I, mm. 69-74. Theme 2, derived out of Motive b, enters in

the piano solo.

The melody from “Jeune fille et jeune fleur” serves as a gorgeous Theme 3, the first

restful section in the concerto. Although in the concerto Theme 3 enters in mm. 132 in A major,

the melody is in D-flat major in the original song (Example 2.9).

54 Rushing, 42.

23

Beach read foreign-language magazines and drew poetry to set to music from them. Most

of these songs were performed in English in the United States.55 The only song Beach stipulated

must be performed in the original language was her French song, “Elle et moi,” Op. 21, No. 3,

which she noted could be sung in English, “only when the French was impossible to attain.”56

Ex. 2.9. Beach, “Jeune fille et jeune fleur,” Op. 1, No. 3, mm. 39-45. Theme 3 of Beach’s

Concerto, Mvt.I is derived from this vocal work.

55 Kelton, 3-23. 56 Kelton, 147.

24

Ex. 2.10. Beach, Concerto for Piano and Orchestra, Mvt. I, mm. 132-137, Theme 3.

Thematic material is from “Jeune fille et jeune fleur”.

The text of “Jeune fille et jeune fleur”:

Il descend, le cercueil, et les roses sans taches,

Qu'un père y dèposa, tribut de sa douleur,

25

Terre, tu les portas, et maintenant tu cache,

Jeune fille et jeune fleur.

Ah! ne les rends jamais à ce monde profane,

A ce monde de deuil, d'angoisse et de malheur,

Le vent brise et flètrit, le soleil brûle et fane

Jeune fille et jeune fleur.

Tu dors, pauvre Elisa, si légère d'années,

Tu ne sens plus du jour le poids et la chaleur;

Vous avez achevé vos fraiches matinées,

Jeune fille et jeune fleur.

Mais ton père, Elisa, sur la tombe s'incline:

De ton front jusqu’au sien a monté la paleur;

Vieux chêne! Le temps fauché sur ta racine,

Jeune fille et jeune fleur.57

The English translation is as follows:

The Fair Young Girl and Flower

The bier descends, the spotless roses too,

The father’s tribute in his saddest hour:

O Earth! That bore them both, thou hast thy due,

The fair young girl and flower

Give them not back unto a world again,

Where mourning, grief, and agony have power,

Where winds destroy and suns malignant reign

That fair young girl and flower.

Light thou sleepest, young Eliza, now,

Nor fear’st the burning heat, nor chilling shower:

They both have perished in their morning glow,

The fair young girl and flower.

But he, thy sire, whose furrowed brow is pale,

Bends, lost in sorrow, o’er thy funeral bower,

And Time the old oak’s roots doth now assail,

O fair young girl and flower.58

57 Beach and Chateaubriand, 1887. 58 Ibid.

26

Like the concerto, “Jeune fille et jeune fleur” (Example 2.9) begins in C-sharp minor,

although the middle section is in the parallel major. The subject matter, even in a major key, fits

the gloominess of C-sharp minor, and is reminiscent of the middle section of the third movement

of Chopin’s Sonata No. 2, in B-flat minor (“Funeral March”). It shares the sweet, nostalgic

quality of an uplifting major section within a gloomy minor key area.

“Jeune fille et jeune fleur” is associated with Beach’s husband, since he performed it a

year before they were married. Henry Beach (1843-1910) was a year older than Amy Beach’s

father, Charles Cheney (1844-1895). Amy Beach’s marriage to Henry was almost like a death, in

the sense that she had to give up her maiden name and her performing career. Henry wanted her

to focus on composing, so she reduced her public performances dramatically.59

Amy Beach’s song, “Empress of Night,” Op. 2, No. 3 (Example 2.11), forms the basis

of the second movement of the concerto, Scherzo (Perpetuum mobile). The orchestra becomes

the vocal line and the piano solo becomes the piano accompaniment from the original song. The

song was dedicated to Beach’s mother, who was a singer as well as a pianist, and the text was

written by Beach’s husband.60 The second movement, is unique in piano concerto repertoire in

that the piano plays continually with no orchestral tuttis. In addition, the piano accompanies the

orchestra throughout the movement while the orchestra has the melody; the piano never has the

melody.61 The movement may be an homage to Beach’s mother. The orchestra represents the

singer and the piano the accompaniment.

Out of the darkness, Radiant with light,

Shineth her brightness, Empress of Night.

As granules of gold, from her lofty height,

Or cataract bold (Amazing sight, amazing sight!)

59 Block, Amy Beach, 132. 60 Block, Amy Beach, 135-136. 61 Rushing, 49.

27

Falleth her jewels on ev’ry side,

Lighting the joybells, lighting the joybells of Christmastide.

Piercing the treeboughs that wave in the breeze,

Painting their shadows among dead leaves;

Kissing the sea foam that flies in the air,

When tossed from its home in waves so fair;

Silv’ring all clouds that darken her way,

As she lifts the shrouds, the shrouds of breaking day.62

Beach sets her husband’s text to an active, rollicking accompaniment with text painting under the

words such as “joybells of Christmastide,” where the vocal line reaches its highest pitch (G, at

mm. 15) and the accompaniment ascends, and “breeze,” where the accompaniment shifts from

eighth notes (m. 20) to sixteenth notes. After a nine-measure orchestra introduction, the piano

enters with the same accompanimental figure found in the beginning of the song (Example 2.12),

and the violas play the opening vocal line. In the B section Beach treats the “Empress of Night”

melody in mm. 23-24 (Example 2.14), as a flute and oboe solo in mm. 101-108 (Example 2.15).

The second movement is primarily in A major, with a C major middle section. Its form is

simpler than the first movement, with an introduction, A section, transition, B section, cadenza,

retransition, A section, and coda.63 The perpetual motion of the piano part creates a sense of

bubbling gaiety and movement, alternating with a darker mood of busyness and franticness.

Beach wrote in “Music after Marriage and Motherhood” for The Etude,

The constant interruptions that beset one who needs repose and time for reflection in such

a career require much patience and considerable diplomacy to prevent their distracting

influence from devitalizing and unnecessarily wearying the spirits that are so essential to

commanding work…64

62 Beach, Amy. Three Songs for Voice and Piano by Amy Beach, Op. 2, Boca Raton: Masters Music Publications,

Inc., 1999. 63 Rushing, 51. 64 Block, Amy Beach, 137.

28

Ex. 2.11. Beach, “Empress of Night,” Op. 2, No. 3, mm. 15-20. Text painting under the word

“joybells of Christmastide”.

29

Ex. 2.12. “Empress of Night”, Op. 2, No. 3, mm. 1-5. The violas play the vocal line in the

concerto.

30

Ex. 2.13. Beach, Mvt. II, mm. 11-17. The vocal line from the song, “Empress of Night” is

present in the violas.

Ex. 2.14. Beach, “Empress of Night”, mm. 23-24. This motive is used in mm. 101-108 of

Mvt. II of concerto in the flute and oboe solo.

31

Ex. 2.15. Beach, Mvt. II, mm. 101-108, the flute passes the “Empress of Night”

motive to the oboe.

Since Clara Cheney, Beach’s mother, was often sitting in the room where Beach was composing

or practicing, it is possible that Beach was expressing the struggle of remaining focused while

under observation by using material from “Empress of Night”—a song dedicated to her

(Example 2.12).65

The third movement of the concerto is based on Beach’s song, “Twilight,” Op. 2, No. 1

(Example 2.16). Beach’s husband also wrote these lyrics, movingly set as an undulating melody

over a funeral march rhythm in the accompaniment. “Twilight” is in E-flat minor, a dark and

gloomy key, befitting of Henry Beach’s mournful text:

No sun to warm

The darkening cloud of mist

But everywhere

The steamy earth sends up

A veil of gray and damp

To kiss the green and tender leaves

And leave its cool imprint

In limpid pearls of dew.

65 Ibid.

32

The blackened trunks and boughs

In ghostly silhouette

Mark grimly in the coming eve

The shadows of the past.

All sounds are stilled,

The birds have hushed themselves to rest

And night comes fast, to drop her pall

Till morn brings life to all.66

Beach uses the first seven measures of “Twilight” (Example 2.16) as Theme A of the third

movement of the concerto (Example 2.17). The third movement is in binary form, with Theme A

in F-sharp minor, a transition section in C-sharp minor, and back to Theme A in F-sharp minor.

There is a brief tonicization of A major in m. 33, descending chromatically to B-flat major in m.

39.67

The first statement of Theme A, drawn from mm. 1-7 of “Twilight” (Example 2.16),

occurs in the clarinet solo in the orchestra introduction (mm. 6-11) (Example 2.17). The opening

motive of the movement, however, played by the woodwinds in mm. 1-2, and repeated

throughout the movement, is taken from mm. 6-7 of “Twilight,” the setting of the words “But

everywhere” (Example 2.18).68

The fourth movement of the concerto, marked Allegro con scioltezza, meaning “loose,

free,”69 is in a modified sonata-rondo form. Instead of ABACA, the form of the fourth movement

is ABACBA.70 As thematic material, Beach uses mm. 47-53 of “Twilight” for Themes A and B.

Theme A is taken from mm. 47-53 of “Twilight”—“Till morn brings life to all” (Example 2.19),

66 Block, Amy Beach, 139. 67 Rushing, 54-55. 68 Block, Amy Beach, 139. 69 Blom and Fallows, 2001. 70 Rushing, 57-58.

33

and Theme C harks back to the third movement, using the first line of “Twilight,” mm. 1-7

(Example 2.16), as the melodic content of its lento section in mm. 124-128 (Example 2.22).71

Ex. 2.16. Beach, “Twilight,” Op. 2, No. 1, mm. 1-7. Employed as Theme A of the third

movement of the concerto.

71 Block, Amy Beach, 139-144.

34

Ex. 2.17. Beach, Mvt. III, mm. 6-11, clarinet solo. Theme A, taken from mm. 1-7 of “Twilight”.

Ex. 2.18. Beach, Mvt. III, mm. 1-2, “But everywhere” from “Twilight”, used as a

motive in the woodwinds.

Ex. 2.19. Beach, “Twilight,” Op. 2, No. 1, mm. 47-53, becomes Themes A and B of Mvt. IV of

the concerto.

35

For Theme A (Example 2.20) of the fourth movement of the concerto, Beach uses the

ascending third of “Till morn,” mm. 47 of “Twilight” (Example 2.19), developing it through

ascending scalar passages and figuration to extend three octaves. The fourth movement is in 6/8

meter and is in the style of a Chopin waltz.

Ex. 2.20. Beach, Piano Concerto, Mvt. IV, mm. 1-4, Theme A.

The second theme of the fourth movement of the concerto (Example 2.21) is an inversion

of the first theme. It is marked con grazia, creating a more carefree and lighthearted impression

than the first theme first stated mournfully in the clarinet solo (Example 2.17), and derived from

mm. 1.7 of “Twilight” (Example 2.19).72 After the busy activity of the first three sections (A, B,

A) there is a ritardando to lento and the first gloomy line of “Twilight” is reintroduced in mm.

125-128.73

72 Block, Amy Beach, 140. 73 Block, Amy Beach, 144.

36

Ex. 2.21. Beach, Piano Concerto, Mvt. IV, mm. 46-49, Theme 2.

The overall key relationship scheme of the fourth movement, C-sharp minor to D-flat

major, may be connected to the meaning of the text of “Twilight.” The last three measures,

“Brings life to all,” is marked religioso, which may indicate Beach’s religious beliefs and her

affiliation with the American transcendentalist movement, embodied by writers of the Boston

elite, such as Ralph Waldo Emerson and Mr. Beach Wadsworth Longfellow, with whom Beach

was personally acquainted. In addition, the last three measures of “Twilight” emulate a choral

cadence. All half notes, the slow pianissimo chords resolve a B flat V4/3, to the tonic, E-flat

major. The key relationship scheme of “Twilight” is also from a minor key to its relative major,

although in this case it is E-flat minor to E-flat major instead of C-sharp minor to D-flat major.

In this movement the tempo accelerates from the C section, lento mm. 124-147 (Example

2.22), in the next two sections––B (mm. 148-168) and A (mm. 168-184)––and the Coda (mm.

185-205) begins the build-up to a dazzling finish. The piano has brilliant octaves, ascending in

melodic fourths and fifths, while the timpanis beat eighth-note descending fourths from the tonic,

37

D flat, to the dominant, A flat. The trumpets crescendo from piano to forte, while the flutes and

oboes remain in the stratosphere, playing a G-flat6 resolving to F6 as the third of the tonic final

chord, D-flat major, is repeated in the two strong beats of the penultimate measure, and finally

held in the final measure under a dramatic fermata, creating a triumphant finish to a magnificent

concerto.

In an article published in the Musical Courier in 1915, Beach talks about her concerto,

“The first [movement], ‘Allegro’, is serious in character, piano and orchestra vying with each

other in the development of the two principal themes”.74 Throughout the concerto piano and

orchestra are struggling to achieve dominance. During the second movement the piano is

completely subjugated—it never rises to the surface of the texture. But by the end of the concerto

the piano achieves victory.

The third and fourth movements, based on “Twilight” (Example 2.16), with Henry

Beach’s dark text, begin in a bleak state of little movement, dark and foreboding, but emerge into

bright, jubilance with the piano’s exultant waltz, moving from the Lento third movement, in F

sharp minor, to C sharp minor, to D flat major. The piano begins in a subservient role but takes

the lead by the end of the work. In Amy Beach’s life, she struggled to have agency—many

decisions were made for her. But by the time she wrote her concerto she was able to make the

decision to perform solo. Viewing the concerto from an autobiographical perspective, perhaps

the use of songs connected with her mother and husband give expression to the struggles she

endured in achieving autonomy and the freedom to fully exercise her musical prowess.

74 Block, Amy Beach, 134.

38

Ex. 2.22. Beach, Piano Concerto, Mvt. IV, mm. 124-128, Theme C. Theme taken from

mm. 1-7 of “Twilight”.

39

Ex. 2.23. Beach, “Twilight”, Op. 2, No. 1, mm. 53-55.

40

CHAPTER 3

PERFORMANCE AND RECEPTION HISTORY OF BEACH’S CONCERTO, OP. 45

Although Beach’s concerto was dedicated to Teresa Carreño, the renowned pianist never

performed it. During Beach’s lifetime the only performances of the concerto other than those she

gave herself were by Dagmar de Corval Ruebner with the Washington Symphony Orchestra,

conducted by Heinrich Hammer in 1911, at the Columbia Theatre in Washington, DC, and by

Helen Pugh, a student of Mrs. Crosby Adams. Beach wrote a letter dated December 1st, 1928, to

Arthur P. Schmidt requesting that he send the score and parts to Pugh, stating that she “plays it

superbly.”75

The reviews of the first performance of Beach’s concerto in April 1900, with Beach

performing and Emil Paur conducting the Boston Symphony, were less than favorable. The

negative reception of Beach’s performance of her own concerto contrasted with Boston critics’

hearty admiration of Beach’s past performances. The Boston Journal published a negative

review of the Beach concerto’s premier by Philip Hale:

It is now a week since the concerto was played, with Mrs. Beach herself as the pianist,

and the disappointment of the first night is only deeper today. The concerto was a

disappointment in nearly every way. The structure was large, pretentious; there was an

overabundance of outside ornamentation, but the interior was bare and commonplace,

and there is a well-defined suspicion that the foundations and walls were not substantial.

The themes were not distinguished; the development was too often vague and rambling;

the moods, when there were moods, were those of other composers; thus the mood of the

opening [part] of the slow movement was palpably Wagnerian. The first movement was

long drawn out, and when there was the thought of the end, there was a curiously

unexpected and meaningless appendix. The scherzo was harmonically monotonous, and

75 Block, Amy Beach, 145, 346.

41

the finale—not one measure now remains in the memory. The orchestration was crude

and necessarily ineffective.76

At this point, although previously shielding Beach from criticism, there is reason to

believe that Mr. Beach did not keep unfavorable reviews from her, because she received a letter

from Teresa Carreño on May 25, 1900, supporting her against the criticism she was receiving:

[All] that you tell me about the first appearance of this “godchild” of mine has greatly

interested me, and as to the controversy in the matter of criticism, it is not exceptional

for, with every work of importance, criticism finds itself rather uncertain as to what to

say. How can it be otherwise? How can anyone, whilst listening to a musical, important,

complicated and long work be able to form a final opinion from one hearing? Or even

two? . . . . From the moment a work is serious and based on deeper thoughts and feelings

we must study it each one for ourselves, and try and grasp it into our soul and then we can

do it justice.77

76 Jenkins, The Remarkable Mrs. Beach, American Composer: A Biographical Account Based on Her Diaries,

Letters, Newspaper Clippings, and Personal Reminiscences (Harmonie Park Press, 1994), 48. 77 Block, Amy Beach, 1998, 145. Italics in original.

42

Recent Performance and Reception of Concerto, Op. 45

The concerto, and many of Beach’s other compositions, fell into obscurity until second-

wave feminism of the 1970s. At that point there was still no available published copy of the

concerto.78 The only available manuscript has been in the Fleisher Collection of the Free Library

of Philadelphia, available only to organizations, as the collection is not for lending.79 Finally,

however, as of May 10, 2018, an edition of the full score of the Beach concerto has become

available from Subito Music Corporation, with individual parts available for rent from Subito

Music Library Rental from Zinfonia.80

Until the pianist Mary Louise Boehm went to the Philadelphia Library to find the Beach

Concerto, there were likely no performances between Boehm’s in the 1970s and Beach’s last

performance of the Concerto, probably in the 1920s or 30s. For forty years, then, the concerto lay

forgotten. Boehm stated that the full score of the concerto was never published, thus Beach most

likely had copies of score and parts that she carried with her, as did Kalkbrenner.81

In Boehm’s interview with Dean Elder for a 1976 issue of Clavier, Elder states that the

Beach concerto is as good a composition as MacDowell’s Concerto in D minor. Boehm responds

that she believes the Beach is the better piece, but that since the full score was never published it

has not gotten the attention it deserves.82

The review of literature available regarding Beach (chapter 1), shows that scholarship on

Beach grew exponentially in the 1970s. She has been the subject of three conferences—the Amy

Beach Conference and Concert series, at the University of New Hampshire in October of 1998;

78 Trotman, accesssed September 26th, 2018, https://www.amybeach.org/. 79 Elder, 16. 80 Trotman, 2018. 81 Elder, 16. 82 Elder, 16.

43

the New England Conservatory Spring Festival, “Musical Boston a Century Ago,” in March

1999; and the “Beach Conference” at the Mannes School of Music in New York, December

1999.83 A more recent Beach Conference was held at the University of New Hampshire, in

September of 2017, in memory of Beach’s 150th birthday.84

In addition to Boehm’s recording of the Beach concerto, in 1976, Joanne Polk recorded

all of Beach’s solo music, released in 1998–1999. Polk also recorded the concerto with the

English Chamber Orchestra, which was released in 2000.85

Beach’s other works have been performed much more than her concerto; yet even her

songs and chamber music works are under-performed in comparison with similar works of

Beethoven and Brahms (among others) etched in the classical canon. However, more

enterprising orchestras and artists have bravely programmed Beach in recent years. For example,

in December 2004, the Chicago Tribune interviewed Alan Heatherington, director of the Ars

Viva and Lake Forest Symphony, regarding his choice of programming Amy Beach’s Gaelic

Symphony as part of their season.86A press release dated August 17, 2007 states that Debra

Voigt sang Amy Beach’s art songs at Ravinia on Thursday, Aug. 23, 2007.87 Another press

release, dated April 22, 2011 for the Chicago Tribune, states that Avalon String quartet

performed Amy Beach’s works at Gottlieb Hall in the Merit School of Music.88 And on June 2,

2016, a review was published of the Orion Ensemble performing Amy Beach on a program with

Brahms and Dvorak.89

83 Rushing, 64. 84 Trotman, 2017. 85 Rushing, 64. 86 Rhein, John von. 2004. “Alan Heatherington, A Man for All Music.” Chicago Tribune, December 26: 7-5. 87 Rhein, John von. 2007. "Music." Chicago Tribune, August 17: 7-17. 88 Rhein, John von. 2011. "John von Rhein Recommends." Chicago Tribune, April 22: 4-11. 89 Johnson, Lawrence. 2016. Chicago Classical Review. June 2. Accessed May 5, 2018.

44

Searching through conservatories’ digital media archives of live performances, Juilliard’s

reveals four performances of Beach’s songs by first and second year vocal students in 2005,

2012, 2014, and 2015, respectively.90 An Oberlin news search shows six performances of

Beach’s works in 2001 through 2018,91 and Eastman shows two, one in 2006 and one in 2018.92

Recent performances of the concerto include Troy High School’s Symphony Orchestra

performance of the first movement of the concerto with Karen Cao, soloist, conducted by Alan

McNair on May 21, 2015, in Troy, Michigan, which can be accessed on YouTube.93

In contacting several figures active in university piano departments, I found similarly

positive regard for Beach’s music, but, disappointingly, some responded in a way that shows

Beach still has few if any performances. On January 25, 2016, Geneva Stonecipher, an

undergraduate senior at the University of Georgia Athens’ Hugh Hodgson School of Music,

performed the Beach concerto with the school’s orchestra, conducted by Mark Cedel as a result

of UGA’s concerto competition.94 When asked “What was it like performing with the UGA

orchestra? . . . . How did you come to choose the Amy Beach concerto?” Stonecipher responded:

It was an awesome experience performing with the UGA orchestra. I heard Beach's

concerto around 3 years ago through a friend who was celebrating Beach's birthday and I

knew that I had to learn and perform it one day. In fact, I wanted to study it for the very

same reason why you took on this project––why don't [we know] more about this

fascinating composer and this incredible concerto?95

In email correspondence with Mark Cedel, I asked “ . . . do you have any thoughts on this

wonderful piece you would like to share with me? Were you familiar with the piece prior to

90 Juilliard Performance Recordings. Accessed December 3rd, 2018.

http://jmedia.juilliard.edu/digital/search/searchterm/amy%20beach/field/all/mode/all/conn/and 91 Oberlin News. Accessed December 3rd, 2018.

https://www.oberlin.edu/search/google/edward%20macdowell#gsc.tab=0&gsc.q=edward%20macdowell&gsc.sort= 92 Eastman School of Music News. Accessed December 3rd, 2018.

https://www.esm.rochester.edu/news?s=amy+beach 93 Tu, John. 2015. www.youtube.com. May 21. Accessed September 27, 2017. 94 University of Georgia, “Music”, 2016. 95 Geneva Stonecipher, email correspondence with author, January 3rd, 2018.

45

performing it with Ms. Stonecipher?” Cedel responded, “We did just the first movement of the

concert. It’s beautiful, very well written. I’d never heard it before.”96

Rosangela Sebba a piano professor at Mississippi State University, when asked if she or

any of her students had performed works by Amy Beach, responded: “. . . I have never

performed (solo or collaborative) or taught any of her works. I don’t think I heard any of her

works being performed on campus and I have been here for 17 years.” Heidi Louise Williams, a

professor of music at Florida State University, replied similarly: “I have never played any

of Beach's music; I think one of my former students, Beibei Lin, has played the violin sonata. I

did email her to ask but didn't hear back . . .”97

In 2015, Jihong Park, a graduate of Florida Atlantic University, performed Beach’s

Quintet. A recording was uploaded to Youtube on February 6, 2015.98

A piano professor of the University of Miami, when asked if she or any of her students

have performed works by Amy Beach, stated, “I know some former students who played the

viola sonata by Beach, but otherwise, I don’t recall any other . . . .”99

Most recently, with the advent of the new published edition of the full score of the Beach

concerto, the Royal Stockholm Philharmonic Orchestra has programmed the Beach concerto in

their 2017-2018 season.100

Meanwhile, by way of comparison, MacDowell’s D minor concerto has been in print

since 1890, by Breitkopf and Hartel. MacDowell greatly benefited from his ability to study in

96 Mark Cedel, email correspondence with author, January 18th, 2018. 97 Heidi Louise Williams, email correspondence with the author, December 22, 2017. 98 Park, Jihong. 2015. Youtube. February 6. Accessed September 26, 2018.

https://www.youtube.com/watch?v=v8XbTyWY-4w. 99 University of Miami Piano Professor, correspondence with the author, January 22, 2018. Likely conflating the

Rebecca Clarke Viola Sonata, written in 1919 with the Amy Beach Violin Sonata. 100 Barber, Valerie. 2018. Konserthuset Stockholm. May. Accessed September 26, 2018.

https://www.konserthuset.se/en/royal-stockholm-philharmonic-orchestra/press/.

46

Europe as a young music student. He was able to meet Liszt in person, which instantly connected

him to Breitkopf and Hartel,101 whom Liszt introduced to MacDowell and who almost

immediately published MacDowell’s Second Modern Suite, Op. 14.102 MacDowell was also able

to begin performing his Piano Concerto No. 2 earlier than was Beach; in fact, he performed the

work at the great Paris Exposition of 1889. MacDowell died much earlier than Beach, in 1908 at

age 47.

Another advantage MacDowell’s Piano Concerto No. 2 enjoyed was that Teresa Carreño,

the dedicatee of the work, performed it early on, with conductor Theodore Thomas, in 1888, in

Chicago, and also in Leipzig.103

The availability of the MacDowell score thus followed, published by Breitkopf and

Härtel in 1890.104 Indeed, an internet search for the full score of MacDowell’s Concerto No. 2

reveals its availability from no fewer than five publishers, whereas only this year did the full

score of Beach’s concerto become available from any publisher.

In searching for recordings of Beach’s works, nine exist on the website of Arkiv Music,

whereas there are 113 recordings of works by MacDowell, and eight recordings of the Concerto

No. 2, by pianists Donna Amato, Van Cliburn, Eugene List, Frances Nash, Stephen Prutsman,

Seta Tanyel, Thomas Tirino, and Andre Watts.105 Until the last few years, only two professional

recordings of the Beach concerto were available. Currently, four are listed as commercially

available at Arkiv Music, including performances by pianists Mary Louise Boehm and Danny

Driver in addition to two recordings by pianist Alan Feinberg.

101 Nicholas, 2001. 102 Kefferstan, 12. 103 Kefferstan, 71. 104 Nicholas, 2001. 105 Arkiv Music. Accessed December 3rd, 2018. http://www.arkivmusic.com/classical/Name/Edward-

MacDowell/Composer/7466-1#drilldown_recordings

47

Conclusion

The Beach concerto deserves to have a higher place in the performance canon than it

currently occupies because it is a well-constructed work with great depth of emotion and many

layers of meaning—it has much to offer an audience. It contains a great variety of themes and

sophisticated compositional techniques, involving a wide range of textures in the orchestration.

The Beach concerto has four movements whereas the MacDowell has three. The nature of the

Beach concerto is more serious than the MacDowell, which unfairly hurt its reception. Critics

judged the Beach concerto harshly, stating that it was too complex and that the piano part was

too obstructed. The style of the MacDowell is more entertaining, like a Liszt or Saint-Saens

concerto, full of color and affect, whereas the Beach is more rigorous and Brahmsian, which

does not make the Beach a lesser work.

MacDowell benefited from the difference in social pressure relating to gender. He

enjoyed the freedom to study in Europe and gained valuable connections Beach was never able

to obtain. His work did not undergo the obscurity of Beach’s. He was known at one time as the

foremost composer of the US, whereas Beach was known simply as the foremost female

composer of the US. But only a handful of women were able to surmount the obstacles of

gaining the harmony and counterpoint instruction necessary to compose on this level, not to

mention the financial and emotional support for such a career in music.

Sadly, our society is only now adjusting to the inequities of our history, but it is

encouraging that Beach’s works have garnered more attention in recent years. Indeed, we might

also take heart in the Royal Stockholm Philharmonic’s press release:

Our new season includes works by some forty female composers, not to fill gender

quotas but because they are excellent pieces of music. . . . We are focused on renewing

the repertoire in the best possible way through commissioning new works and exploring

48

neglected compositions. We’re also determined to discover outstanding music by women,

pieces that are rarely if ever performed.106

Music schools, performing organizations, teachers, and performers, of all levels of ability

and in all communities, would do well to follow this example, and thus support all good musical

works equally. The Beach concerto is unique in its potentially autobiographical nature and its use

of Beach’s vocal works as thematic material. It is a microcosm of Beach’s time, and it shares a

message of one woman’s ascendance to a higher place in the music world than was previously

occupied. We should celebrate this benchmark in the performance canon for its quality as a

composition as well as for its significance to humanity.

106 Barber, 2018.

49

REVIEW OF LITERATURE

In the following literature review I list available works with annotations in chronological

order. Chapter 1 also includes a background of Amy Beach.

In an early article on Amy Beach, entitled “Musical Creative Work Among Women,”

dated 1896, Mrs. Crosby Adams portrays the composer as the most well-trained and erudite of

the female composers mentioned in the article. She also describes Beach’s development as a

composer.107

Further articles written during Beach’s lifetime include Helen A. Clarke’s “The Nature of

Music and Its Relation to the Question of Women in Music,” published in 1895, where Clarke

hypothesizes that if women receive an adequate music education, they too could enter the world

of composition.108 In 1909, C. A. Browne’s article, “Girlhood of Famous Women in Music,” was

published in The Etude, discussing many notable female musicians, including Amy Beach,

though focusing on her early years and marveling at how her faculties bloomed at such a young

age.109 In 1912, Arthur Wilson’s article, “Mrs. H. H. A. Beach: A Conversation on Musical

Conditions in America” was published in The Musician, in which he conveys Beach’s opinions

that obtaining a music education in America is better than receiving it abroad, that performers are

107 Adams, Mrs. Crosby, Music 9 (January, 1896), 163-72. 108 Helen A. Clarke, “The Nature of Music and Its Relation to the Question of Women in Music,” Music 7 (March,

1895): 453-61. 109 Cooke, “Girlhood of Famous Women In Music”, 1909.

50

of less value to a student’s music education than are their teachers, and her thoughts about the

compositions she is the most proud of.110

In 1914, an interview with Amy Beach, “Why I Chose My Profession: The

Autobiography of a Woman Composer: An Interview Written by Ednah Aiken,” was printed in

Mother’s Magazine. In this interview, Beach discusses her background, education, and her

mother’s influence.111

The Etude published Beach’s article, “Work Out Your Own Salvation,” in 1918, in which

Beach endorses learning from the pillars of the classical tradition such as Beethoven. She

advocates the approach she took, which was to notate music from memory and listen to good

orchestras. Her goal in giving this advice is to help composers and pianists become self-

reliant.112

In 1923, Oscar G. Sonneck wrote “American Composers and the American Music

Publisher,” published in The Musical Quarterly. Sonneck presented his ideas regarding what he

saw as an issue of publishers prioritizing European over American composers, in choosing

compositions to publish during the Music Teachers National Association meeting held December

28, 1922. Sonneck advocates that American composers, such as Beach, Chadwick, and Foote,

should occupy the same position in the music publishing world as European composers.113

In 1925, William Treat Upton’s article, “Some Recent Representative American Song

Composers,” was published in The Musical Quarterly. In this article Upton reviews the major

110 Wilson, 1912. 111 Tick, 1983. 112 Cooke, The Etude Magazine, 1918, 11-12. 113 Sonneck, 1823.

51

song composers between 1875–1925. He praises Beach’s “Ah, love, but a day,” as “a truly

distinctive song in its sincerity and depth of feeling.”114

In 1928 Burnett Corwin Tuthill’s article, “Fifty Years of Chamber Music in the United

States,” was published in the Music Teachers National Association Proceedings. Tuthill ranks

Beach with George Chadwick and Arthur Foote as a composer of chamber music. He states that

Beach’s Piano Quintet, Violin Sonata, and Variations for Flute and String Quartet should be

performed more frequently.115

In The Etude’s “An American Genius of World Renown: Mrs. H. H. A. Beach,”

published in 1928, Mrs. Crosby Adams describes her in-person interaction with Beach, in which

the composer impressed her with her warmness and interest in others. She also states that Dr. H.

H. A. Beach, proud of his wife’s beautiful playing, had remarked that he was “content to be the

tail to her kite.”116

In 1931 The Boston Symphony Orchestra: 1881–1931, by Mark Anthony DeWolfe

Howe, was published, a history and record of the activities of the Boston Orchestra, in which

Howe lists two performances by the Boston Symphony of Beach’s Piano Concerto and two

performances of her Gaelic Symphony.117

Also in 1931, Arthur Elson and Everett E. Truette’s Woman’s Work in Music appeared,

an assessment of women’s accomplishments in the music world, compared to men’s

accomplishments. They view Beach as the sole example of a “legitimate” American female

composer.118

114 Upton, 1925. 115 Tuthill, 1928. 116 Cooke, The Etude Magazine, 1928, 34. 117 Howe, 1931. 118 Elson and Truette, 1931.

52

A written report, printed in the Music Teachers’ National Association Proceedings 26, in

1931, documents Beach’s views of a division between the cerebral in music versus the

emotional. Beach postulates that in order for a composition to be convincing, both must work

together.119

In 1932 Sumner Salter’s article, “Early Encouragements to American Composers,” was

published in The Musical Quarterly. Salter describes the activities of a young Music Teachers

National Association, the National Federation of Music Clubs, the Manuscript Society, and other

music organizations striving to promote American composers. Amy Beach is mentioned as one

of the active members of MTNA.120

Beach, in the Music Teachers’ National Association Proceedings 27, published in 1932,

calls for funding for the MacDowell Colony and describes its importance. She thanks the

MacDowell Colony for its support of her work and lauds Mrs. MacDowell, its founder, for her

efforts.121

In 1932 in that year’s issue, No. 50, of The Etude, Amy Beach is featured in a page of

portraits of “The Etude Historical Musical Portrait Series—An Alphabetical Serial Collection of

the World’s Best Known Musicians.” On this page, The Etude states, “This series will be

continued alphabetically until the entire history of music is adequately covered. Start making a

collection now. Nothing like this has ever hitherto been issued.” The description under the photo

of Beach states that she is best known for her songs and piano compositions.122

119 Beach, “Emotion Versus Intellect In Music”, 1931. 120 Salter, 1932. 121 Beach, Twenty-Fifth Anniversary Of A Vision, 1931. 122 Cooke, The Etude Magazine, 1932, 160.

53

The Etude also chose Beach as a featured composer of piano music, in September 1937,

in their article, “A Favorite Composer: Mrs. H. H. A. Beach.” They included a brief biography

and overview of her most popular pieces.

Burnett Corwin Tuthill wrote an article on Beach in 1940 for The Musical Quarterly,

entitled “Mrs. H. H. A. Beach.” He uses Beach’s String Quartet as an example of the ways in

which Beach connects romantic and modern styles of composition.123

In 1943, Beach was interviewed for The Etude in an article entitled, “The ‘How’ of

Creative Composition—A Conference with Mrs. H. H. A. Beach—Distinguished and Beloved

American Composer—Secured expressly for The Etude by Benjamin Brooks.” In this article,

Beach enjoins young composers to “…write—Write all you can! If you have a Theme 2uzzing

around in your head, set it down on paper as quickly as you can. Then look at it. It is extremely

helpful to look at one’s notes, not merely to listen to them inside one’s mind.”124 She also notes

that “I do not recommend my system of study to the average student. It requires determination

and intensive concentration to work alone, and those who are not equipped for it would go

seriously afield. I have the greatest respect for formal educational guidance in music, even

though I have been able to assert myself without it. The average student needs guidance, and to

him I say, “If you have a good teacher, let your first step be to follow instructions and do as you

are told!”125

In 1944, during World War II, Beach was featured in “Among the Composers,” an article

in The Etude. In the article Beach is quoted as saying, “‘We who sing have walked in glory.’

What more can we say about singing than that? And was there ever a time when singing was

123 Tuthill, “Mrs. H. H. A. Beach”, 1940. 124 Cooke, The Etude Magazine, 1943, 208. 125 Cooke, The Etude Magazine, 1943, 151-208.

54

needed more badly than now?” Beach also recommends music as a panacea for the ills of the

war.126

In 1945, Musical America published “Mrs. Beach, Leading American Woman Composer,

Dies at 77.” The article reports Beach’s death, on December 27, 1944 in New York, in her home.

It includes a list of Beach’s more prominent works and a brief biography.127

In 1957, Helen J. Bean’s article, “Women in the Music House”, was published in

American Music Teacher. In it, Bean lauds Beach as the forerunner of professional female

musicians. She also discusses the growing acceptance of women in the music world.128

In the 1963 dissertation, “Mrs. H. H. A. Beach: Her Life and Music”, E. Lindsey Merrill

attempts to discover whether or not Beach’s compositional approach is the result of the time

period in which she lived and the gender bias surrounding her. Merrill incorporates assessments

by psychologists as well as detailed charts of musical analyses.129

In 1973, Karl Krueger’s book The Musical Heritage of the United States: The Unknown

Portion, was published. Krueger’s goal in this work is to bring attention to lesser-known

American composers. He includes a biography of Beach and discusses her Gaelic Symphony in

addition to other pieces.130

Judith E. Carman, William K. Gaeddert, and Rita M. Resch’s Art-song in the United

States, 1801–1976: An Annotated Bibliography appeared in 1976. Nine of Beach’s songs are

presented and her compositional style is examined. Detail is provided regarding the length of

each song, its character, the key of each song, and the setting for which it is intended.131

126 Cooke, The Etude Magazine, 1944, 11-12. 127 Eyer, 1945. 128 Bean, 1957. 129 E. Lindsey Merrill, “Mrs.. H. H. A. Beach: Her Life And Music,” (PhD diss., The University of Rochester,

Eastman School of Music, 1963). 130 Krueger, 1973. 131 Carman, Gaeddert and Resch, 1976.

55

Richard Freed’s “The Piano Works of Mrs. H. H. A. Beach: Demonstrating the

Irrelevance of Gender” appeared in a 1975 issue of Stereo Review. Freed compares Beach’s

works to those of male composers and argues that Beach deserves more recognition.132

And, as mentioned in chapter 1, in 1976 Clavier published Dean Elder’s “Where Was

Amy Beach All These Years? An Interview with Mary Louise Boehm.” Elder describes the

resurgence of interest in Beach’s music after falling into obscurity for years and credits the

pianist, Boehm, in assisting in their revival by recording Beach’s Piano Quintet. Elder includes a

list of Beach’s works at the end of his article.133

In 1977 Myrna Garvey Eden’s dissertation, “Anna Hyatt Huntington, Sculptor, and Mrs.

H. H. A. Beach, Composer: A Comparative Study of Two Women Representatives of The

American Cultivated Tradition in the Arts”, was published. In this document, Eden examines

Huntington’s and Beach’s works in the context of the existing canon. Eden’s goal was to garner

new interest in Huntington’s and Beach’s output since their presence had waned before the

revival in interest that occurred in the 1970s. She includes a list of recordings, a thorough

bibliography, and a catalog of works. 134

In 1978 Susan Stern wrote a listing for Beach in the reference work, Women Composers:

A Handbook. The purpose of this work is to provide exposure for female musicians who have

had music published, been awarded honors, or whose music has been performed publicly.135

132 Freed, Richard. 1975. “The Piano Works of Mrs. H. H. A. Beach: Demonstrating the Irrelevance of Gender.”

Stereo Review 35, December: 82-83 133 Elder, 1976. 134 Myrna Garvey Eden, “Anna Hyatt Huntington, Sculptor, and Mrs. H. H. A. Beach, Composer: A Comparative

Study of Two Women Representatives of The American Cultivated Tradition in the Arts,” (PhD diss., Syracuse

University, 1977). 135 Stern, 1978.

56

Also published in 1978, JoAnn Skowronski’s work, Women in American Music: A

Bibliography, includes literature pertaining to Amy Beach.136

In 1979, Adrienne Fried Block, who became the foremost Beach scholar, and Carol

Neuls-Bates’ book, Women in American Music: A Bibliography of Music and Literature, was

published. Block inserted many citations regarding Beach, as well as a thorough list of Beach’s

works.137 Also in 1979, Block’s introduction to Mrs. H. H. A. Beach’s Quintet in F-Sharp Minor,

for Piano and Strings, Op. 67 was published. Block characterizes the style of the Quintet as

exemplifying Beach’s middle period. She includes an analysis of the piece and describes its

reception history, particularly as one of the most-performed of Beach’s works.138

In 1980 Christine Ammer’s book, Unsung: A History of Women in American Music, was

published. Ammer devotes a lengthy section to Beach and discusses the “Amy Beach Clubs,”

which emerged in the early 20th century.139

In 1981 the Indiana Theory Review published Rose Marie Chisholm Flatt‘s “Analytical

Approaches to Chromaticism in Amy Beach’s Piano Quintet in F sharp Minor.” Flatt provides

an overview of chromaticism in the late nineteenth century, showing how Beach’s quintet

employs these precepts. Flatt includes charts of her analysis and excerpts from the quintet.140

Also in 1981, Marcelle Vernazza’s article, “Amy Beach and Her Music for Children”,

was published in the American Music Teacher, discussing how Beach, without sacrificing her

rich harmonic language, was able to create technically accessible pieces for young pianists with

smaller hands in her Children’s Album, Op. 36, and her Children’s Carnival, Op. 25.141

136 Skowronski, 1978. 137 Adrienne Block and Carol Neuls-Bates. 1979. Women in American Music: A Bibliography of Music and

Literature. Westport, Connecticut, and London: The Greenwood Press. 138 Block, “Introduction”, 1979. 139 Ammer, 1980. 140 Flatt, 1981. 141 Vernazza, 1981.

57

In 1982 Sylvia Glickman’s introduction to Amy Beach Piano Music,

a collection of Beach’s virtuoso compositions, was published by Da Capo Press. In Glickman’s

introduction she provides a brief biography of Beach and analyzes the pieces in this collection.142

Also in 1982, Carol Neuls-Bates’ article, “A Corollary to the Question: Sexual Aesthetics

in Music Criticism”, was published in Women in Music: An Anthology of Source Readings From

the Middle Ages to the Present. Neuls-Bates examines late-nineteenth-century views of Beach’s

works through news articles regarding the Boston Symphony Orchestra’s 1898 performance of

Beach’s Gaelic Symphony.143

In 1983, Lindsey Merrill, the dean of the University of Missouri-Kansas City

Conservatory of Music, invited MTNA to see the UMKC’s performance of Cabildo, Beach’s

only opera, in American Music Teacher, a publication of MTNA. Merrill mentions that Beach

was a longstanding member of MTNA and gives a brief biography, as well as summarizing the

opera’s plot and compositional style.144

Felicia Ann Piscitelli chose Beach’s works as the topic of her dissertation for her PhD at

the University of New Mexico, published in 1983. Her dissertation, “The Chamber Music of

Mrs. H. H. A. Beach (1867–1944),” describes the evolution of Beach’s style, beginning as a pure

late-Romantic style and developing to include more modern influences.145

Also in 1983, Judith Tick’s book, American Women Composers before 1870, was

published. It was one of the first books written regarding female American composers before

142 Glickman, 1982. 143 Neuls-Bates, 1982. 144 Merrill, L., 1982. 145 Piscitelli, 1983.

58

1870. Tick discusses the views toward women conveyed in etiquette books, women’s lack of

access to a formal music education, and how they were trained musically.146

Block attempts to answer the question of why Beach arose to prominence during her

lifetime in “Why Amy Beach Succeeded as a Composer: The Early Years.” Current Musicology

published Block’s article in 1983. Block hypothesizes that Mr. Beach contributed to Amy’s

success by providing for her.147

In 1984, for Vol. 2 of the series The Musical Woman: An International Perspective,

1984–85, edited by Judith Lang Zaimont, Adrienne Fried Block wrote “Arthur P. Schmidt,

Music Publisher and Champion of American Women Composers,” discussing Schmidt’s part in

promoting American Women Composers, especially Beach. The Arthur P. Schmidt collection at

the Library of Congress contains many works by female composers, most of them by Beach.148

A discography including Beach’s works, published in 1984, and compiled by Aaron

Cohen, was entitled International Discography of Women Composers, and includes detailed

information on Beach’s works recorded on LP.149

In 1985 Marmaduke Sidney Miles’s dissertation as part of their PhD “The Solo Piano

Works of Mrs. H. H. A. Beach” appeared.150 Miles gives an overview of Beach’s approach to

composition by discussing her earliest to her latest pieces and following Beach’s style as it

changed from the beginning to the end of her life.151

146 Tick, 1983. 147 Block, “Why Amy Beach Succeeded as a Composer: The Early Years,” Current Musicology, No. 36 (1983): 41-

59. 148 Block, “Arthur P. Schmidt, Music Publisher and Champion of American Women Composers”, 1984-85. 149 Cohen, 1984. 150 Marmaduke Sidney Miles, “The Solo Piano Works of Mrs. H. H. A. Beach,” (PhD diss., Peabody Institute of the

Johns Hopkins University, 1985). 151 Miles, 1985.

59

In 1987, ten years after her dissertation on Anna Huntington and Amy Beach, Myrna

Garvey Eden’s Energy and Individuality in the Art of Anna Huntington, Sculptor and Amy

Beach, Composer was published. Eden’s goal was to promote the worth of Huntington and

Beach in the arts world. She discusses the ways in which Beach and Huntington extend the

tradition of romanticism in their respective genres, taken in part from her dissertation. An

addition to her previous document is a number of photographs of Huntington’s sculptures and

Beach’s musical scores.152

The 1987 edition of Judith Lang Zaimont’s book, The Musical Woman: An International

Perspective, provides charts and lists of female composers and performers’ activities in music,

including Beach’s.153

Adrienne Fried Block analyzes Beach’s works A Hermit Thrush at Morn, Elle et moi, and

Symphony in E Minor, and includes a biography for the section on Beach in the anthology,

Historical Anthology of Music by Women (1987), edited by James R. Briscoe.154

Diane Peacock Jezic included a section on Beach entitled “Amy Marcy Cheney Beach

(1867–1944) in her Women Composers: The Lost Tradition Found (1988). This section includes

a short biography, a timeline, a bibliography, a brief discography, and a list of Beach’s works.155

In 1989, Leslie Petteys’ article, “Cabildo by Amy Marcy Beach”, was published in the

Opera Journal. In the article, Petteys describes the compositional process of Beach’s opera,

finished in 1932 but not performed until 1945. Petteys also includes an analysis of the work and

identifies its main themes.156

152 Eden, Energy and Individuality In The Art of Anna Huntington, Sculptor, And Amy Beach, Composer, 1987. 153 Zaimont, 1987. 154 Block, “Amy Marcy Beach (1867-1944)”, 1987. 155 Jezic, 1988. 156 Petteys, 1989.

60

Block wrote “Amy Beach’s Music on Native American Themes” for American Music

(1990), in which Block analyzes Beach’s String Quartet, Op. 89, placing it in the context of the

revival of interest in folk song, stemming from the Columbian Exposition in Chicago in 1892.157

Also in 1990, Block’s article, “Dvorak, Beach, and American Music”, was published in

the anthology A Celebration of American Music: Words and Music in Honor of H. Wiley

Hitchcock, edited by Richard Crawford, R. Allen Lott, and Carol J. Oja. Block explained how

Beach responded to Dvorak’s call on American composers to use native folk music in their work,

by writing the Gaelic Symphony, employing Anglo-American folk music.158

In Sylvia Glickman’s introduction to American Women Composers: Piano Music from

1865–1915, published in 1990, she mentions the emergence of the “Mrs. Beach” clubs and

discusses Sous les Etoiles, among other works by Beach.159

Ann E. Feldman details the activities of women composers at the World’s Columbian

Exposition in her 1990 publication, “Being Heard: Women Composers and Patrons at the 1893

World’s Columbian Exposition.”160 Feldman revealed that Amy Beach was not the first female

composer whose works were performed by the Boston Symphony. Margaret Lang’s Dramatic

Overture was performed on April 7, 1893, whereas Beach’s Gaelic Symphony, the second work

by a woman performed by the Boston Symphony, was performed October 30, 1896.161

Nicholas E. Tawa wrote The Coming of Age of American Art Music: New England’s

Classical Romanticists (1991), discussing the cultural framework, musical education, and family

of Amy Beach, among other composers of New England.162

157 Block, “Amy Beach’s Music on Native American Themes”, 1990. 158 Block, “Dvorak, Beach, and American Music”, 1990. 159 Glickman, “Introduction”, 1990. 160 Ann Feldman, “Being Heard: Women Composers and Patrons at the 1893 World’s Columbian Exposition,”

Notes: The Quarterly Journal of the Music Library Association 47 (September 1990): 7-20. 161 Feldman, 1990. 162 Tawa, 1991.

61

Linda Whitesitt’s 1991 “‘The Most Potent Force’ in American Music: The Role of

Women’s Music Clubs in American Concert Life” aims to provide a thorough overview of

women’s activities in music over time, from as early as the Renaissance. Whitesitt discusses the

women’s music clubs that existed during Beach’s time, and quotes Beach, “I can not express too

strongly my belief in the value of women’s clubs as a factor in the development of our

country.”163

Also in 1991, Carolyn Livingston’s “Characteristics of American Women Composers:

Implications for Music Education” appeared in Update: Applications of Research in Music

Education. Livingston compares the lives of American women composers, including Beach. She

characterizes these composer’s traits and discusses how their examples can be used to motivate

young women in music education.164

In 1992 Gail Smith’s introduction to a collection of Beach’s piano music entitled The Life

and Music of Amy Beach: “The First Woman Composer of America,” was published. Smith

describes Beach’s life, includes photographic illustrations, and discusses previously unpublished

early works.165

In 1992, Douglas Bomberger’s “Motivic Development in Amy Beach’s Variations on

Balkan Themes, Op. 60” appeared in American Music. In this article he describes the origins of

the Balkan folk songs on which Beach based her Variations. He examines the political

implications of the folk songs and provides a thorough analysis. He also describes the four

163 Linda Whitesitt. 1991. “‘The Most Potent Force’ in American Music: The Role of Women’s Music Clubs in

American Concert Life.” in The Musical Woman: An International Perspective, edited by Judith Lang Zaimont,

663-81. New York, Westport, Connecticut and London: Greenwood Press. 164 Livingston, 1991. 165 Smith, 1992.

62

versions of the Variations, assessing the 1906 and original version as the best. He states that

Beach edited the Variations for extra-musical, financial reasons.166

Mary Katherine Kelton wrote her dissertation for her PhD on Beach’s songs, entitled,

“The Songs of Mrs. H. H. A. Beach,” published in 1992. Kelton includes a thorough biography

and discusses Beach’s 117 songs and their sources, which include the MacDowell Colony

Collection, the Beach Collection in the University of New Hampshire Library, and the Schmidt

Collection in the Library of Congress. Kelton identifies Beach’s style periods and places her

songs within this context.167

In 1993, Elizabeth Ann Sears discusses the songs of Foote, Beach, and MacDowell in her

dissertation entitled, “The Art Song in Boston, 1880–1914.”168

Also in 1993, Laurel Keddie Verissimo’s thesis, “Amy Beach: Her Life, Times and

Music”, was published. Verissimo investigates Beach’s success and introduces the Theme and

Variations, Op. 80, which had not yet been published.169

In 1993, Adrienne Fried Block’s reply to Bomberger’s article appeared in American

Music as “Communications: on Beach’s Variations on Balkan Themes, Op. 60.” Block argues

that Beach shortened her Variations on Balkan Themes, Op. 60 for musical, not financial,

reasons.170

Also in 1993, Claudia MacDonald’s “Critical Perception and the Woman Composer: The

Early Reception of Piano Concertos by Clara Wieck Schumann and Amy Beach” appeared in

166 Bomberger, 1992. 167 Kelton, 1992. 168 Elizabeth Ann Sears, “The Art Song in Boston, 1880-1914,” (PhD diss., The Catholic University of America,

1993). 169 Verissimo, 1993. 170 Block, “Communications: On Beach’s Variations on Balkan Themes, Op. 60”, 1993.

63

Current Musicology. MacDonald compares the reception of Wieck and Beach’s concertos to

their male contemporaries.171

Geralyn Schultz’s 1994 examination of the ways in which Beach combined traditional

femininity with new ideals of women’s independence and self-reliance is entitled, “Influences of

Cultural Ideals of Womanhood on the Musical Career of Mrs. H. H. A. Beach.172

Also in 1994, Adrienne Fried Block’s “A ‘Veritable Autobiography?’: Amy Beach’s

Piano Concerto in C Sharp Minor, Op. 45 appeared in The Musical Quarterly. This article

became part of her book, Amy Beach, Passionate Victorian: The Life and Work of an American

Composer, 1867–1944 (year]). Block discusses Beach’s conflict between her desire to perform

and her desire to please her mother and husband, and how this conflict manifests in her

concerto.173

In 1994, Block’s “Introduction to Amy Beach’s Quartet on Inuit Themes: Toward a

Modernist Style” appeared in the compilation Music of the United States of America. Block

discusses Beach’s use of folk songs for this work, and states that the string quartet was written at

the height of Beach’s fascination with folk song.174

Walter S. Jenkins’ definitive work, The Remarkable Mrs. Beach, American Composer: A

Biographical Account Based on Her Diaries, Letters, Newspaper Clippings, and Personal

Reminiscences, was published in 1994. Jenkins, who was also a composer and knew Beach

personally, passed away in 1990, before the book could be published. However the editor, John

H. Baron, finished the book and published it four years later. Jenkins give in-depth biographical

171 MacDonald, 1993. 172 Geralyn Schultz, “Influences of Cultural Ideals of Womanhood on the Musical Career of Mrs. H. H. A. Beach,”

(Master’s thesis, University of Wyoming, 1994). 173 Block, “A ‘Veritable Autobiography’?: Amy Beach’s Piano Concerto in C Sharp Minor, Op. 45”, 1994. 174 Block, “Introduction to Amy Beach’s Quartet on Inuit Themes: Toward a Modernist Style”, 1994.

64

detail on Beach’s life and discusses each of her major works. He also includes an analysis of the

Gaelic Symphony.175

Amy Beach and Her Chamber Music: Biography, Documents, Style, by Jeanell Wise

Brown, was also published in 1994. Brown describes pre-twentieth-century Boston and details

the compositional style of Beach’s chamber music.176

Cecelia Reclaimed: Feminist Perspectives on Gender and Music ([year]), edited by Susan

C. Cook and Judy S. Tsou, contains a section by Adrienne Fried Block entitled “The Child is the

Mother of the Woman: Amy Beach’s New England Upbringing.” Block uncovers previously

unknown conflicts between Beach and her mother, those discovered in a recently unearthed

autobiographical sketch.177

Lorraine Wanlass Wood’s master’s thesis entitled “Musical Keys to Success: A

Historical-Philosophical Study of the Life and Work of Amy Beach, American Composer,” was

published in 1995. Wood discusses the influence of Beach’s era on her formation and examines

the reasons for Beach’s success, crediting Beach’s individual beliefs as a factor.178

Barbara Jean Reigles chronicles Beach’s performing career and performances of her

works, as well as providing background on the state of choral music in America in her

dissertation, entitled “The Choral Music of Amy Beach”. Reigles also lists Beach’s choral works

and categorizes them by level of difficulty.179

175 Jenkins, 1994. 176 Brown, 1994. 177 Block, “The Child is Mother of the Woman: Amy Beach’s New England Upbringing”, 1994. 178 Lorrain Wanlass Wood, “Musical Keys To Success: A Historical-Philosophical Study of the Life and Work of

Amy Beach, American Composer,” (Master’s thesis, Brigham Young University, 1995). 179 Barbara Jean Reigles, “The Choral Music of Amy Beach, (PhD diss., Texas Tech University, 1996).

65

Carla Anita Miller’s master’s thesis, entitled “A Pedagogical Perspective on Selected

Piano Music of Amy Beach,” analyzes Beach’s Children’s Carnival, Op. 25, 1–6, assessing the

pedagogical level of each piece.180

Mary Katherine Kelton wrote “Mrs. H. H. A. Beach and Her Songs for Solo Voice” for

the Journal of Singing, published in 1996, and discusses the reasons for the long obscurity of

Beach’s songs and the gender bias she faced. Kelton also analyzes Beach’s songs and advocates

that they be taken seriously and not dismissed as “parlor songs” as they were often classified

during her time.181

In her dissertation, entitled “Pedagogical Analysis and Sequencing of Selected

Intermediate-Level Solo Piano Compositions of Amy Beach,” published in 1996, Donna

Elizabeth Congleton Clark organizes for pedagogical purposes some of Beach’s more accessible

works for piano students. Clark selects works from Beach’s The Children’s Album, Op. 36, From

Six to Twelve, Op. 119, Four Eskimo Pieces, Op. 64, and Scottish Legend, Op. 54, No. 1.182

Also in 1996, Elizabeth Moore Buchanan published her master’s thesis, entitled “The

Anthems and Service Music of Amy Beach Published by the Arthur P. Schmidt Company.”

Buchanan describes the religious climate directly preceding Beach and contextualizes Beach’s

worship music, such as Beach’s Te Deum, Op. 63a, and Canticle of the Sun, Op. 123.183

180 Carla Anita Miller, “A Pedagogical Perspective on Selected Piano Music of Amy Beach,” (Master’s thesis,

Western Carolina University, 1996). 181 Kelton, “Mrs. H. H. A. Beach and Her Songs for Solo Voice”, 1996. 182 Clark, 1996. Clark received her DMA in Piano Pedagogy from the University of South Carolina. 183 Elizabeth Moore Buchanan, “The Anthems and Service Music of Amy Beach Published by the Arthur P. Schmidt

Company,” (Master’s thesis, The American University, 1996).

66

Stephen Paul Burnaman’s “The Solo Piano Music of Edward MacDowell and Mrs. H. H.

A. Beach: A Historical Analysis” compares Beach and MacDowell. He provides a history of

American music and analyzes Beach and MacDowell’s compositional styles.184

In 1998, Paula Ring Zerkle’s dissertation entitled, “A Study of Amy Beach’s Grand Mass

in E flat Major, Op. 5” appeared. The mass is notable as the first large-scale work by an

American woman performed in public. 185

Adrienne Fried Block’s definitive biographical work, Amy Beach, Passionate Victorian:

The Life and Work of an American Composer, 1867–1944, was published in 1998. Block

includes a large amount of primary source material, such as newspaper clippings, interviews, and

letters. 186

In 1999, Carolyn Marie Treybig’s dissertation, “Amy Beach: An Investigation and

Analysis of the Theme and Variations for Flute and String Quartet, Op. 80”, was published.

Treybig advocates for this work to be more frequently performed in the current repertoire.187

Ching-Lan Yang’s 1999 dissertation, “An Analytical Study of the Piano Concerto in C-

sharp Minor, Op. 45,” gives a detailed analysis of the concerto, but she also provides

biographical information and insight into Beach’s compositional style.188

184 Stephen Paul Burnaman, “The Solo Piano Music of Edward MacDowell and Mrs. H. H. A. Beach: A Historical

Analysis” (PhD diss., University of Texas at Austin, 1997). 185 Paula Ring Zerkle, “A Study of Amy Beach’s Grand Mass in E flat Major, Op. 5,” (PhD diss., Indiana

University, 1998). 186 Block, 1998. 187 Carolyn Marie Treybig, “Amy Beach: An Investigation and Analysis of the Theme and Variations for Flute and

String Quartet, Op. 80,” (PhD diss., University of Texas at Austin, 1999). 188 Ching-Lan Yang, “An Analytical Study of the Piano Concerto in C-sharp Minor, Op. 45, by Amy Beach,” (PhD

diss., University of North Colorado, 1999).

67

Block’s “Amy Beach as a Teacher,” published by American Music Teacher in 1999,

describes how, while refusing to teach music lessons directly, Beach taught through her

interviews and with the formation of music clubs.189

Rebecca Straney Russell’s “A Study of Representative Musical Settings of the Poetry of

Sara Teasdale by Josephine McGill, Fay Foster, Alice Barnett, Mabel Wood Hill, and Amy

Beach” was published in 1999. Russell discovered that Beach set more of Sara Teasdale’s poetry

to music than any of the other four composers included in this study. Russell discusses the

methods each composer used to set Teasdale’s poetry and evaluates their use of text painting and

accompaniment versus vocal line, among other stylistic devices.190

In “Gender, Genre and Professionalism: The Songs of Clara Rogers, Helen Hopekirk,

Amy Beach, Margaret Lang and Mabel Daniels, 1880–1925” (1999), Laurie K. Blunsom

compares five female Boston composers, and describes the social expectations of the time and

the challenges they faced. She also gives the reception history of their vocal works and describes

the marketing and publishing realities they faced.191

Wilma Reid Cipolla wrote an essay, included in the collection Vistas of American Music:

Essays and Compositions in Honor of William K. Kearns, entitled “Arthur P. Schmidt: The

Publisher and His American Composers,” and published in 1999. Cipolla explains that Schmidt

was one of the foremost supporters of American composers, particularly New England

Composers at the turn of the century, including Amy Beach.192

189 Block, “Amy Beach as a Teacher”, 1999. 190 Rebecca Straney Russell, “A Study of Representative Musical Settings of the Poetry of Sara Teasdale by

Josephine McGill, Fay Foster, Alice Barnett, Mabel Wood Hill, and Amy Beach,” (PhD diss., Indiana University,

1999). 191 Laurie K. Blunsom, “Gender, Genre and Professionalism: The Songs of Clara Rogers, Helen Hopekirk, Amy

Beach, Margaret Lang and Mabel Daniels, 1880-1925,” (PhD diss., Brandeis University, 1999). 192 Cipolla, 1999.

68

Katrina Rushing’s “Amy Beach’s Concerto for Piano and Orchestra in C-sharp Minor,

Op. 45: A Historical, Stylistic, and Analytical Study” (2000) provides an in-depth analysis,

comparing Beach’s concerto to composers such as Chopin and Tchaikovsky. She also delves into

Beach’s use of her songs in the concerto. Rushing includes a biography and provides much detail

regarding the circumstances surrounding the concerto’s first performances, with critics’ reviews

and contemporary accounts.193

Tammie Leigh Walker’s dissertation on Beach’s quintet, entitled, “The Quintet for Piano

and Strings, Op. 67 by Amy Beach: An Historical and Analytical Investigation” (2001), places

Beach’s quintet in the lexicon of other chamber works of the period and provides an in-depth

analysis.194

Beach’s religious side is explored in Elizabeth Moore Buchanan’s article for the Choral

Journal, “Connection: A Medieval Text and Twentieth-Century Expressionism in the Canticle of

the Sun, by Amy Beach,” published in 2001. Buchanan suggests that Beach and her husband

connected through their shared religious beliefs.195

Adrienne Fried Block’s introduction to a collection of Beach’s music, entitled Amy Beach

Piano Music (2001), republished by Dover from the original Theodore Presser and Arthur P.

Schmidt edition, includes works dated from 1892–1922.196

Chang-Jin Song’s “Pianism in Selected Partsong Accompaniments and Chamber Music

of the Second New England School (Amy Beach, Arthur Foote, George Whitefield Chadwick,

and Horatio Parker), 1880–1930,” appeared in 2005. Song focuses on the piano accompaniments

193 Katrina Carlson Rushing, “Amy Beach’s Concerto for Piano and Orchestra in C-sharp Minor, Op. 45: A

Historical, Stylistic, and Analytical Study”, (DMA diss., Louisiana State University, 2000). 194 Tammie Leigh Walker, “The Quintet for Piano and Strings, Op.67 by Amy Beach: An Historical and Analytical

Investigation”, (PhD diss., University of Illinois at Urbana-Champaign, 2001). 195 Elizabeth Moore Buchanan, “Connection: A Medieval Text and Twentieth-Century Expressionism in the

Canticle of the Sun, by Amy Beach”, 2001. 196 Block, “Introduction”, 2001.

69

to the partsongs of American composers, including Beach, and discusses their compositional

features and technical demands.197

Yu-Hsien Judy Hung’s “The Violin Sonata of Amy Beach” (2005) discusses other

chamber works by Beach and includes a biography and the reception history of Beach’s violin

sonata. Hung also includes a detailed analysis.198

Bruce Gbur edited Two Pieces for Flute, Cello and Piano, Op. 90 by Beach, published in

2009, and includes a preface discussing Beach at the MacDowell Colony, where she wrote these

two pieces.199

Karin Pendle and Melinda Boyd included a number of citations on Beach in their

annotated bibliography, Women in Music: A Research and Information Guide (2010).200

Sarah Gerk’s thesis, entitled “A Critical Reception History of Amy Beach’s Gaelic

Symphony,” begins with an overview of her methodology of research, discusses Beach’s

background, examines the key players in the premiere of the symphony, lists the performances of

the symphony during Beach’s lifetime, delves into the gender issues at stake, and examines the

nationalist implications of the symphony.201

Sharon Llewellyn’s dissertation, entitled “Amy Beach and Judith Lang Zaimont: A

Comparative Study of their Lives and Songs,” appeared in 2008. Llewellyn traces the women’s

rights movement from 1848 onward, and places Beach and Zaimont within the context of 19th-

197 Chang-Jin Song, “Pianism in Selected Partsong Accompaniments and Chamber Music of the Second New

England School (Amy Beach, Arthur Foote, George Whitefield Chadwick, and Horatio Parker), 1880-1930”, (PhD

diss., Ball State University, 2005). 198 Yu-Hsien Judy Hung, “The Violin Sonata of Amy Beach”, (PhD diss., Louisiana State University, 2005). 199 Gbur, 2009. 200 Pendle and Boyd, 2010. 201 Sarah Gerk, “A Critical Reception History of Amy Beach’s Gaelic Symphony,” (Master’s thesis, California State

University, Long Beach, 2006).

70

and early-20th-century cultural views towards women. She follows the compositional styles of

both Zaimont and Beach as they developed and compares their output and circumstances.202

202 Sharon Llewellyn, “Amy Beach and Judith Lang Zaimont: A Comparative Study of Their Lives and Songs,”

(PhD diss., Arizona State University, 2008).

71

REFERENCES

Adams, Mrs. Crosby. 1896. "Musical Creative Work Among Women." Music, January: 163-72.

Ammer, Christine. 1980. Unsung: A History Of Women In American Music. Westport, Connecticut, and

London: Greenwood Press.

Barber, Valerie. 2018. Konserthuset Stockholm. May. Accessed September 26, 2018.

https://www.konserthuset.se/en/royal-stockholm-philharmonic-orchestra/press/.

Beach, Amy. 2008. "Amy Beach, Composer, on 'Why I Chose My Profession'." In Music In The USA: A

Documentary Companion, by Judith Tick, 323-39. New York and Oxford: Oxford University

Press.

—. 1931. "Emotion Versus Intellect In Music." Music Teachers' National Association Proceedings, 17.

—. 1931. "Twenty-Fifth Anniversary Of A Vision." Music Teachers' National Association Proceedings,

17.

—. 1944. "The World Cries Out For Harmony." The Etude, January: 11-12.

—. 1999. Three Songs for Voice and Piano by Amy Beach, Op. 2. Boca Raton, FL: Masters Music

Publications.

—. 2009. YouTube. May 12. Accessed 12 23, 2017. https://www.youtube.com/watch?v=qS1om-GC1RY.

Beach, Mrs. H. H. A. 1900. Concerto in C sharp Minor for Piano and Orchestra. Boston, Leipzig, New

York: Arthur P. Schmidt.

Beach, Mrs. H. H. A., and Francois-Rene Chateaubriand. 1887. "Library of Congress." Library of

Congress Archives. Accessed September 22, 2018. https://www.loc.gov/item/ihas.200215387/.

Bean, Helen J. 1957. "Women In The Music House." American Music Teacher, March-April: 4-5.

Block, Adrienne Fried. 1990. "Amy Beach's Music on Native American Themes." American Music,

Summer: 141-66.

—. 1993. "Communications: On Beach's Variations on Balkan Themes, Op. 60." American Music, Fall:

368-71.

—. 1999. "Amy Beach as a Teacher." American Music Teacher, April-May: 22-25.

72

—. 1998. Amy Beach, Passionate Victorian, The Life and Work of an American Composer 1867-1944.

New York, Oxford: Oxford University Press.

Block, Adrienne Fried. 1987. "Amy Marcy Beach (1867-1944)." In Historical Anthology of Music by

Women, by James R. Briscoe, 158-210. Bloomington and Indianapolis: Indiana University Press.

Block, Adrienne Fried. 1984-85. "Arthur P. Schmidt, Music Publisher and Champion of American

Women Composers." In The Musical Woman: An International Perspective, by Judith Lang

Zaimont, 145-76. Westport, Connecticut and London: Greenwood Press.

—. 1983. "Why Amy Beach Succeeded as a Composer: The Early Years." Current Musicology, 41-59.

Block, Adrienne Fried. 1990. "Dvorak, Beach, and American Music." In A Celebration of American

Music: Words and Music in Honor of H. Wiley Hitchcock, by Richard Crawford, R. Allen Lott

and Carol J. Oja, 256-80. Ann Arbor: University of Michigan Press.

Block, Adrienne Fried. 2001. "Introduction." In Amy Beach Piano Music, by Amy Beach. Mineola, New

York, and Toronto: Dover Publications, Inc.

Block, Adrienne Fried. 1979. "Introduction." In Mrs. H. H. A. Beach's Quintet in F sharp Minor, For

Piano And Strings, Op. 67, by Amy Beach. New York: Da Capo Press.

Block, Adrienne Fried. 1994. "Introduction to Amy Beach's Quartet on Inuit Themes: Toward a

Modernist Style." In Music of the United States of America. Madison, Wisconsin: A-R Editions,

Inc.

—. 1994. "A 'Veritable Autobiography?': Amy Beach's Piano Concerto in C Sharp Minor, Op. 45."

Musical Quarterly, Summer: 394-416.

Block, Adrienne Fried. 1994. "The Child is Mother of the Woman: Amy Beach's New England

Upbringing." In Cecelia Reclaimed: Feminist Perspectives on Gender and Music, by Susan C.

Cook and Judy S. Tsou, 1007-33. Urbana and Chicago: University of Illinois Press.

Block, Adrienne Fried, and Carol Neuls-Bates. 1979. Women in American Music: A Bibliography of

Music and Literature. Westport, Connecticut, and London: The Greenwood Press.

Blom, E., and D. Fallows. 2001. "Sciolto." Grove Music Online. January 1. Accessed September 23,

2018.

http:////www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/o

mo-9781561592630-e-0000025231.

Blom, Eric, and David Fallows. 2001. "Sciolto." Grove Music Online. January 20th. Accessed September

23, 2018.

http:////www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/o

mo-9781561592630-e-0000025231.

Blunsom, Laurie K. 1999. Gender, Genre and Professionalism: The Songs of Clara Rogers, Helen

Hopekirk, Amy Beach, Margaret Lang and Mabel Daniels, 1880-1925. Brandeis University.

73

Bomberger, Douglas. 1992. "Motivic Development in Amy Beach's Variations on Balkan Themes, Op.

60." American Music, Fall: 326-47.

Brown, Jeanell Wise. 1994. Amy Beach and Her Chamber Music, Biography, Documents, Style.

Metuchen, N. J. and London: The Scarecrow Press, Inc.

Buchanan, Elizabeth Moore. 2001. "Connection: A Medieval Text and Twentieth-Century Expressionism

in the Canticle of the Sun, by Amy Beach." Choral Journal, May: 9-19.

—. 1996. The Anthems and Service Music of Amy Beach Published by the Arthur P. Schmidt Company.

The American University.

Burnaman, Stephen Paul. 1997. The Solo Piano Music of Edward MacDowell and Mrs. H. H. A. Beach: A

Historical Analysis. University of Texas at Austin.

Carman, Judith E., William K. Gaeddert, and Rita M. Resch. 1976. Art-Song In The United States, 1801-

1976: An Annotated Bibliography. The University of Iowa Printing Services: The National

Association of Teachers of Singing.

Cedel, Mark, interview by Monica Schultz. 2018. Amy Beach Concerto (January 18).

Chateaubriand, Francois-Rene. n.d. "Bliss Carman, The World's Best Poetry." Bartleby. Accessed

September 22, 2018. https://www.bartleby.com/360/3/184.html.

Cipolla, Wilma Reid. 1999. "Arthur P. Schmidt: The Publisher and His American Composers." In Vistas

of American Music: Essays and Compositions in Honor of William K. Kearns, by Susan L. Porter

and John Graziano, 267-81. Warren, Michigan: Harmonie Park Press.

Clark, Donna Elizabeth Congleton. 1996. Pedagogical Analysis and Sequencing of Selected Intermediate-

Level Solo Piano Compositions of Amy Beach. University of South Carolina.

Clarke, Helen A. 1895. "The Nature Of Music And Its Relation To The Question Of Women In Music."

Music, March: 453-61.

Cohen, Aaron. 1984. International Discography of Women Composers. Westport, Connecticut and

London: Greenwood Press.

Cooke, James Francis. 1909. "Girlhood Of Famous Women In Music." The Etude, July: 488-89.

—. 1944. "The Etude Magazine." Digital Commons @ Gardner-Webb University. January. Accessed

June 8th, 2018. https://digitalcommons.gardner-webb.edu/etude/221.

—. 1943. "The Etude Magazine." Digital Commons Gardner-Webb University. March. Accessed June 11,

2018. https://digitalcommons.gardner-webb.edu/etude/230/.

—. 1932. "The Etude Magazine." Digital Commons at Gardner-Webb University. March. Accessed May

28, 2018. https://digitalcommons.gardner-webb.edu/etude/51/.

—. 1928. The Etude Magazine, January: 34, 61, 69.

74

—. 1918. The Etude Magazine, January: 11-12.

Dryden, Jon. 2000. Reading Lead Sheets for Keyboard. Pomona: Alfred.

Eden, Myrna Garvey. 1977. Anna Hyatt Huntington, Sculptor, and Mrs. H. H. A. Beach, Composer: A

Comparative Study of Two Women Representatives of The American Cultivated Tradition in the

Arts. Syracuse: Syracuse University.

—. 1987. Energy and Individuality In The Art Of Anna Huntington, Sculptor, And Amy Beach, Composer.

Metuchen, New Jersey, and London: The Scarecrow Press.

Elder, Dean. 1976. "Where Has Amy Beach Been All These Years?" Clavier, December: 14-17.

Elson, Arthur, and Everett E. Truette. 1931. Woman's Work In Music. Boston: L. C. Page and Company.

Eva Badura-Skoda, Andrew V. Jones, William Drabkin. 2001. "Grove Music Dictionary Online." January

20. Accessed February 8, 2018.

http://www.oxfordmusiconline.com.libdata.lib.ua.edu/search?q=cadenza&searchBtn=Search&is

QuickSearch=true.

Eyer, Ronald F. 1945. "Mrs. Beach, Leading American Composer, Dies At 77." Musical America,

January: 24.

Feldman, Ann E. 1990. "Being Heard: Women Composers and Patrons at the 1893 World's Columbian

Exposition." Notes: The Quarterly Journal of the Music Library Association, September: 7-20.

Flatt, Rose Marie Chisholm. 1981. "Analytical Approaches to Chromaticism in Amy Beach's Piano

Quintet in F sharp Minor." Indiana Theory Review 4, Spring: 41-58.

Fountain, R. D. 2008. "Edward MacDowell and the Formation of an American Musical Culture."

ProQuest Dissertations & Theses Full Text. May. Accessed December 23, 2017. https://search-

proquest-com.libdata.lib.ua.edu/docview/304535946?accountid=14472.

Freed, Richard. 1975. "The Piano Works of Mrs. H. H. A. Beach: Demonstrating the Irrelevance of

Gender." Stereo Review, December: 82-83.

Gardner, Kara Anne. 1999. Living By The Ladies' Smiles: The Feminization of American Music And The

Modernist Reaction. Ann Arbor: Bell & Howell Information and Learning Company.

Gbur, Bruce. 2009. "Preface." In Two Pieces for Flute, Cello and Piano, Op. 90 by Amy Cheney Beach,

by Amy Beach. Durham, New Hampshire: Prairie Dawg Press.

Gerk, Sarah. 2006. A Critical Reception History of Amy Beach's Gaelic Symphony. Long Beach:

California State University.

Glahn, Denise Von. 2013. Music and the Skillful Listener; American Women Compose the Natural World.

Bloomington, Indianapolis: Indiana University Press.

75

Glickman, Sylvia. 1982. "Amy Beach Piano Music." In Women Composers Series, by J. Church, O.

Ditson, and T. Presser A. P. Schmidt. New York: Da Capo Press.

Glickman, Sylvia. 1990. "Introduction." In American Women Composers: Piano Music from 1865-1915,

by Amy Beach. Bryn Mawr, Pennsylvania: Hildegarde Publishing Company.

Hahn, Karen Beres and Christopher. 2017. The Pianist's Guide to Standard Teaching and Performance

Concertos. Van Nuys: Alfred.

Hinson, Maurice. 1981. Music For Piano and Orchestra. Bloomington: Indiana University Press.

Howe, Mark Anthony DeWolfe. 1931. The Boston Symphony Orchestra: 1881-1931. Cambridge,

Massachusetts: The Riverside Press.

Hsu, Shu-Hao. 2012. "Nikolai Medtner's Piano Concerto No. 3, Op. 60: Musical Style and Performance

Strategies." http://ir.uiowa.edu. December 18. Accessed November 1, 2017.

http://ir.uiowa.edu/cgi/viewcontent.cgi?article=3470&context=etd.

Hudson Gertrude Reese, Robert Browning. 1965. Browning to His American Friends; letters between the

Brownings, the Storys, and James Russell Lowell. London: Bowes and Bowes.

Hung, Yu-Hsien Judy. 2005. The Violin Sonata of Amy Beach. Louisiana State University.

James Lyke, Geoffrey Haydon, Catherine Rollin. 2011. Creative Piano Teaching. Champaign: Stipes

Publishing, L. L. C.

Jenkins, Walter S. 1994. The Remarkable Mrs. Beach, American Composer. Warren, Michigan:

Harmonie Park Press.

—. 1994. The Remarkable Mrs. Beach, American Composer: A Biographical Account Based on Her

Diaries, Letters, Newspaper Clippings, and Personal Reminiscences. Warren, Michigan:

Harmonie Park Press.

Jezic, Diane Peacock. 1988. "Amy Marcy Cheney Beach (1867-1944)." In Women Composers: The Lost

Tradition Found. New York: The Feminist Press.

Johnson, Lawrence. 2016. Chicago Classical Review. June 2. Accessed May 5, 2018.

http://chicagoclassicalreview.com/2016/06/orion-ensemble-closes-season-with-a-timely-tribute-

to-amy-beach/.

Kefferstan, Christine Bane. 1984. The Piano Concertos of Edward MacDowell. Proquest Dissertations

and Theses.

Kelton, Mary Katherine. 1996. "Mrs. H. H. A. Beach and Her Songs for Solo Voice." Journal of Singing,

January-February: 3-23.

—. 1992. The Songs of Mrs. H. H. A. Beach. The University of Texas at Austin.

Kinderman, William. 2009. Beethoven. Oxford: Oxford University Press.

76

Krueger, Karl. 1973. The Musical Heritage Of The United States: The Unknown Portion. New York:

Society For The Preservation Of The American Musical Heritage, Inc.

LiPatti, Dinu. 2018. "Scribd.com." Scribd.com. March 18. Accessed April 10, 2017.

https://www.scribd.com/doc/245059/Lipatti-2-Cadenzas-for-Mozart-s-Piano-Concerto-in-C-K-

467.

Livingston, Carolyn. 1991. "Characteristics of American Women Composers: Implications for Music

Education." Update: Applications of Research in Music Education, Fall-Winter: 15-18.

Llewellyn, Sharon. 2008. Amy Beach and Judith Lang Zaimont: A Comparative Study of Their Lives and

Songs. Arizona State University.

Lloyd, Bill. 2000. "MacDowell, Piano Concertos Nos. 1 and 2/Witches' Dance." Naxos. October.

Accessed September 25, 2018.

https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.559049&catNum=559049&fil

etype=About%20this%20Recording&language=English#.

Lowell, James Russell. 1993. American Poetry: The Nineteenth Century. New York: Penguin Books

USA.

Lowens, Margery Morgan, and Dolores Pesce. 2013. "Edward MacDowell." Grove Music Online.

October 16. Accessed September 23, 2018.

http:////www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/o

mo-9781561592630-e-1002250077.

MacDonald, Claudia. 1993. "Critical Perception and the Woman Composer: The Early Reception of

Piano Concertos by Clara Wieck Schumann and Amy Beach." Current Musicology, 24-55.

Magrath, Jane. 1995. The Pianist's Guide to Standard Teaching and Performance Literature. Van Nuys:

Alfred.

Mardinly, Susan. May-June 2014. "Amy Beach: Muse, Conscience, and Society." Journal of Singing 527-

541.

Marienne Uszler, Stewart Gordon, Scott McBride Smith. 1991. The Well-Tempered Keyboard Teacher.

Boston: Schirmer.

Megargel, Esther. 2011. "A Bibliography of Research." Brigham Young University Library. March 6.

Accessed September 13, 2017. https://sites.lib.byu.edu/musref/2011/03/06/an-amy-beach-

bibliography/.

Merrill, E. Lindsey. 1963. Mrs. H. H. A. Beach: Her Life And Music. Rochester: The University of

Rochester, Eastman School of Music.

Merrill, Lindsey. 1982. "Cabildo's Composer." American Music Teacher, January: 42.

Miles, Marmaduke Sidney. 1985. The Solo PIano Works of Mrs. H. H. A. Beach. Peabody Institute of the

Johns Hopkins University: Proquest.

77

Miller, Carla Anita. 1996. A Pedagogical Perspective on Selected Piano Music of Amy Beach. Western

Carolina University.

Mozart, W. A. 1991. Konzert in C fur Klavier und Orchester, KV 246. Kassel: Barenreiter.

—. 1991. Konzert in C fur Klavier und Orchester, KV 467. Kassel: Barenreiter.

Mrs. H. H. A. Beach, Mary Louise Boehm. 1992. Twenty-three Songs. New York: Da Capo Press.

Music, UGA Hugh Hodgson School of. 2016. Facebook. January. Accessed September 26, 2018.

https://www.facebook.com/UGAMusic/videos/geneva-stonecipher-and-four-other-students-won-

last-years-uga-symphony-orchestra/10150786480124991/.

Neuls-Bates, Carol. 1982. "A Corollary to the Question: Sexual Aesthetics in Music Criticism." In

Women in Music: An Anthology of Source Readings From The Middle Ages To The Present, by

Carol Neuls-Bates, 223-27. New York: Harper and Row Publishers.

Nicholas, Jeremy. 2001. "The Romantic Piano Concerto No. 25, MacDowell Piano Concerto No. 1 in A

minor, Piano Concerto No. 2 in D minor, Second Modern Suite Op. 14." Hyperion Records CD

Booklet. Accessed September 26, 2018.

https://docs.google.com/viewer?url=https%3A%2F%2Fwww.hyperion-

records.co.uk%2Fnotes%2F67165-B.pdf&embedded=true&chrome=false&dov=1.

Park, Jihong. 2015. Youtube. February 6. Accessed September 26, 2018.

https://www.youtube.com/watch?v=v8XbTyWY-4w.

Pendle, Karin, and Melinda Boyd. 2010. Women in Music: A Research and Information Guide. New York

and London: Routledge Taylor and Francis Group.

Pesce, Dolores, and Margery Morgan Lowens. 2013. "MacDowell [McDowell], Edward." Oxford Music

Online. 10 16. Accessed December 23, 2017.

http://www.oxfordmusiconline.com.libdata.lib.ua.edu/grovemusic/view/10.1093/gmo/978156159

2630.001.0001/omo-9781561592630-e-1002250077.

Petteys, Leslie. 1989. "Cabildo by Amy Marcy Beach." Opera Journal, March: 10-19.

Piscitelli, Felicia Ann. 1983. The Chamber Music of Mrs. H. H. A. Beach (1867-1944). University of New

Mexico: Proquest.

Ramer, Holly. 2017. "150th Anniversary of Pioneering Composer Amy Beach Observed." Chicago

Tribune, September 15.

Rausch, Robin. 2001. "American Women: The Library of Congress Guide for the Study of Women's

Culture and History in the United States." The Library of Congress. Accessed January 20, 2018.

https://memory.loc.gov/ammem/awhhtml/aw08e/aw08e.html.

Reigles, Barbara Jean. 1996. The Choral Music of Amy Beach. Texas Tech University.

Rhein, John von. 2004. "Alan Heatherington, A Man for All Music." Chicago Tribune, December 26: 7-5.

78

—. 2011. "John von Rhein Recommends." Chicago Tribune, April 22: 4-11.

—. 2007. "Music." Chicago Tribune, August 17: 7-17.

Robert Curry, David Gable, Robert Lewis Marshall. 2008. Variations on the canon : essays on music

from Bach to Boulez in honor of Charles Rosen on his eightieth birthday. Rochester: University

of Rochester Press.

Rosen, Charles. 2012. Freedom and the Arts, Essays on Music and Literature. Cambridge: Harvard

University Press.

—. 1998. The Classical Style, Haydn, Mozart, Beethoven. New York: Norton.

Rushing, Katrina Carlson. 2000. Amy Beach's Concerto for Piano and Orchestra in C-sharp Minor, Op.

45: A Historical, Stylistic, and Analytical Study. Baton Rouge: Louisiana State University.

Russell, Rebecca Straney. 1999. A Study of Representative Musical Settings of the Poetry of Sara

Teasdale by Josephine McGill, Fay Foster, Alice Barnett, Mabel Wood Hill, and Amy Beach.

Bloomington, Indiana: Indiana University.

Salter, Sumner. 1932. "Early Encouragements To American Composers." Musical Quarterly, January: 76-

105.

Schultz, Geralyn. 1994. Influences of Cultural Ideals of Womanhood on the Musical Career of Mrs. H. H.

A. Beach. University of Wyoming.

Sears, Elizabeth Ann. 1993. The Art Song in Boston, 1880-1914. The Catholic University of America.

Sebba, Rosangela, interview by Monica Schultz. 2018. Amy Beach Concerto (May 24).

Skowronski, JoAnn. 1978. Women In American Music: A Bibliography. Metuchen, New Jersey, and

London: The Scarecrow Press, Inc.

Smith, Gail. 1992. "Introduction." In The Life and Music of Amy Beach: "The First Woman Composer of

America", by Amy Beach. Pacific, Missouri: Mel Bay Publications.

Song, Chang-Jin. 2005. Pianism in Selected Partsong Accompaniments and Chamber Music of the

Second New England School (Amy Beach, Arthur Foote, George Whitefield Chadwick, and

Horatio Parker), 1880-1930. Ball State University.

Sonneck, Oscar G. 1823. "American Composers and the American Music Publisher." Musical Quarterly,

January: 122-44.

Sperry, Paul. 1991. American Art Songs of the Turn of the Century. New York: Dover.

Stern, Susan. 1978. Women Composers: A Handbook. Metuchen, New Jersey, and London: The

Scarecrow Press, Inc.

Stonecipher, Geneva, interview by Monica Schultz. 2018. The Amy Beach Concerto (January 3).

79

Takao, Naoko, interview by Monica Schultz. 2018. Amy Beach (January 22).

Tawa, Nicholas E. 1991. The Coming of Age of American Art Music: New Englad's Classical

Romanticists. New York, Westport, Connecticut, and London: Greenwood Press.

Tick, Judith. 1983. American Women Composers Before 1870. Ann Arbor: UMI Research Press.

Treybig, Carolyn Marie. 1999. Amy Beach: An Investigation and Analysis of the Theme and Variations

for Flute and String Quartet, Op. 80. University of Texas at Austin.

Trotman, Chris. 2018. Amy Beach (1867-1944). May 10. Accessed September 26, 2018.

https://www.amybeach.org/category/news/newly-available-music-editions/.

—. 2018. amybeach.org. May 10. Accessed September 26, 2018.

https://www.amybeach.org/2016/02/04/beach-piano-trio-op-150-performance-in-stockholm-

sweden/.

—. 2017. amybeach.org. Accessed September 26, 2018. https://www.amybeach.org/news/2017-

conference-events/.

Tu, John. 2015. www.youtube.com. May 21. Accessed September 27, 2017.

https://www.youtube.com/watch?v=nO4PPd9qMBQ.

—. 2015. Youtube. May 21st. Accessed September 26th, 2018.

https://www.youtube.com/watch?v=XLcXSuRSsaU.

Tuthill, Burnett Corwin. 1940. "Mrs. H. H. A. Beach." Musical Quarterly 297-310.

—. 1928. "Fifty Years Of Chamber Music In The United States." Music Teachers National Association

Proceedings, 163-75.

Upton, George P. 1899. Woman in Music. Chicago: A. C. McClurg and Company.

Upton, William Treat. 1925. "Some Recent Representative American Song Composers." Musical

Quarterly, July: 383-417.

Verissimo, Laurel Keddie. 1993. Amy Beach: Her Life, Times and Music. San Jose: San Jose State

University.

Vernazza, Marcelle. 1981. "Amy Beach And Her Music For Children." American Music Teacher, June-

July: 20-21.

Walker, Tammie Leigh. 2001. The Quintet for Piano and Strings, Op. 67 by Amy Beach: An Historical

and Analytical Investigation. University of Illinois at Urbana-Champaign.

Whitesitt, Linda. 1991. "'The Most Potent Force' in American Music: The Role of Women's Music Clubs

in American Concert Life." In The Musical Women: An International Perspective, by Judith Lang

Zaimont, 663-81. New York, Westport, Connecticut and London: Greenwood Press.

80

Williams, Heidi Louise, interview by Monica Schultz. 2017. Amy Beach (December 22).

Wilson, Arthur. 1912. "Mrs. H. H. A. Beach: A Conversation On Musical Conditions In America." The

Musician, January: 9-10.

Wood, Lorraine Wanlass. 1995. Musical Keys to Success: A Historical-Philosophical Study of the Life

and Work of Amy Beach, American Composer. Brigham Young University.

Yang, Ching-Lan. 1999. An Analytical Study of the Piano Concerto in C sharp Minor, Op. 45, by Amy

Beach. University of Northern Colorado.

Zaimont, Judith Lang. 1987. The Musical Woman: An International Perspective. New York, Westport,

Connecticut, and London: Greenwood Press.

Zerkle, Paula Ring. 1998. A Study of Amy Beach's Grand Mass in E flat Major, Op. 5. Indiana University.