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Out of the Shadow
Various composers

Lucia Swarts | Elena Malinova

Out of the Shadow

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917288827
Catnr: CC 72888
Release date: 08 April 2022
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Label
Challenge Classics
UPC
0608917288827
Catalogue number
CC 72888
Release date
08 April 2022

"But the best comes from Lili Boulanger"

BBC Music Magazine, 20-7-2022
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Artist(s)
Composer(s)
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About the album

Lucia Swarts: Even as a young child, I was taught to be extra alert when women did not have the same opportunities as men.
Many women did not have the same opportunities as men to compose and publicly share their musical ideas and lead public lives as composers, with some having their freedom limited by ill health or because family or society had different plans for them.

Through the ages, female composers encountered considerable difficulties, often with fewer opportunities, support and education, even when they were members of the upper social classes. They were not in a position to enjoy worldwide fame, but several of them accomplished a great deal. Strong women, in other words.

I have chosen from the works of five special women for this CD. Five women with eventful lives who deserve a podium because of their musical qualities. Two Germans – Fanny Mendelssohn and Clara Wieck – both trained in the classic Romantic school, and two French women, Melanie Bonis and Lili Boulanger; Melanie, also a classic Romantic composer in style and Lili, impressionist and exotic. Finally the Dutch composer Henriette Bosmans, whose parents influenced her in the German Romantic style but whose own interests wandered eagerly towards the French Impressionists in an ongoing quest for her own independent compositional method.
Door de eeuwen heen hebben vrouwelijke componisten aanzienlijke obstakels ondervonden; minder kansen, steun en opleiding, zelfs als ze tot de hogere sociale klassen behoorden. Ze waren niet in de positie om tot de top door te dringen maar een aantal van hen heeft veel bereikt. Sterke vrouwen, met andere woorden.

Celliste Lucia Swarts leerde al op jonge leeftijd van haar moeder hoe belangrijk het is voor een vrouw om onafhankelijk te zijn. Dat was de vrijheid die ze kreeg waardoor Swarts cellist kon worden en haar dromen kon verwezenlijken.

Voor dit album heeft Lucia Swarts een keuze gemaakt uit het werk van vijf bijzondere vrouwen. Vijf vrouwen met een bewogen leven die vanwege hun muzikale kwaliteiten een podium verdienen: de Duitse Fanny Mendelssohn en Clara Schumann en twee Franse vrouwen, Mel Bonis en Lili Boulanger. Ten slotte de componiste Henriëtte Bosmans die geldt als één van de belangrijkste Nederlandse componisten van de eerste helft van de twintigste eeuw. Bosmans liet zich inspireren door de Duits-romantische stijl en vond inspiratie in de werken van Debussy. Haar eigentijdse stijl vond ze bij Willem Pijper, bij wie ze in 1927 in de leer ging. De voornaamste techniek die ze van Pijper overnam was de polytonaliteit.
Lucia Swarts: Schon als kleines Kind wurde mir beigebracht, besonders wachsam zu sein, wenn Frauen nicht die gleichen Bedingungen hatten wie Männer.
Viele Frauen hatten nicht die gleichen Chancen wie Männer, zu komponieren, ihre musikalischen Ideen öffentlich zu verbreiten und ein öffentliches Leben als Komponistinnen zu führen. Einige wurden durch Krankheit, die Familie oder die Gesellschaft in ihrer Freiheit eingeschränkt.
Im Laufe der Jahrhunderte stießen Komponistinnen auf erhebliche Schwierigkeiten, da sie oft weniger Möglichkeiten, Unterstützung und Bildung hatten, selbst wenn sie zu den oberen Gesellschaftsschichten gehörten. Sie waren nicht in der Lage, weltweiten Ruhm zu erlangen, aber einige von ihnen haben viel erreicht. Starke Frauen, mit anderen Worten.

Für diese CD habe ich aus dem Werk von fünf besonderen Frauen ausgewählt. Fünf Frauen mit einem bewegten Leben, die aufgrund ihrer musikalischen Qualitäten ein Podium verdient haben. Zwei Deutsche - Fanny Mendelssohn und Clara Wieck - beide in der klassisch-romantischen Schule ausgebildet, und zwei Französinnen, Melanie Bonis und Lili Boulanger; Melanie, auch eine klassisch-romantische Komponistin im Stil und Lili, impressionistisch und exotisch. Schließlich die niederländische Komponistin Henriette Bosmans, die von ihren Eltern im Stil der deutschen Romantik beeinflusst wurde, deren eigene Interessen aber auf der Suche nach einer eigenständigen Kompositionsmethode eifrig zu den französischen Impressionisten wanderten.

Artist(s)

Lucia Swarts (cello)

Lucia Swarts began studying the cello at the age of seven. She studied with Anner Bijlsma and Lidewij Scheifes at the Royal Conservatoire in The Hague , where she acquired her solo degree in 1985. In the year of her final exam , she gave her debut recital in the Kleine Zaal at the Amsterdam Concertgebouw , as a prizewinner in the `New Vintage`series for talented young musicians. Apart from her appearances as a soloist , she has devoted considerable time and effort to playing music from every period of musical history in a wide range of chamber music settings, using instruments appropriate to the period .As well as the modern cello, she also plays piano, the viola da Spalla, baroque cello,...
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Lucia Swarts began studying the cello at the age of seven. She studied with Anner Bijlsma and Lidewij Scheifes at the Royal Conservatoire in The Hague , where she acquired her solo degree in 1985.
In the year of her final exam , she gave her debut recital in the Kleine Zaal at the Amsterdam Concertgebouw , as a prizewinner in the `New Vintage`series for talented young musicians.
Apart from her appearances as a soloist , she has devoted considerable time and effort to playing music from every period of musical history in a wide range of chamber music settings, using instruments appropriate to the period .As well as the modern cello, she also plays piano, the viola da Spalla, baroque cello, cello piccolo and basse de Violon.
From 1983 on she played in the Schoenberg Ensemble (later Asko/Schoenberg) and worked with composers as György Ligety, Sofia Gubaidulina , György Kurtag, Reinbert de Leeuw, Oliver Knussen, John Adams, Steve Reich, Louis Andriessen, Martijn Padding and Mayke Nas Composer Mayke Nas (Componist des vaderlands 2016-2018) wrote a piece for her. In June 1996 Lucia was one of the solo players in the Asko/Schoenberg Ensemble in the Opera `A King Riding ` by Klaas de Vries.
Since 1983 , Lucia has been principal cellist in the baroque orchestra of the Netherlands Bach society and she also plays in the Residentie Bach Ensemble.
She worked with baroque specialists as Gustav Leonhardt, Frans Brüggen, Sigiswald Kuijken, René Jacobs, Peter Dijkstra, Jos van Veldhoven , Jos Vermunt and Ton Koopman.
While early music and contemporary music has a special place in her affection and where she was performing in many CD`s she also performs romantic music.In 1997 she recorded a CD with Leo van Doeselaar (piano ) with music of Saint -Saëns, Busoni, Moscheles and Gounod. CD .
She is always looking for new repertoire ( for herself and also for her students) ,which needs to become out of the shadow.
Lucia issued 7 solo CDs.
Six Cello Sonatas by Vivaldi (CC72051), Cello Sonatas by Boccherini (CC 72065), Italian Cello Concertos (CC 72021), Bach after Bach .Vol. 1(with Leo van Doeselaar (CC72066) , Italian Concertos & Sonatas (CC 72516).The Italian Origins (seven mouintain records) and Cello Solo Suites by J.S.Bach ( CC 72784) She is a professor in `modern ` and historical cello at the Royal Conservatoire of The Hague since 1988 , where she works with Elena Malinova. Elena is also already for many years the correpetitor of her cellostudents.
Lucia is also visiting professor at the Conservatoire Superior de Salamanca and Sevilla (Spain).

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Composer(s)

Fanny Mendelssohn

Fanny Mendelssohn, in full Fanny (Cäcilie) Mendelssohn-Bartholdy, married name Fanny Hensel (November 14, 1805, Hamburg, Germany - May 14, 1847, Berlin, Prussia), was a German pianist and composer, the eldest sister and confidante of the composer Felix Mendelssohn. She composed over 460 pieces of music. Her compositions include a piano trio and several books of solo piano pieces and songs. A number of her songs were originally published under her brother's name in his opus 8 and 9 collections. Her piano works are often in the manner of songs, and many carry the name Lieder für das Pianoforte (Songs for the piano, a parallel to Felix's Songs without Words. Fanny Hensel grew up in a well-situated and highly cultured Berlin family....
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Fanny Mendelssohn, in full Fanny (Cäcilie) Mendelssohn-Bartholdy, married name Fanny Hensel (November 14, 1805, Hamburg, Germany - May 14, 1847, Berlin, Prussia), was a German pianist and composer, the eldest sister and confidante of the composer Felix Mendelssohn. She composed over 460 pieces of music. Her compositions include a piano trio and several books of solo piano pieces and songs. A number of her songs were originally published under her brother's name in his opus 8 and 9 collections. Her piano works are often in the manner of songs, and many carry the name Lieder für das Pianoforte (Songs for the piano, a parallel to Felix's Songs without Words.
Fanny Hensel grew up in a well-situated and highly cultured Berlin family. She and her younger brothers and sister Felix, Rebecca and Paul all received excellent education. The banker Abraham Mendelssohn Bartholdy and his wife Lea were quick to recognise Fanny's exceptional musical talent and, just like her brother Felix, she received instruction from the best music teachers available. In 1816, during a period of several months spent in Paris, the children studied piano with Marie Bigot de Morogues, who was a particular favourite of Haydn's and Beethoven's.
After returning to Berlin they took lessons with the well-known Beethoven interpreter Ludwig Berger. Abraham Mendelssohn hired the conscientious Carl Friedrich Zelter, a friend of Goethe's and the director of the Berliner Singakademie, to teach his children music theory and composition. Fanny soon became known to the Mendelssohn's circle of friends and acquaintances not just as an excellent pianist but also as the composer of lieder and piano pieces. In an obituary written just after Fanny's sudden death, the Berlin music critic Ludwig Rellstab wrote that she had shared "a partnership of talent" with her famous brother and "had achieved a level of musical knowledge which few other artists who have dedicated their lives to music could claim".
While Felix's education included lengthy travels and he was able to try himself as a conductor and pianist and become acquainted with the famous musicians of the times, Fanny was faced with many restrictions. At the age of 14 her father reminded her to concentrate on her future role as a wife and mother. Her musical activities did not reach beyond the bounds of the Mendelssohn's circle: public concerts and the publication of musical works were not deemed to be womanly activities. As Jews who had converted to Protestantism the Mendelssohns were particularly eager to live according to bourgeois convention. Restricted to the domestic realm, the majority of Fanny Hensel's compositions were piano pieces and lieder which could be performed in the evening concerts held at the Mendelssohn's home. Works such as the Piano Quartet written in 1822 remain unusual for her work during this time. In an attempt to make her compositions known beyond the inner circle of family friends, in 1827 and 1830 she found opportunity to publish five lieder and a duet with piano accompaniment under Felix Mendelssohn's name in his Liederheften op. 8 and 9. She made presents of copies of her lieder and piano pieces to friends and acquaintances.
Nevertheless, Fanny Hensel was able to reach at least a small circle of concert-goers by presenting her works in the ‘Sonntagsmusiken’ which were established during the early 1820s. Following the example of Zelter's ‘Freitagsmusiken’, Abraham Mendelssohn hired musicians from the Hofkapelle to play in these concerts which took place at the Mendelssohn's home every other Sunday from 11 a.m. to 2 p.m.. This gave both Felix and Fanny a chance to perform works by earlier and contemporary composers and to try out their own works in a semi-public setting with a hand-picked audience.
In 1829, when Felix left home to embark upon his first extended trip to England, the "Sonntagsmusiken" were not continued. In the spring of 1831 Fanny, who had married Wilhelm Hensel in October 1829, decided to reinstate these concerts which, as reported by Rellstab, were "a musical festival of the most unusual sort, in which meticulous interpretations of classical works of former and current times could be heard and the pleasure was enhanced by the performances or mere presence of the very best Berlin musicians or those from elsewhere who visited our city." Fanny Hensel conducted and accompanied her choir which consisted of about twenty singers giving, joined by instrumentalists who were friends of hers, high-level performances of oratorios, opera arias and chamber music by Bach, Mozart, Beethoven, Weber and Mendelssohn. Here she was also able to make her own works known.
These concerts became increasingly well attended over the years with Fanny presenting her works for piano solo, her lieder, duets, choral songs, the scene Hero and Leander for Soprano and Piano or Orchestra, the Piano Trio which appeared posthumously as op. 2 as well as the Orchestral Ouverture of 1830, for the première of which the Orchestra of the Königstädter Theater was engaged. In addition to the friends and acquaintances who came to the "Sonntagsmusiken", quite a number of famous people attended: the Humboldt brothers, Franz Liszt, Clara Wieck-Schumann, Johanna Kinkel, Heinrich Heine etc. These concerts with which, according to Rellstab, Fanny Hensel "to whom we are much indebted, enriched the artistic life in our town", made up for some of the restrictions she was forced to live with. Conducting such concerts had a positive effect on her work as a composer. In 1831, she composed larger works for soloists, choir and orchestra such as the cantatas Hiob en Lobgesang and Musik für die toten der cholera-epidemie.
In 1839/40 the Hensel family was finally able to fulfil a long-standing wish: they spent a year travelling in Italy. This year was among the happiest in Fanny's life. In Italy she finally received recognition for her work beyond the family circle and became acquainted with various musicians who thought highly of her work and were supportive of her creativity.
The young Charles Gounod, for example, wrote the following in his memories, "Mrs. Hensel was an extremely learned musician and played the piano very well. Despite her small, slight figure she was a woman of excellent intellect and full of energy that could be read in her deep, fiery eyes. Along with all this she was an extremely talented pianist...". After returning to Berlin, Fanny composed her most important piano work, the biographical cycle Das Jahr (1841). During the epoch in which she lived Fanny was the only composer to use the idea of depicting each of the twelve months of the year musically.
It was only in the last year of her life that Fanny, encouraged by the family friend Robert von Keudall and despite her brother's explicit objections, found the courage to start systematically having her works printed. Thus, in 1846 lieder, a cappella choral songs and piano pieces appeared with the opus numbers 1 to 7.
She was not to carry through further publications of her works: Fanny Hensel died of a stroke suffered during a rehearsal for one of her "Sonntagsmusiken" on May 14th, 1847.
Following the death of his sister, Felix Mendelssohn fell into a deep depression; he died suddenly on November 4th of the same year. Upon the request of his brother-in-law Wilhelm Hensel, he had arranged for several of Fanny's further works to be published. They appeared in 1850. In 1987, the Furore Verlag began publishing those of her works which had remained unprinted. Today Fanny Hensel born Mendelssohn is considered to be one of the most important composers of the romantic era.
Source: http://www.fannyhensel.de/bio_frame.htm
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Press

But the best comes from Lili Boulanger
BBC Music Magazine, 20-7-2022

An album that is converted into an inescapable reference.
Sonograma, 29-6-2022

You can hear from the first note that this music also comes straight from the heart with her (Lucia Swarts sic). Once you put the CD on, it has nothing to do at all with man or woman. It's just rock solid music played really well.
Luister, 01-6-2022

This is a wonderful recital that captivates the listener from the first to the last note by the intense musicality, the love for the music, and the natural interplay that deserves only one recommendation: Out of the Shadow.
Opus Klassiek, 01-4-2022

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