#ClassicsaDay #WomensHistoryMonth 2018 - Week 3

Some of us contributing to #ClassicsaDay decided to celebrate the role of women in classical music for March. Those posts included both the #ClassicsaDay and #WomensHistoryMonth hashtags. There were many posts of female performers and conductors. I chose to stick with composers.

Here is an annotated list of the composers I posted for the third week:

Maria Francesca Nascinbeni (ca. 1640–1680) - Una fiamma rovente

Very little is known about Maria Nascinbeni. She studied composition in Ancona Italy with Scipio Lazzarini. When she was sixteen she published two volumes of music. Her catalog includes music for organ and for voices, including madrigals, motets, and canzonas.

Anna Bon (c.1739-c.1767) - Divertimento in D minor, Op. 3, No. 3

Anna Bon was born to a librettist/scene designer and opera singer. She studied in Venice and served as a chamber music performer for the Margrave of Brandenburg. Her Opus 1 Flute Sonatas were dedicated to the Margrave. In 1762 she and her family were employed by Count Esterházy (and worked under Franz Joseph Haydn). She published a set of harpsichord sonatas and a set of trio sonatas.

Josephine Lang (1815–1880) - Arabesque in F major

Josephine Lang was born into a musical family and exhibited talent at an early age. She was supported in her compositional efforts by Felix Mendelssohn, as well as Robert and Clara Schumann. She was a pianist, and most of her works center around that instrument. Her catalog includes 50 published collections, mostly for solo piano, or lieder.

María Teresa Prieto (1896-1982) - Symphony No. 1 "Asturiana"

Maria Preito was born in Spain but spent most of her professional life in Mexico. She studied with Carlos Chavez, and Darius Milhaud. Her music often incorporated folk elements. Her catalog includes two symphonies as well as ballet music, and various chamber works.

Ingrid Stölzel (1972 - ) - Loveliness Extreme for clarinet, viola, and piano

Stölzel was born in Germany, and lives and works in the United States. She writes that "the heart of her compositions is a belief that music can create profound emotional connections with the listener." Her growing body of work has been well-received both critically and by audiences.