Amy Beach - Knowledge

574:. She worked to coach and give feedback to various young composers, musicians, and students. Beach acted as a mentor for these young composers, encouraging them to spend time perfecting their craft through laborious practices. Written in her document, "Music’s Ten Commandments as Given for Young Composers," Beach suggested young musicians spare no time analyzing works from every genre, their technical progress, and to employ variety whenever possible. From 1904 to 1943, Beach published numerous articles focusing on programming, preparation, and studying techniques for serious piano players, basing many of her findings on her own practice routine. Given her status and advocacy for music education, she was in high demand as a speaker and performer for various educational institutions and clubs, such as the 501:, who by then were her closest living relatives. About August 6, 1916, Beach, Franc, and Ethel left San Francisco together, leaving Franc's husband Lyman Clement behind, a "fifty-year-old marriage broken apart" for unknown reasons. The three women took up residence in Hillsborough, New Hampshire, where Franc and Beach's mother had been born. Beach's uncle, Clement, "was settled" in a Veterans' Home in California from 1917 until his death in 1922. After 1916, "Hillsborough was Beach's official residence: there she voted in presidential elections." In 1918, her cousin Ethel "developed a terminal illness," and she spent time taking care of her, as Franc, at age 75, "could hardly" do so by herself. 207:, a condition where each key was associated with a particular color. This heightened sensitivity to keys made playing by ear more feasible for her compared to musicians without such abilities. These inherent abilities not only defined her as a noteworthy prodigy but also fueled her desire for musical excellence. The family struggled to keep up with her musical interests and demands. Her mother sang and played for her, but attempted to prevent the child from playing the family piano herself, believing that to indulge the child's wishes in this respect would damage parental authority. Amy often commanded what music was played in the home, becoming enraged if it did not meet her standards. 882:. Beach wrote her own three-movement Quintet for Piano and Strings in F-sharp minor, Op. 67, in 1905. The quintet came to be frequently performed during Beach's lifetime, both in concert and over the radio. These performances were often given by established string quartets accompanied by the pianist-composer, including many times during an extended tour with the Kneisel Quartet in 1916–17, which was the 33rd and last season for the quartet. Beach performed her quintet with them in Boston, Brooklyn, Chicago, and Philadelphia. 886:

to the sonata-allegro form. The primary theme throughout all three works, in fact, is borrowed from the last movement of the Brahms quintet, albeit adapted and reworked in a variety of ways. All three movements feature frequent distinct developments in meter, tempo, and key signature. The entire work carries an affective character of lamentation throughout, demonstrated not only by the overall emotive qualities of the work itself but also its use of the Phrygian

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to two public recitals per year, with profits donated to charity, and to devote herself more to composition than to performance (although, as she wrote, "I thought I was a pianist first and foremost.") Her self-guided education in composition was also necessitated by Dr. Beach, who disapproved of his wife studying with a tutor. Restrictions like these were typical for middle- and upper-class women of the time: as it was explained to a European counterpart,

923:, first through more straightforward statements of the melodies and then as assimilated into a horizontal harmonic structure. Elements of the melodies are abstracted and developed into contrapuntal lines which propel the work forward in the absence of clear tonal direction. The texture and harmony is fairly stark in places, lacking the lush Romanticism of her earlier works and representing more Modernist inclinations of a developing composer. 894:

substantial form. They also commented on the modernity and skill the work displayed in that it achieved a highly expressive nature and orchestral texture while maintaining the intimate, technically developed character of the chamber ensemble voicing. This work added to her reputation as a composer of serious high art music, although still deemed slightly beneath the works of similar male composers by some reviewers.

3105: 474:. Beach and Craft made pro-German statements to the American press, but Beach said her allegiance was to "the musical, not the militaristic Germany." She gave some manuscripts of music she had written in Europe to Craft, who brought them back to the U.S. Beach delayed her own departure until September 1914 and so had a further trunkful of manuscripts confiscated at the 3221: 91: 38: 3209: 362: 373:, the first symphony composed and published by an American woman. It premiered October 30, 1896, performed by the Boston Symphony "with exceptional success," although "whatever the merits or defects of the symphony were thought to be, critics went to extraordinary lengths in their attempts to relate them to the composer's sex." Composer 3245: 826:. The Sonata is written in four movements, which are interconnected musically by using the first movement's opening theme as a germinating source to be developed on in the following three. They are thoroughly crafted to follow conventions of the form while implementing each musical element in a precise and well-constructed way. 3233: 907:'s chamber music competition in 1922. Numerous painstaking attempts demonstrate both Beach's devotion to the composition of this piece and her unfamiliarity with writing in this genre. The final work, completed in Rome, consists of a single movement divided into three sections, and thematically speaking, follows an 794:

instrumental works are the Sonata in A Minor for Piano and Violin, Op. 34 and the Quintet in F♯ minor, Op. 67, as both were programmed extensively in the United States and Germany. Another noteworthy work which illustrates Beach's skill and adherence to tradition as a composer is her String Quartet, Op. 89.

381:(1863–1919) had attended the Gaelic Symphony's premiere and much enjoyed it: "I always feel a thrill of pride myself whenever I hear a fine work by any of us, and as such you will have to be counted in, whether you or not – one of the boys." These "boys" were a group of composers unofficially known as the 578:, where she received an honorary master's degree in 1928. She also worked to create "Beach Clubs," which helped teach and educate children in music. She served as leader of some organizations focused on music education and women, including the Society of American Women Composers as its first president. 1254:

Its four movements are packed with incident – beautifully shaped melodies (several of them drawn from her songs), a forthright rhythmic profile and a vivacious and sometimes contentious interplay between soloist and orchestra. The piano part is as flashy and demanding as a virtuoso vehicle calls for,

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Beach's String Quartet is a single movement and is one of her more mature works. It was originally labeled as Op. 79, but over the course of a decade, the work evolved, and Beach finally re-designated the piece as Op. 89 in 1929. The significance Beach bestowed on this piece is notable, given that it

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Among all of Beach's chamber works, this work has been described as one of the most distinctly representative of a Brahmsian influence in her music, from the jagged chromatic melody and contrasting lyrical passages, irregularly phrase lengths, its key changes and lush texture, to its strict adherence

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concerto in 1885, when the conductor slowed the orchestra during the last movement, attempting to go easy on the teenage soloist. When she began the piano part, however, she played at full prescribed tempo: "I did not know that he was sparing me, but I did know that the tempo dragged, and I swung the

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The piece was premiered at the American Academy in April 1929, but Beach reported little on whether or not this performance was satisfactory. Nonetheless, it was followed by a number of private performances and small recitals in New York, Cincinnati, and Massachusetts. A 1937 performance arranged by

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Beach's husband died in June 1910 (the couple had been childless) and her mother 7 months later. Her father, Charles Cheney, had died in 1895. Beach felt unable to work for a while. She went to Europe in hopes of recovering there. In Europe she changed her name to "Amy Beach". She travelled together

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The marriage was conditioned upon her willingness "to live according to his status, that is, function as a society matron and patron of the arts. She agreed never to teach piano, an activity widely associated with women" and regarded as providing "pin money." She further agreed to limit performances

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offered praise of it, saying that while it was unusual for Beach and lacked the emotionalism usually prevalent in her music, it demonstrated remarkable technical sophistication and skill in its handling of both string writing and engagement with thematic material that was not European in origin. In

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Canticle of the Sun, Op. 123; Invocation for the Violin, Op. 55; With Prayer and Supplicaton, Op. 8; Te Deum, from Service in A, Op. 63; Constant Christmas, Op. 95; On a Hill; Kyrie eleison, Op. 122; Sanctus, Op. 122; Agnus Dei, Op. 122; Spirit of Mercy, Op. 125; Evening Hymn, Op. 125; I Will Give

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Generally speaking, the work was received quite well by audiences and reviewers as belonging to an important compositional tradition. Critics noted its aesthetically flexible imagination while adhering to traditional expectations, bringing a variety of expressive moods and tone colors to a work of

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In style, she is not individual; her dependence upon Schumann and Brahms is unmistakable, which is a weakness, for which the feminine character furnishes ground and excuse. The sonata is sonorous and graceful in both violin and piano parts, though the latter in the last movement somewhat oversteps

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was the most controversial among critics, with some praising its beauty and passionately evocative nature, while others derided its length as being too far extended and monotonous. Audiences, however, were captivated and spellbound by the slow movement; at one performance it was reported that they

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She used her status as the top female American composer to further the careers of young musicians. While she had agreed not to give private music lessons while married, Beach was able to work as a music educator during the early 20th century. She served as President of the Board of Councillors of

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had available for German music stores. Later In January, still in Munich, she performed in her Piano Quintet; a critic praised her composing, which he did not like all that well, more than her playing. In a further concert in Breslau, only three of Beach's songs were on the program, fewer than in

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in 1896, was the first symphony composed and published by an American woman. She was one of the first American composers to succeed without the benefit of European training, and one of the most respected and acclaimed American composers of her era. As a pianist, she was acclaimed for concerts she

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for piano during one summer at her grandfather's farm in West Henniker, NH, despite the absence of a piano; instead, she composed the pieces mentally and played them when she returned home. She could also play music by ear, including four-part hymns. These extraordinary musical talents at such a

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Beach was a musical intellectual who wrote for journals, newspapers, and other publications. She gave advice to young musicians and composers – especially female composers. From career to piano technique advice, Beach readily provided her opinions in articles such as "To the Girl who Wants to

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The premiere was quickly followed by several other recital performances of the piece in various New York cities, where critical reception was mixed; some reviewers described the piece as immature and lacking in substance, although they acknowledged her skillful use of contrapuntal movement and

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pianist, in which she regularly performed both her own compositions and those of others. She toured extensively in Germany, New England, and all the way to the Pacific Coast, where she brought European-American concert music to the western states. Among two of Beach's most frequently performed

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Chamber Music CDs: 2 Ambache Ensemble recordings on Chandos Records (9752 & 10162), both awarded rosettes in the Penguin Guide: 1) Piano Quintet, Op 67; Theme & Variations, Op 80; Piano Trio, Op 50. 2) String Quartet. Op 89; Violin Sonata, Op 34; Pastorale, Op 151; Dreaming, Op 50 No

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was also performed in Hamburg and Leipzig. A Hamburg critic wrote "we have before us undeniably a possessor of musical gifts of the highest kind; a musical nature touched with genius." She was greeted as the first American woman "able to compose music of a European quality of excellence."

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In recollecting her married life in 1942, Beach stated, "I was happy and he was content" and "I belonged to a happy period that may never come again." Performing in Germany after Henry's death in 1910, she dropped the "Mrs. H. H. A." for "Amy", apparently because the "Mrs." mystified German

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Reviewers in Berlin were fairly positive in their response to the Sonata, hailing its technical development and brilliant use of the violin and piano as individual parts. Where criticized, they noted that it was perhaps too virtuosic for chamber music, while another reviewer for the

249:) as piano teachers. In 1881–82, the fourteen-year-old also studied harmony and counterpoint with Junius W. Hill. This would be her only formal instruction as a composer, but "he collected every book she could find on theory, composition, and orchestration ... she taught herself ... 1126:

In the early 1890s, Beach started to become interested in folk songs. She shared that interest with several of her colleagues, and this interest soon came to be the first nationalist movement in American music. Beach's contributions included about thirty songs inspired by

1771: 293:'s piano concerto No. 3 in G minor, to general acclaim: as biographer Fried Block comments, "t is hard to imagine a more positive critical reaction to a debut," and her audience was "enthusiastic in the extreme." The next two years of her career included performances in 190:) and Clara Imogene (Marcy) Cheney. Artistic ability ran in the family: Clara was reputedly an "excellent pianist and singer," while Amy showed every sign of being a child prodigy. She was able to sing forty songs accurately by age one, she was capable of improvising 408:, with the composer as soloist. It has been suggested that the piece suggests Beach's struggles against her mother and husband for control of her musical life. In all, Beach was one of the first American women who received large popularity for composing symphonies. 1561: 593:. In March 1929 she gave a concert to benefit the American Hospital in Rome, in which her song "The Year's at the Spring" was encored and a "large sum of money" was raised. Beach, like her friends in Rome, briefly became an admirer of the Italian dictator 608:, Chapter BZ/California. Heart disease led to Beach's retirement in 1940, around the time of which she was honored at a testimonial dinner by 200 of her friends in New York. Beach died in New York City in 1944. Amy Beach is buried with her husband in the 561:

in 1924, and died in November 1925 in Hillsborough, after which Beach had no surviving relatives as close as Ethel and Franc had been. In the fall of 1930, Beach rented a studio apartment in New York. There, she became the virtual composer-in-residence at

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Of the over 300 works by Amy Beach which were published during her lifetime and included almost every genre, the largest category is her art songs and vocal chamber music. Beyond these, she wrote many chamber works and transcriptions for piano, including

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is perhaps Beach's best-known work. Despite the volume and popularity of the songs during her lifetime, no single-composer collection of Beach's songs exists. Some may be purchased through Hildegard Publishing Company and Masters Music Publication, Inc.

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similarly declared it "ambitious" and "singularly impressive... a rewarding achievement all round, full of brilliantly idiomatic solo writing ... lent further autobiographical intrigue by its assimilation of thematic material from three early songs".

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fact, Beach's use of Inuit and Native American tunes became a marked feature in several of her other works, which she used as a means of bringing stylistic modernity to her sound through the appropriation and recontextualization of these melodies.

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was particularly disappointing, as the performers were ill-prepared and sight-read the work poorly. No performance of the quartet was fully satisfactory to Beach, and the work did not gain the recognition that she seemed to hope it would gather.

317:(1843–1910)), a Boston surgeon, Harvard lecturer, and amateur singer twenty-four years her senior (she was eighteen at the time). Her name would subsequently be listed on concert programs and published compositions as "Mrs. H. H. A. Beach." 1172:

Despite her fame and recognition during her lifetime, Beach was largely neglected after her death in 1944 until the late 20th century. Efforts to revive interest in Beach's works have been largely successful during the last few decades.

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in Boston. The Capitol Hill Choral Society of Washington, D.C., recorded the Canticle of the Sun, seven Communion Responses, and other pieces by Beach in 1998, led by its Musical Director Betty Buchanan, who founded the Society in 1983.

429:, October 1912, playing her violin and piano sonata with violinist "Dr. Bülau," to favorable reviews. In Munich in January 1913, she gave a concert, again with her violin sonata, but with three sets of songs: two of her own and one by 935:

Because the quartet was so different from many of Beach's previous works, and given that Beach was unable to perform it herself, there is little known concerning both audience and critic response to the piece. Composer and biographer

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orchestra, which since its foundation in 1815 had never performed a piece composed by a woman. Newspaper music critics responded to the Mass by declaring Beach one of America's foremost composers, comparing the piece to Masses by

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did not feature a piano part which she would perform, as did many of her other works. Because of the timing of the piece's composition, there is some evidence that Beach may have been inspired to write the work as part of

554:, who "were or became long-time friends" of Beach. But there were "generational and gender divisions" among the Fellows in music at the Macdowell Colony, with some feeling that Beach's music was "no longer fashionable". 1401:

Centaur 2312 also has the Barcarolle for violin and piano, the three pieces for violin and piano Op. 40, the Romance Op. 23, and the Invocation Op. 55, all performed by Laura Klugholz, violin/viola, and Jill Timmons,

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characterized Beach's compositional style as being too derivative of Schumann and Brahms—yet allowed Beach's gender as a caveat for this supposed shortcoming (sexism was common and extreme in classical music). He

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Recorded on the following labels: Albany No. 150, Arabesque No. 6747, Centaur Nos. 2312, 2767, Chandos No. 10162, Koch Nos. 7223, 7281, NWW No. 80542, Summit No. 270, White Pine no. 202. More details on Chandos

508:. Someone had asked her if she was the daughter of Mrs. H. H. A. Beach. She resumed using that married name, but used "Amy Beach" on bookplates and stationery. For a few summers, she composed at her cottage in 2750: 847:

I assure you that I never had a greater pleasure in my life than the one I had in working out your beautiful sonata and having the good luck to bring it before the German public...(I)t really met with a

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the premiere of her Sonata for Piano and Violin, Op. 34, which she had composed in the spring of 1896. Franz Kneisel was a leading violinist in Boston and beyond, having been hired at about age 20 by

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Amy Beach, 4 Sketches, Op. 15: No. 3. Dreaming, Romance, Op. 23, Violin Sonata in A Minor, Op. 34, Invocation, Op. 55, Lento espressivo, Op. 125. Matteo Amadasi, viola and Katia Spluga, piano.

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There are some tens of secular choral works, accompanied by orchestra, piano, or organ. Publisher Arthur P. Schmidt once complained to Beach that her "choral pieces had practically no sale".

1205:. Her command of instrumentation throughout the Symphony was consistently excellent and colorful. The manner in which she balanced content and form succeeds where her contemporaries like 835:

broke out into enthusiastic applause in between the third and fourth movements out of an abundance of emotion. In Europe, the piece was generally well received. The composer and pianist

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with three other string players of the Boston Symphony. (The Quartet lasted until 1917. Meanwhile, Kneisel moved to New York in 1905.) In 1894 Beach had joined the quartet in performing

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Beach was most popular for her about 150 songs. The words of about five each are her own and those of H. H. A. Beach, for the rest by other poets. "The Year's At the Spring" from

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cast across the Atlantic. It’s a fresh, invigorating, and personal statement in a genre that has offered plenty of examples of pieces that demonstrate none of those qualities.

3141: 730: 1283: 3380: 566:. Her music had been used during the previous 20 years in services at the church, attributed to "H. H. A. Beach", with "Mrs." added only since 1931. 563: 3330: 3300: 911:(A B C B1 A1). The piece uses three different Eskimo or Inuit melodies throughout the work: "Summer Song", "Playing at Ball", and "Itataujang's Song", taken from 152:(September 5, 1867 – December 27, 1944) was an American composer and pianist. She was the first successful American female composer of large-scale 1787: 3315: 3285: 425:

of the Berlin Royal Opera." Beach's first year in Europe "was of almost entire rest." In 1912 she gradually resumed giving concerts, Her European debut was in

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The Remarkable Mrs. Beach, American Composer: A Biographical Account Based on Her Diaries, Letters, Newspaper Clippings, and Personal Reminiscences

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The remarkable Mrs. Beach, American composer: a biographical account based on her diaries, letters, newspaper clippings, and personal reminiscences

3370: 3310: 3280: 3134: 785:, Beach's "longest and most important solo" piano work, which was composed in 1904, in response to revolts in the Balkans against the then ruling 1244:

called it "a colorful, dashing work that might become extremely popular if enough people get a chance to hear it. In 2000 Joshua Kosman of the

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While continuing to get income from her compositions published by Arthur P. Schmidt, during 1914–1921, she had new compositions published by

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and multiple agents proposed concert tours for the young pianist, which her parents declined – a decision for which Amy was later grateful.

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but there is also an element of poignancy about it – a sense of constraint that seems to shadow even the work's most extroverted passages.

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In 1924, Beach sold the house in Boston she had inherited from her husband. Her aunt Franc had become "feeble" around 1920, developed

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and, by a wide margin, better than a lot that came after him. It surely is the most exciting symphony penned by an American before

597:. She returned to the United States with a two-week stopover in Leipzig, where she met her old friend, the singer Marcella Craft. 1275: 2915: 1298:, Mayor of the City of Boston, declared September 5, 2017, to be "Amy Beach Day." Also commemorating Beach's sesquicentennial, 2817:

Brown, Jeanell Wise. "Amy Beach and Her Chamber Music: Biography, Documents, Style". Metuchen, NJ: The Scarecrow Press, 1994.

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Sonata for Violin and Piano in A minor; Quartet for Strings; Pastorale for Wind Quintet; and Sketches (4) for Piano, Dreaming

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Amy Beach, Piano Quintet in F♯ minor, Op. 67. Old Stoughton String Quartet. AMRC 0040. Ambache Ensemble Chandos Records 9752

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Betty Buchanan (ed.), Matthew Arnold (tr.) (Madison, WI: A-R Editions, 2006) Recent researches in American music, v. 57.

1833:"Review: Amy Beach, Passionate Victorian: The Life and Work of an American Composer, 1867–1944, by Adrienne Fried Block" 721:

Beach's sacred choral works are mainly for four voices and organ, but a few are for voices and orchestra, two being the

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Fried Block, Adrienne: "Amy Beach", Grove Music Online (subscription required) ed. L. Macy (Accessed October 1, 2006),

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Aside from concert tours and the time of Ethel's illness until her death in 1920, Beach also spent part of her time in

433:, and solo piano music by Bach, Beethoven, and Brahms. Two critics were rather unfavorable, one calling Beach's songs " 2855:

Jezic, Diane Peacock. "Women Composers: The Lost Tradition Found, Second Edition". New York: The Feminist Press, 1994.

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tribes. Beach integrates these borrowed tunes within a framework of Austro-Germanic extended quasi-tonality and

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was commissioned for the occasion. In 1915, and again in 1916, Beach visited her aunt Franc and cousin Ethel in

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paid tribute by adding her name as the first woman joining 87 other composers on the granite wall of Boston's

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Amy Cheney made her concert debut at age sixteen on October 18, 1883, in a "Promenade Concert" conducted by

179: 115: 51: 2753:: How I changed an Icon," reSearch Ezine of the Women's Studies Research Center, Brandeis University, 2009. 3213: 3064: 3049: 2897: 1455: 1448: 1444:. Performed by Capitol Hill Choral Society, Betty Buchanan, music director, Albany Records, 1998, TROY295 1235: 1144: 879: 722: 698: 405: 355: 342: 230: 211: 1741: 2986:

Image of Marcella Craft & Amy Beach, February 14, 1913, Munich, Germany. Photographer, H. Wiedenmann

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Fried Block 1998, pp. 113–22, gives an extended treatment of the sonata with selections from the score.

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Biographical History of Massachusetts: Biographies and Autobiographies of the Leading Men in the State

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Amy began formal piano lessons with her mother at age six, and soon gave public recitals of works by

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Beach spent the winter and spring of 1928–29 in Rome. She went to concerts "almost daily" and found

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young age can be associated with certain innate conditions she possessed. Firstly, she possessed

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cadence frequently associated with mourning, which in this work outlines the notes F#-E-D-C#.

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has been praised as an overlooked masterwork by modern critics. In 1994, Phil Greenfield of

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In November–December 1913 she played the solo part in her Piano Concerto with orchestras in

394: 493:. Amy Beach was honored often by concerts of her music and receptions during 1915, and her 3070: 3058: 2919: 2827: 1458:, Performed by the Michael May Festival Chorus. Compact disc. Newport Classic, 1989, 60008 1218: 819: 807: 762: 693: 679: 663: 458: 430: 370: 351: 290: 157: 604:. Late in her life, she collaborated on the "Ballad of P.E.O." with the words written by 2838:. Music of the United States of America (MUSA) vol. 3. Madison, Wisconsin: A-R Editions. 3186: 2309: 1214: 786: 770: 659: 655: 590: 418: 378: 191: 183: 2909:, words by Erich Jansen; English text by Isidora Martinez; A.P. Schmidt Company, 1903. 2736:

Meyer, Eve Rose. "Composer's Corner: Amy Beach Joins the Ranks of Honored Composers,"

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so often came up short: somehow Beach’s Symphony is never daunted by the long shadows

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Greenfield, Phil (October 7, 1994). "Beach's piano concerto will take center stage",

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by age two, and she taught herself to read at age three. At four, she composed three

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Robin. "Amy Beach, a Pioneering American Composer, Turns 150". The New York Times

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The symphony has received praise from modern critics, such as Andrew Achenbach of

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audiences, but thereafter she used Mrs. H. H. A. Beach for the rest of her life.

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placed a bronze plaque at her Boston address, and in 1995, Beach's gravesite at

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To my ears, it is by far the finest symphony by an American composer before

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Compose" and "Emotion Versus Intellect in Music." In 1915, she had written

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at the Miller Nichols Library of the University of Missouri – Kansas City

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Beach followed this up with an important milestone in music history: her

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Mardinly, Susan (2014). "Amy Beach: muse, conscience, and society".

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The Concise Edition of Baker's Biographical Dictionary of Musicians

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border. Beach eventually recovered the trunk and contents in 1929.

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Beach returned to America in 1914, not long after the beginning of

1398:. Performed by the Ambache Chamber Ensemble. Chandos Records 10162 916: 360: 258: 195: 165:

gave featuring her own music in the United States and in Germany.

2884:– biography, bibliography, discography, manuscripts, photos, etc. 2852:, edited by John H. Baron. Warren, MI: Harmonie Park Press, 1994. 2335:

Beatie, Rita. "A Forgotten Legacy: The Songs of the 'Boston Group

3123: 2999: 818:

of the orchestra. Soon after arriving in Boston, he formed the

737:

with organ was first performed by the choir of men and boys at

526:

From 1921 on, she spent part of each summer as a Fellow at the

1168:

Late 20th century and early 21st century revival and reception

31: 3119: 2995: 2821: 2385:

Amy Beach and Her Chamber Music: Biography, Documents, Style

2841:

Gates, Eugene. "Mrs. H. H. A. Beach: American Symphonist."

2283: 2281: 1953:, Alison Latham, Ed., Oxford University Press, 2002, p. 113 1386:

Amy Beach, Sonata for violin and piano in A minor, Op. 34:

182:, on September 5, 1867 to Charles Abbott Cheney (nephew of 2881: 2991:

Link to Amy Marcy Beach interment entry at findagrave.com

1469:

and the Symphony in E minor ("Gaelic"). Performed by the

1164:, which expressed many of her self-teaching principles. 325:, "Music will perhaps become his profession, while for 878:

In 1900, with the Kneisel Quartet, Beach performed the

523:, 1892, her most successful composition up until then. 874:

Quintet in F-sharp minor for Piano and Strings, Op. 67

638:" or "Boston Group"; the other members were composers 3197: 2605:

Studies in Musical Education, History, and Aesthetics

1162:

Music’s Ten Commandments as Given for Young Composers

600:

She was a member of Chapter R (New York City) of the

385:, and included not only Chadwick and Parker but also 377:(1854–1931) wrote to Beach that he and his colleague 2810:

Beach, Mrs. H. H. A. and Francis, of Assisi, Saint,

1512:

Fried Block, Adrienne (2001). "Beach , Amy Marcy ".

1306:

Amy Beach, a Pioneering American Composer, Turns 150

589:

to be "superbly brilliant," but disliked a piece by

3083: 3042: 139: 123: 97: 81: 2965:Virginia Eskin & David Dubal discuss Amy Beach 2954:Video (20:54) "Theme and Variations" Op. 80 (1916) 824:Robert Schumann's Piano Quintet in E-flat, Op. 44 765:and three further pieces for violin and piano, a 485:in San Francisco commemorated the opening of the 1568:, via Newspaper Archives February 7, 1977, p. 20 1284:American Classical Music Hall of Fame and Museum 830:affective principal themes. The third movement, 705:, has a solo piano version. Two further pieces, 2407:. Ann Arbor, MI: University of Michigan Press. 1872:"Handel and Haydn Society Celebrates 200 Years" 1821:Letter of July 16, 1820, in Hensel (1884), I 82 1778:, via Newspaper Archives January 7, 1945, p. 17 1562:"NSO Concert to feature Pianist Virginia Eskin" 1514:The New Grove Dictionary of Music and Musicians 1252: 404:In 1900, the Boston Symphony premiered Beach's 2835:Quartet for Strings (In One Movement), Opus 89 2297:We Who Are Sisters: 150 Year History of P.E.O. 2239:10.1093/acref:omo/9781561592630.013.0000002409 1442:Thanks, Op. 147; Peace I leave With You, Op. 8 1369:, Joanne Polk, piano, Arabesque, Z6721 (1998). 798:Sonata in A minor for piano and violin, Op. 34 677:Beach's compositions include a one-act opera, 3135: 3011: 1837:Journal of the American Musicological Society 1282:was dedicated. In 1999, she was put into the 852:and this is said to the credit of the public. 233:, a suburb just across the Mystic River from 8: 2902:Music of the United States of America (MUSA) 2624: 2622: 2459:. Michigan: Harmonie Park Press. p. 45. 1914: 1912: 1910: 1329:Piano Music, Vol. 2, The Turn of the Century 341:A major compositional success came with her 313:Amy was married the same year (1885) to Dr. 2943:Video (09:49) "Summer Dreams" Op. 47 (1901) 2573:, Vol. 8, No. 2 (Summer 1990), pp. 141–66. 2567:Amy Beach's Music on Native American Themes 1377:, Jennifer Fichet, piano, Hortus 237 (2024) 843:in Berlin, October 1899 and wrote to Beach: 300:Amy would later recall one rehearsal for a 3142: 3128: 3120: 3018: 3004: 2996: 2928:at the University of New Hampshire Library 2225:Block, Adrienne Fried (January 31, 2018), 2089:Fried Block 1998, pp. 202–03, 205–06. 1767: 1765: 1763: 674:and more exotic harmonies and techniques. 89: 78: 2976:"The Lotos Isles" on The Art Song Project 2892:International Music Score Library Project 2738:International Alliance for Women in Music 2058: 2056: 1721:. Song of America; Site by Lenny’s Studio 1343:, Kirsten Johnson, piano, Guild GMCD 7387 1337:, Kirsten Johnson, piano, Guild GMCD 7351 1331:, Kirsten Johnson, piano, Guild GMCD 7329 1325:, Kirsten Johnson, piano, Guild GMCD 7317 281:at Boston's Music Hall, where she played 27:American composer and pianist (1867–1944) 2932:Mrs. H. H. A. Beach: American Symphonist 2213:The Biographical Dictionary of Musicians 2046: 2044: 2042: 1530:"Mrs. H.H.A. Beach: American Symphonist" 1304:published an article by William Robin, " 993:Scottish Legend and Gavotte Fantastique, 761:(recorded on seven different labels), a 725:(1892) and her setting of St. Francis's 62:of all important aspects of the article. 3204: 2981:Performances of Amy Beach's piano music 2227:"Beach [née Cheney], Amy Marcy" 2108: 2106: 2104: 1554: 880:Brahms Piano Quintet in F minor, Op. 34 483:Panama–Pacific International Exposition 329:it can and must be only an ornament.". 3381:People from Centerville, Massachusetts 2657:Blumhofer, Jonathan (March 10, 2016). 2396: 2394: 2369: 2367: 1746:. Massachusetts biographical society. 1502:, Oxford University Press, New York, 1434:Orchestral music, possibly with chorus 58:Please consider expanding the lead to 3331:20th-century American women composers 3301:19th-century American women composers 2907:Sheet Music for "June", op. 51, no. 3 2603:"Emotion Versus Intellect in Music," 2543: 2541: 2539: 2493: 2491: 2489: 2479: 2477: 2475: 2450: 2448: 2438: 2436: 2434: 2432: 2315:American Classical Music Hall of Fame 1335:Piano Music, Vol. 3, The Mature Years 1294:. In honor of Beach's 150th birthday 1250:also lauded the composition, writing: 869:the allotted bounds of chamber music. 701:(1898−99). Another orchestral piece, 345:, which was performed in 1892 by the 7: 3316:20th-century American women pianists 3286:19th-century American women pianists 3059:Symphony "Gaelic" in E minor, Op. 32 2727:, World Music News, Spring 1996, 20. 2590:"To the Girl who Wants to Compose," 2215:(1940), Garden City, NY: Doubleday. 1323:Piano Music, Vol. 1, The Early Works 229:In 1875, the Cheney family moved to 3386:People from Henniker, New Hampshire 2832:Fried Block, Adrienne, ed. (1994). 2763:Curtis, Liane (September 5, 2017). 1949:Griiffiths, Paul, "Beach, Amy", in 1406:Mrs. H.H.A. (Amy) Beach (1867–1944) 1341:Piano Music, Vol. 4, The Late Works 1071:A Cradle Song of the Lonely Mother, 839:performed the piece with violinist 3361:American child classical musicians 2800:(Madison, WI: A-R Editions, 1999) 2699:"Thwarted Composer's Intense Work" 2343:48 no. 1 (Sept–Oct 1991): 6–9, 37. 2175:Fried Block 1998, pp. 219–20. 1831:Pollack, Howard (August 1, 2001). 1286:in Cincinnati, Ohio. In 2000, the 802:In January 1897 Beach played with 564:St. Bartholomew's Episcopal Church 401:, of whom Beach was the youngest. 25: 3356:American women classical pianists 2697:Kosman, Joshua (March 27, 2000). 729:(1924, 1928), first performed at 630:List of compositions by Amy Beach 572:New England Conservatory of Music 489:and the city's recovery from the 174:Early years and musical education 3321:20th-century classical composers 3291:19th-century classical composers 3243: 3231: 3219: 3207: 3104: 3103: 2769:The Boston Musical Intelligencer 1053:Farewell Summer, Dancing Leaves, 713:, are for orchestra with voice. 683:, and a variety of other works. 466:Return to America and later life 36: 3326:20th-century classical pianists 3306:20th-century American composers 3296:19th-century classical pianists 3276:19th-century American composers 2926:The Amy Cheney Beach Collection 2913:The Amy Cheney Beach Collection 2629:Achenbach, Andrew (June 2003). 1524:. London: Macmillan Publishers. 1500:Amy Beach, Passionate Victorian 1482:Piano Concerto in C sharp minor 1463:Piano Concerto in C sharp minor 699:Piano Concerto in C-sharp minor 421:, an American soprano who was " 50:may be too short to adequately 3371:American women opera composers 3311:20th-century American pianists 3281:19th-century American pianists 2287:Fried Block 1998, p. 253. 2275:Fried Block 1998, p. 252. 2202:Fried Block 1998, p. 257. 2184:Fried Block 1998, p. 247. 2121:Fried Block 1998, p. 217. 2098:Fried Block pp. 202, 219. 1498:Fried Block, Adrienne (1998), 1363:, piano, Arabesque, B000005ZYW 1041:Hermit Thrush at Eve, at Morn, 733:in New York. A setting of the 60:provide an accessible overview 1: 2765:"Amy Beach at 150 Proclaimed" 2352:Fried Block, pp. 274–81 2112:Fried Block 1998, p. 212 2000:Fried Block 1998, pp. x, 183. 1870:Allen, David (May 22, 2015). 1794:, By Gayle Worl March 9, 1997 1740:Eliot, Samuel Atkins (1911). 1537:The Kapralova Society Journal 1276:Boston Women's Heritage Trail 178:Amy Marcy Cheney was born in 3341:American classical composers 2383:Brown, Jeanell Wise (1994). 2266:Fried Block 1998, pp. 252–53 2211:"Beach, Mrs. H. H. A.", in 1516:, second edition, edited by 1120:Three Browning Songs, Op. 44 999:Variations on Balkan Themes, 3351:American Romantic composers 3336:American classical pianists 2845:8, No. 2 (Fall 2010): 1–10. 2455:Jenkins, Walter S. (1994). 2233:, Oxford University Press, 1715:"Henry Harris Aubrey Beach" 1695:Fried Block 1998, pp. 29–32 783:Variations on Balkan Themes 634:Beach was a member of the " 576:University of New Hampshire 532:Peterborough, New Hampshire 3402: 3167:George Whitefield Chadwick 1849:10.1525/jams.2001.54.2.389 1456:Grand Mass in E-flat major 1449:Grand Mass in E-flat major 1207:George Whitefield Chadwick 1047:From Grandmother's Garden, 905:Elizabeth Sprague Coolidge 627: 510:Centerville, Massachusetts 412:Widowhood, years in Europe 375:George Whitefield Chadwick 3157: 3099: 3091:Second New England School 3033: 2936:Kapralova Society Journal 2843:Kapralova Society Journal 2687:Retrieved January 9, 2016 2547:Fried Block 1998, p. 238. 2533:Fried Block 1998, p. 237. 2524:Fried Block 1994, p. 235. 2506:Fried Block 1998, p. 214. 2361:Fried Block 1998, p. 186. 2257:Fried Block 1998, p. 233. 2193:Fried Block 1998, p. 255. 2036:Fried Block 1998, p. 184. 2009:Fried Block 1998, p. 180. 1962:Fried Block 1998, p. 132. 1951:Oxford Companion to Music 1772:"Composed 'Panama Hymn' " 1077:Tyrolean Valse Fantaisie, 812:Boston Symphony Orchestra 739:Emmanuel Episcopal Church 636:Second New England School 383:Second New England School 315:Henry Harris Aubrey Beach 289:and was piano soloist in 162:Boston Symphony Orchestra 88: 3376:MacDowell Colony fellows 3346:American opera composers 2972:, WNCN-FM, April 1, 1983 2888:Free scores by Amy Beach 2794:The Sea-Fairies: Opus 59 2616:Fried Block 1998, p. 57. 2607:, vol. 27 (1933), 45–48. 2565:"Fried Block, Adrienne. 2556:Fried Block 1998, p. 241 2497:Fried Block 1998, p. 129 2483:Fried Block 1998, p. 127 2469:Fried Block 1998, p. 121 2148:Fried Block 1998, p. 98. 2080:Fried Block 1998, p. 253 2071:Fried Block 1998, p. 196 2027:Fried Block1998, p. 184. 1991:Fried Block 1998, p. 136 1940:Fried Block 1998, p. 103 1918:Nicolas Slonimsky, Ed., 1788:"Women of Historic Note" 1632:Fried Block 1998, p. 23. 491:1906 earthquake and fire 347:Handel and Haydn Society 2812:The Canticle of the Sun 2704:San Francisco Chronicle 2373:Fried Block 1998, p. 91 2139:Fried Block 1998, p. x. 2130:Block 1998, p. 218 1973:"Amy Beach (1867–1944)" 1904:Fried Block 1998, p. 65 1895:Fried Block 1998, p. 71 1812:Fried Block 1998, p. 50 1803:Fried Block 1998, p. 47 1704:Fried Block 1998, p. 33 1686:Fried Block 1998, p. 30 1677:Fried Block 1998, p. 55 1650:Fried Block 1998, p. 28 1623:Fried Block 1998, p. 6. 1586:Fried Block 1998, p. 8. 1473:Orchestra conducted by 1353:, piano, Allmusic Z6693 1247:San Francisco Chronicle 1059:Old Chapel by Moonlight 757:compositions include a 419:Marcella (Marcia) Craft 180:Henniker, New Hampshire 116:Henniker, New Hampshire 3065:Piano Concerto, Op. 45 2740:5 nos. 2–3 (1999): 20. 2594:, vol. 35 (1918), 695. 1668:Fried Block 1998, p.55 1641:Fried Block 1998, p. 7 1595:Fried Block 1998, p. 8 1528:Gates, Eugene (2010). 1270:Tributes and memorials 1257: 1227: 898:String Quartet, Op. 89 871: 860:Berliner Volks-Zeitung 854: 820:Kneisel String Quartet 366: 305:orchestra into time". 245:(himself a student of 150:Amy Marcy Cheney Beach 18:Amy Marcy Cheney Beach 2918:May 10, 2017, at the 2826:May 16, 2008, at the 2401:Radice, Mark (2012). 1280:Forest Hills Cemetery 1195: 1035:Far Hills of Eire, O, 1023:From Blackbird Hills, 938:Burnet Corwin Tuthill 866: 845: 610:Forest Hills Cemetery 606:Ruth Comfort Mitchell 548:Fannie Charles Dillon 544:Mabel Wheeler Daniels 364: 3036:List of compositions 2798:Andrew Thomas Kuster 2725:Music Clubs Magazine 2413:10.3998/mpub.3702496 1475:Kenneth Schermerhorn 1374:Une prodige empêchée 1259:Andrew Achenbach of 1101:Five Improvisations, 723:Mass in E-flat major 536:Emilie Frances Bauer 343:Mass in E-flat major 261:," even translating 3366:Composers for piano 2848:Jenkins, Walter S. 2515:Brown 1994, p. 197. 2231:Oxford Music Online 1978:Library of Congress 1792:The Washington Post 1382:Other chamber music 1347:By the Still Waters 1083:From Six to Twelve, 1005:Four Eskimo Pieces, 975:Children's Carnival 810:, conductor of the 727:Canticle of the Sun 711:Jephthah's Daughter 160:, premiered by the 134:New York City, U.S. 3182:John Knowles Paine 2873:Works by Amy Beach 2751:Beach on the Shell 2166:Fried Block p. 223 2157:Fried Block p. 222 2050:Block 1998, p. 185 1876:The New York Times 1659:Gates (2010), p. 2 1607:Journal of Singing 1577:Gates, 2010, p. 1. 1471:Nashville Symphony 1301:The New York Times 1211:John Knowles Paine 1095:Out of the Depths, 1017:Prelude and Fugue, 640:John Knowles Paine 387:John Knowles Paine 367: 337:Rise to prominence 3195: 3194: 3117: 3116: 2934:by Eugene Gates, 2685:The Baltimore Sun 2422:978-0-472-07165-4 1486:Mary Louise Boehm 1241:The Baltimore Sun 1103:Op. 148 (1924–26) 987:Children's Album, 832:Largo con dolore, 731:St. Bartholomew's 672:whole tone scales 620:, Massachusetts. 602:P.E.O. Sisterhood 439:Arthur P. Schmidt 393:(1853–1937), and 323:Fanny Mendelssohn 279:Adolph Neuendorff 186:, who co-founded 158:"Gaelic" Symphony 147: 146: 143:Composer, Pianist 127:December 27, 1944 112:September 5, 1867 77: 76: 16:(Redirected from 3393: 3248: 3247: 3246: 3236: 3235: 3234: 3224: 3223: 3212: 3211: 3210: 3203: 3177:Edward MacDowell 3144: 3137: 3130: 3121: 3107: 3106: 3020: 3013: 3006: 2997: 2966: 2955: 2944: 2882:www.amybeach.org 2860:1 September 2017 2780: 2779: 2777: 2775: 2760: 2754: 2749:Curtis, Liane. " 2747: 2741: 2734: 2728: 2722: 2716: 2715: 2713: 2711: 2694: 2688: 2681: 2675: 2674: 2672: 2670: 2654: 2648: 2647: 2645: 2643: 2626: 2617: 2614: 2608: 2601: 2595: 2588: 2582: 2563: 2557: 2554: 2548: 2545: 2534: 2531: 2525: 2522: 2516: 2513: 2507: 2504: 2498: 2495: 2484: 2481: 2470: 2467: 2461: 2460: 2452: 2443: 2440: 2427: 2426: 2398: 2389: 2388: 2380: 2374: 2371: 2362: 2359: 2353: 2350: 2344: 2338: 2333: 2327: 2326: 2324: 2322: 2306: 2300: 2294: 2288: 2285: 2276: 2273: 2267: 2264: 2258: 2255: 2249: 2248: 2247: 2245: 2222: 2216: 2209: 2203: 2200: 2194: 2191: 2185: 2182: 2176: 2173: 2167: 2164: 2158: 2155: 2149: 2146: 2140: 2137: 2131: 2128: 2122: 2119: 2113: 2110: 2099: 2096: 2090: 2087: 2081: 2078: 2072: 2069: 2063: 2062:Gates 2010, p. 6 2060: 2051: 2048: 2037: 2034: 2028: 2025: 2019: 2018:Gates 2010, p. 5 2016: 2010: 2007: 2001: 1998: 1992: 1989: 1983: 1982: 1969: 1963: 1960: 1954: 1947: 1941: 1938: 1932: 1931:Gates 2010, p. 4 1929: 1923: 1922:, 8th Ed., p. 67 1916: 1905: 1902: 1896: 1893: 1887: 1886: 1884: 1882: 1867: 1861: 1860: 1828: 1822: 1819: 1813: 1810: 1804: 1801: 1795: 1785: 1779: 1769: 1758: 1757: 1737: 1731: 1730: 1728: 1726: 1711: 1705: 1702: 1696: 1693: 1687: 1684: 1678: 1675: 1669: 1666: 1660: 1657: 1651: 1648: 1642: 1639: 1633: 1630: 1624: 1621: 1615: 1614: 1602: 1596: 1593: 1587: 1584: 1578: 1575: 1569: 1566:Nashua Telegraph 1559: 1544: 1534: 1317:Solo piano music 1145:African-American 1061:, Op. 106 (1924) 1029:Fantasia Fugata, 1011:Suite Francaise, 945:Solo piano music 691:Beach wrote the 652:Edward MacDowell 616:neighborhood of 552:Ethel Glenn Hier 528:MacDowell Colony 395:Edward MacDowell 130: 111: 109: 102:Amy Marcy Cheney 93: 79: 72: 69: 63: 40: 32: 21: 3401: 3400: 3396: 3395: 3394: 3392: 3391: 3390: 3256: 3255: 3254: 3244: 3242: 3232: 3230: 3218: 3214:Classical music 3208: 3206: 3198: 3196: 3191: 3153: 3148: 3118: 3113: 3095: 3079: 3038: 3029: 3024: 2964: 2953: 2942: 2920:Wayback Machine 2869: 2828:Wayback Machine 2789: 2787:Further reading 2784: 2783: 2773: 2771: 2762: 2761: 2757: 2748: 2744: 2735: 2731: 2723: 2719: 2709: 2707: 2696: 2695: 2691: 2682: 2678: 2668: 2666: 2665:. The Arts Fuse 2656: 2655: 2651: 2641: 2639: 2628: 2627: 2620: 2615: 2611: 2602: 2598: 2589: 2585: 2579:10.2307/3051947 2564: 2560: 2555: 2551: 2546: 2537: 2532: 2528: 2523: 2519: 2514: 2510: 2505: 2501: 2496: 2487: 2482: 2473: 2468: 2464: 2454: 2453: 2446: 2441: 2430: 2423: 2400: 2399: 2392: 2382: 2381: 2377: 2372: 2365: 2360: 2356: 2351: 2347: 2336: 2334: 2330: 2320: 2318: 2308: 2307: 2303: 2295: 2291: 2286: 2279: 2274: 2270: 2265: 2261: 2256: 2252: 2243: 2241: 2224: 2223: 2219: 2210: 2206: 2201: 2197: 2192: 2188: 2183: 2179: 2174: 2170: 2165: 2161: 2156: 2152: 2147: 2143: 2138: 2134: 2129: 2125: 2120: 2116: 2111: 2102: 2097: 2093: 2088: 2084: 2079: 2075: 2070: 2066: 2061: 2054: 2049: 2040: 2035: 2031: 2026: 2022: 2017: 2013: 2008: 2004: 1999: 1995: 1990: 1986: 1971: 1970: 1966: 1961: 1957: 1948: 1944: 1939: 1935: 1930: 1926: 1917: 1908: 1903: 1899: 1894: 1890: 1880: 1878: 1869: 1868: 1864: 1830: 1829: 1825: 1820: 1816: 1811: 1807: 1802: 1798: 1786: 1782: 1776:Oakland Tribune 1770: 1761: 1754: 1739: 1738: 1734: 1724: 1722: 1719:Song of America 1713: 1712: 1708: 1703: 1699: 1694: 1690: 1685: 1681: 1676: 1672: 1667: 1663: 1658: 1654: 1649: 1645: 1640: 1636: 1631: 1627: 1622: 1618: 1604: 1603: 1599: 1594: 1590: 1585: 1581: 1576: 1572: 1560: 1556: 1551: 1532: 1527: 1495: 1436: 1384: 1357:Under the Stars 1319: 1314: 1272: 1232: 1179: 1177:Gaelic Symphony 1170: 1157: 1149:Native American 1116: 947: 900: 876: 850:decided success 808:Wilhelm Gericke 800: 751: 719: 697:(1896) and the 694:Gaelic Symphony 689: 687:Symphonic works 648:George Chadwick 632: 626: 468: 459:Gaelic Symphony 414: 371:Gaelic Symphony 339: 311: 295:Chickering Hall 287:Rondo in E-flat 275: 176: 171: 135: 132: 128: 119: 118:, United States 113: 107: 105: 104: 103: 84: 73: 67: 64: 57: 45:This article's 41: 28: 23: 22: 15: 12: 11: 5: 3399: 3397: 3389: 3388: 3383: 3378: 3373: 3368: 3363: 3358: 3353: 3348: 3343: 3338: 3333: 3328: 3323: 3318: 3313: 3308: 3303: 3298: 3293: 3288: 3283: 3278: 3273: 3268: 3258: 3257: 3253: 3252: 3240: 3228: 3216: 3193: 3192: 3190: 3189: 3187:Horatio Parker 3184: 3179: 3174: 3169: 3164: 3158: 3155: 3154: 3149: 3147: 3146: 3139: 3132: 3124: 3115: 3114: 3112: 3111: 3100: 3097: 3096: 3094: 3093: 3087: 3085: 3081: 3080: 3078: 3077: 3068: 3062: 3056: 3051:Mass in E-flat 3046: 3044: 3040: 3039: 3034: 3031: 3030: 3025: 3023: 3022: 3015: 3008: 3000: 2994: 2993: 2988: 2983: 2978: 2973: 2961: 2950: 2939: 2929: 2923: 2910: 2904: 2895: 2885: 2879: 2868: 2867:External links 2865: 2864: 2863: 2856: 2853: 2846: 2839: 2830: 2818: 2815: 2808: 2788: 2785: 2782: 2781: 2755: 2742: 2729: 2717: 2689: 2676: 2649: 2618: 2609: 2596: 2583: 2571:American Music 2558: 2549: 2535: 2526: 2517: 2508: 2499: 2485: 2471: 2462: 2444: 2428: 2421: 2390: 2375: 2363: 2354: 2345: 2328: 2301: 2289: 2277: 2268: 2259: 2250: 2217: 2204: 2195: 2186: 2177: 2168: 2159: 2150: 2141: 2132: 2123: 2114: 2100: 2091: 2082: 2073: 2064: 2052: 2038: 2029: 2020: 2011: 2002: 1993: 1984: 1964: 1955: 1942: 1933: 1924: 1906: 1897: 1888: 1862: 1843:(2): 389–395. 1823: 1814: 1805: 1796: 1780: 1759: 1752: 1732: 1706: 1697: 1688: 1679: 1670: 1661: 1652: 1643: 1634: 1625: 1616: 1597: 1588: 1579: 1570: 1553: 1552: 1550: 1547: 1546: 1545: 1525: 1510: 1494: 1491: 1490: 1489: 1478: 1459: 1452: 1445: 1435: 1432: 1431: 1430: 1423: 1419: 1412: 1409: 1403: 1399: 1392: 1383: 1380: 1379: 1378: 1370: 1364: 1354: 1344: 1338: 1332: 1326: 1318: 1315: 1313: 1310: 1271: 1268: 1236:Piano Concerto 1231: 1230:Piano Concerto 1228: 1215:Horatio Parker 1178: 1175: 1169: 1166: 1156: 1153: 1115: 1112: 1111: 1110: 1107:A Bit of Cairo 1104: 1098: 1097:Op. 130 (1932) 1092: 1091:Op. 128 (1932) 1086: 1085:Op. 119 (1932) 1080: 1079:Op. 116 (1924) 1074: 1073:Op. 108 (1914) 1068: 1067:Op. 107 (1924) 1062: 1056: 1055:Op. 102 (1924) 1050: 1044: 1038: 1032: 1026: 1020: 1014: 1008: 1002: 996: 990: 984: 978: 972: 966: 960: 959:, Op. 6 (1894) 954: 951:Valse Caprice, 946: 943: 915:' book on the 899: 896: 875: 872: 837:Teresa Carreño 799: 796: 787:Ottoman Empire 771:string quartet 750: 747: 718: 715: 707:Eilende Wolken 688: 685: 660:Horatio Parker 656:George Whiting 625: 622: 591:Paul Hindemith 467: 464: 413: 410: 406:Piano Concerto 379:Horatio Parker 338: 335: 310: 307: 274: 271: 192:counter-melody 184:Oren B. Cheney 175: 172: 170: 167: 145: 144: 141: 137: 136: 133: 131:(aged 77) 125: 121: 120: 114: 101: 99: 95: 94: 86: 85: 82: 75: 74: 54:the key points 44: 42: 35: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 3398: 3387: 3384: 3382: 3379: 3377: 3374: 3372: 3369: 3367: 3364: 3362: 3359: 3357: 3354: 3352: 3349: 3347: 3344: 3342: 3339: 3337: 3334: 3332: 3329: 3327: 3324: 3322: 3319: 3317: 3314: 3312: 3309: 3307: 3304: 3302: 3299: 3297: 3294: 3292: 3289: 3287: 3284: 3282: 3279: 3277: 3274: 3272: 3269: 3267: 3264: 3263: 3261: 3251: 3241: 3239: 3229: 3227: 3222: 3217: 3215: 3205: 3201: 3188: 3185: 3183: 3180: 3178: 3175: 3173: 3170: 3168: 3165: 3163: 3160: 3159: 3156: 3152: 3145: 3140: 3138: 3133: 3131: 3126: 3125: 3122: 3110: 3102: 3101: 3098: 3092: 3089: 3088: 3086: 3082: 3075: 3073: 3069: 3066: 3063: 3060: 3057: 3054: 3052: 3048: 3047: 3045: 3041: 3037: 3032: 3028: 3021: 3016: 3014: 3009: 3007: 3002: 3001: 2998: 2992: 2989: 2987: 2984: 2982: 2979: 2977: 2974: 2971: 2967: 2962: 2960: 2956: 2951: 2949: 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Schirmer 495:Panama Hymn 472:World War I 423:prima donna 302:Mendelssohn 247:Franz Liszt 205:synesthesia 68:August 2024 3260:Categories 3151:Boston Six 2710:January 9, 2642:January 9, 2636:Gramophone 1549:References 1543:(2): 1–10. 1508:0195074084 1367:Fire Flies 1262:Gramophone 1184:Gramophone 1129:folk music 929:Roy Harris 921:dissonance 913:Franz Boas 888:tetrachord 841:Carl Halir 767:piano trio 703:Bal masque 628:See also: 399:Boston Six 241:and later 224:The Folio, 108:1867-09-05 3238:Biography 3162:Amy Beach 3074:, Op, 149 3027:Amy Beach 2898:Amy Beach 2669:March 20, 2592:The Etude 1857:0003-0139 1223:Beethoven 1151:origins. 1109:(c. 1928) 1065:Nocturne, 963:Sketches, 909:arch form 595:Mussolini 352:Cherubini 291:Moscheles 216:Beethoven 169:Biography 154:art music 83:Amy Beach 52:summarize 3109:Category 2916:Archived 2824:Archived 2774:April 3, 2321:June 10, 1429:STR37259 1234:Beach's 1155:Writings 1133:Scottish 791:virtuoso 773:, and a 753:Beach's 583:Respighi 559:dementia 442:Munich. 309:Marriage 3200:Portals 3084:Related 3072:Cabildo 3053:, Op. 5 2970:YouTube 2959:YouTube 2948:YouTube 2894:(IMSLP) 2890:at the 2244:May 10, 1493:Sources 1193:wrote: 957:Ballade 763:romance 735:Te Deum 680:Cabildo 612:in the 521:Ecstasy 476:Belgian 451:Hamburg 447:Leipzig 435:kitschy 427:Dresden 267:Berlioz 265:'s and 263:Gevaert 255:harmony 231:Chelsea 196:waltzes 3076:(1932) 3067:(1899) 3061:(1894) 3055:(1892) 2804: 2419: 2299:, 2018 1855: 1750: 1506: 1391:10162: 1219:Brahms 1213:, and 1147:, and 1141:Balkan 864:wrote: 664:Brahms 658:, and 618:Boston 550:, and 457:. Her 455:Berlin 453:, and 431:Brahms 283:Chopin 235:Boston 220:Chopin 218:, and 212:Handel 156:. Her 3250:Music 3226:Opera 3043:Music 1533:(PDF) 1416:Songs 1402:piano 1137:Irish 1114:Songs 814:, as 417:with 259:fugue 2802:ISBN 2776:2020 2712:2016 2671:2016 2644:2016 2417:ISBN 2323:2024 2246:2021 1883:2017 1853:ISSN 1748:ISBN 1727:2019 1520:and 1504:ISBN 1221:and 1199:Ives 769:, a 709:and 570:the 356:Bach 354:and 124:Died 98:Born 2968:on 2957:on 2946:on 2900:at 2875:at 2575:doi 2569:", 2409:doi 2339:", 2235:doi 1845:doi 1308:". 666:or 585:'s 530:in 327:you 285:'s 3262:: 2767:. 2701:. 2661:. 2633:. 2621:^ 2538:^ 2488:^ 2474:^ 2447:^ 2431:^ 2415:. 2393:^ 2366:^ 2312:. 2280:^ 2229:, 2103:^ 2055:^ 2041:^ 1975:. 1909:^ 1874:. 1851:. 1841:54 1839:. 1835:. 1790:. 1774:. 1762:^ 1717:. 1611:70 1609:. 1564:. 1539:. 1535:. 1422:3. 1359:, 1349:, 1209:, 1143:, 1139:, 1135:, 777:. 654:, 650:, 646:, 642:, 546:, 542:, 538:, 449:, 358:. 257:, 253:, 214:, 3202:: 3143:e 3136:t 3129:v 3019:e 3012:t 3005:v 2938:. 2862:. 2778:. 2714:. 2673:. 2646:. 2581:. 2577:: 2425:. 2411:: 2337:' 2325:. 2237:: 1981:. 1885:. 1859:. 1847:: 1756:. 1729:. 1541:8 110:) 106:( 70:) 66:( 56:. 20:)

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