The role of women in classical music has transformed significantly from the early days, but it was a difficult journey that took generations of courageous and resilient women. This Women’s History Month, we will be exploring the evolution of women’s role in orchestras, acknowledging barriers women have faced as well as celebrating breakthroughs.
During the Middle Ages and Renaissance, women were largely confined to performing at religious institutions as singers or harp players. So, they were left with very limited opportunities for women composers and conductors. However, Hildegard of Bingen, a woman well ahead of her time, defied these limitations by composing religious music that was both complex and expressive.
Despite the many restraints, a few women began to redefine women’s involvement in classical music in the Baroque era. Among them were Barbara Strozzi and Elisabeth Jacquet de la Guerre, who both were both exceptional composers. Since they both came from families with prestigious backgrounds, they had access to connections that opened doors for them not available to other women. Jacquet de la Guerre even went on to perform for Louis XIV and became one of his court musicians. Unfortunately, many of the works of lesser-known composers have been lost forever and even the more famous ones left behind a faint legacy.
In the 18th and 19th centuries, things started to look for women and those with exceptional talent were able to make a name for themselves as performers, composers, and conductors. Although often remembered as the wife of composer Robert Schumann, Clara Schumann was a composer in her own right and made exceptional strides for women in music that cannot be overlooked. She composed several well-known pieces including Piano Concerto in A minor, Op. 7, which she composed between the ages of 13 and 16. Her student, Mary Wurm, founded the first women’s orchestra that she conducted herself. For many years after that, women’s orchestras were the only places that women musicians could perform in. Another great figure, Fanny Mendelssohn, older sister of Felix Mendelssohn, proved when given opportunities, women can excel in their potential. Her parents, who were both musicians, fostered her musical talent. At the Mendelssohn family’s concerts, the audience even remarked that Fanny had a greater gift for music than Felix. Clara Schumann and Fanny Mendelssohn were among the many women who not only shaped classical music with their own work but also paved the way for greater recognition of women’s contributions in a male-dominated field.
Slow, but steady acceptance of women in classical music continued throughout the 20th century. During this time, major orchestras were seen as male institutions, and women were expected to only perform in private. However, this was challenged by Edna Philips, who became the first American woman to play in a major orchestra. After just five years of learning the harp, she was requested to replace the male principal harpist in the Philadelphia Orchestra. Philips almost passed up on the opportunity under societal pressure to conform to gender expectations to which her teacher, Salzedo, seeing her potential, reassured her, “Don’t you know how musical you are? If we cut your wrists, you would bleed music, not blood. You must not let a chance like this one slip away.” Gradually, more and more women were permitted into orchestras, mostly as violinists, but prejudice lingered nevertheless. By the 1970s, orchestras began holding blind auditions, which prevented discriminatory hiring practices and accelerated women’s participation in orchestras.
While women faced significant obstacles in classical music, these challenges were often compounded for women of color, who confronted both gender and racial discrimination. Florence Price broke new ground as the first Black woman to have her symphony performed by a major American orchestra when the Chicago Symphony Orchestra played her Symphony No. 1 in 1933. Similarly, Margaret Bonds, one of Price’s students, became one of the first Black women to gain recognition as both a composer and performer. Bonds’ works often incorporated elements of spirituals and African American folk music, blending classical traditions with her cultural heritage. One of her most recognized works, Montgomery Variations, wove in the melodies of the contemplative African-American spiritual “I Want Jesus to Walk with Me”, serving as a set of ruminations on Montgomery as a focal point of the Civil Rights Movement. Despite their immense talent, Price, Bonds, and many others struggled to gain the same recognition as their white and male counterparts. Today, their contributions are finally receiving more attention, highlighting the importance of honoring diverse voices in classical music and ensuring all musicians have the opportunity to thrive.
Today, barriers still exist; yet, we undoubtedly have made major strides in advancing the role of women in classical music. The artists highlighted here represent just a glimpse of the countless efforts made by numerous women over the decades to shape classical music into what it is today. As we celebrate these successes, we must continue to strive for greater inclusivity to ensure that all talents can shine and inspire future generations of musicians.
Join us this spring concert season to hear CYSO students perform works celebrating our musical heroines, including Margaret Bonds, Leanna Primiani, Soon Hee Newbold, Caryn Wiegand Neidhold, Dua Lipa, Sabrina Carpenter, and Yuko Asada. Don’t miss the chance to experience their powerful pieces live!
About Jessica
Jessica Liu is a Junior at Stevenson High School. She is a violinist for Philharmonic Orchestra and a fun fact about her is that she has a pet fancy pigeon!
