Marcelle de manziarly biography channel
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Elles Women Composers
changes its name to
the Cité des Compositrices.
When I founded the La Boîte à Pépites video channel in 2020, I had no idea that it would grow into the association that now runs a festival, a concert season and a record label.
After introducing you to more than 130 women composers on video, more than 600 works in concert, several hundred previously unreleased works on stage and online, we have also digitised nearly 4,000 scores, analysed the programming of more than 200 venues and deciphered nearly 2,000 works.
Our study Women composers: what place in French programming? published in spring 2024, reveals that women composers still account for only 6.4% of the works programmed in France in the 2022-2023 season, or around 4% of the programming time devoted to classical music. So there is still a huge amount of work to be done to do them justice.
For several years now, the name of our organisation, Elles Women Composers, has been the subject of a dispute with ELLE magazine, which is owned by the Lagardère group. The group had our website closed down a year ago. Because we do not want to face legal action, and because we want to move forward, we have decided to change the name of the association.
In 2025, Elles Women Composers will bec
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Sapphic Opera Singers & Lesbian Classical Musicians Throughout History
... Aged 20, Henriëtte made her debut as a concert pianist in 1915, in Utrecht, the Netherlands. Between 1929 and 1949 she gave over 22 concerts with the Concertgebouw Orchestra and performed throughout Europe with leading conductors as Ernest Ansermet (Swiss), Pierre Monteux (French) and Willem Mengelberg (Dutch). In America, violinist Ruth Posselt performed Henriëtte's compositions with the Cincinnati Symphony Orchestra (1940) and the Boston Symphony Orchestra (1941).
Henriëtte's mother, pianist Sarah Bosmans nee Benedicts, was a Jew. During WW2 and the German occupation of the Netherlands, Henriëtte and her mother were (as were the circa 140,000 Dutch Jews in the Netherlands) under the scrutiny of the Dutch authorities. By 1942, Henriëtte was not allowed to perform on public stages in the Netherlands and had to support herself and her mother, with underground house concerts ("Black Evenings"). Her mother, aged 83, was arrested in 1944 and deported to Westerbork Transit Camp, but Henriëtte and others intervened to rescue her mother from further detention. One of her songs "became an anthem of liberation" as the war ended, and Allied soldiers arrived in the Netherlands. Henriëtte's mother survived the wa
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