Was the golden age of the piano that of a defeat for female composers? If they occupied an important place in ancient and baroque music, the bourgeois society which emerged from the Enlightenment limited their access to the conservatory and to the quarry. Marie-Catherine Girod explores this key moment, and reveals to us the talent of the resistance fighters of the classical and romantic periods, and of the first modernism. Both names history has retained, such as Fanny Mendelssohn or Clara Schumann, andr composers she is rediscovering it today.


Louise Farrenc (1804 - 1875): Les Italiennes, Op. 14:

1.Farrenc: Les Italiennes, Op. 14: I. Cavatina No. 10

Hélène de Montgeroult (1764 - 1836):

2.Montgeroult: Piano Sonata, Op. 5 No. 3: III. Presto

Anna Bon (1738 - 1767): 6 Harpsichord Sonatas, Op. 2:

3.Bon: 6 Harpsichord Sonatas, Op. 2: I. Sonata in G Minor

Amy Beach (1867 - 1944): 2 Piano Pieces, Op. 102:

4.Beach: 2 Piano Pieces, Op. 102: II. Dancing Leaves
5.Beach: 2 Piano Pieces, Op. 54: I. Scottish Legend

Agathe Backer-Grøndahl (1847 - 1907): 4 Sketches, Op. 19:

6.Backer-Grøndahl: 4 Sketches, Op. 19: No. 2, Allegretto Leggiero

Clara Schumann (1819 - 1896): 3 Romances, Op. 21:

7.Schumann: 3 Romances, Op. 21: I. Andante

Fanny Hensel (1805 - 1847): 4 Lieder for Piano, Op. 8:

8.Hensel: 4 Lieder for Piano, Op. 8: IV. Wanderlied. Presto

Ethel Smyth (1858 - 1944):

9.Smyth: Variations on an Original Theme (of an Exceedingly Dismal Nature)

Mel Bonis (1858 - 1937): 5 Pièces pour piano, Op. 109:

10.Bonis: 5 Pièces pour piano, Op. 109: V. Mélisande

Jeanne Barbillion (1895 - 1992): Provence:

11.Barbillion: Provence: I. Bord de mer, le soir
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