Early Female Composers: Rare but Remarkable
- Lisa Foydel
- 6 minutes ago
- 3 min read
Before the 19th century, very few women composers were widely recognized. Many who did compose published their work under pseudonyms.
Two notable exceptions stand out:
Hildegard of Bingen (1098–1179) was a Catholic nun deeply knowledgeable in history, science, and medicine. She composed hymns and religious chants, and remarkably, more of her music survives today than that of any other composer from the Middle Ages. She is also one of the few known composers of her time to have written both the music and words, an important milestone in the history of women in music.
Barbara Strozzi (1619–1677) was a Venetian composer and singer of the Baroque period, known as an “extremely virtuosic singer.” With support and opportunities created by her influential father, she performed widely and published eight volumes of her own music. She had more secular music in print than any other composer of her era, making her one of the most successful early female composers in classical music.
Female Composers in the 19th Century
By the 19th century, more women in classical music were composing, but social expectations still limited how far they could go professionally.
Fanny Mendelssohn (1805–1847) was the musically gifted older sister of Felix Mendelssohn. Yet when she asked her father to pursue music seriously at age 14, he discouraged her, reflecting the belief that music should remain a “pastime” for women.
Despite this, she composed an estimated 500 works throughout her life. Much of her music consists of Romantic-era miniatures, piano pieces, and art songs, often performed in intimate salon settings. Many of her works remained unpublished during her lifetime, and some were even released under her brother’s name.
Only shortly before her death did she succeed in publishing several compositions. Today, her Trio in D minor, Op. 11 stands as one of her most celebrated works and an important contribution to Romantic-era music by women composers.
Fanny’s contemporary, Clara Schumann (1819–1896), is another central figure in the history of female composers whose career reflects both brilliance and constraint.
The wife of Robert Schumann, Clara was a child prodigy who began piano studies at age four. Trained and promoted by her father, she toured Europe from the age of nine. At just 16, her Piano Concerto in A minor premiered with the Leipzig Gewandhaus Orchestra, conducted by Felix Mendelssohn.
After marriage, Clara devoted much of her energy to supporting her husband’s career and raising their eight children. Over time, she began to doubt her own compositional voice, writing in her diary:
“I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to compose—there has never yet been one able to do it. Should I expect to be the one?”
One of her last pieces written in 1853 is Three Romances for Violin and Piano, Op. 22.
Her work as both a performer and composer remains influential, and she is now recognized as one of the most important women in classical music history.
Ethel Smyth in the 20th Century
By the early 20th century, some women composers were not only creating music but also advocating for social change.
Ethel Smyth (1858–1944) was an English composer and a passionate suffragist. Her 1911 work, “The March of the Women,” became a powerful anthem of the women’s suffrage movement.
As we reflect on milestones like the Nineteenth Amendment to the United States Constitution, Smyth’s work highlights the connection between women in music history and broader movements for equality.
Why Female Composers Matter Today
The history of female composers is one of talent, persistence, and resilience. While many were discouraged or even prevented from fully pursuing their craft, their music survives as a testament to what they achieved anyway.
Today, these women composers are gaining long-overdue recognition, helping to reshape the narrative of classical music history and inspiring the next generation of musicians.