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Women in composition have long had to fight for recognition and even today, their works are often overlooked. However, history has given us figures like Louise Farrenc – a woman who, against all odds, carved out a place for herself in a male-dominated world.  

Born into a distinguished artistic family in 1804 in Paris, she grew up surrounded by painters, sculptors, and artists of all genders – including women which was rare in 19th-century France. This artistic environment no doubt shaped her path and helped fuel her determination to succeed in music.  

Like many middle- and upper-class women of the time, Farrenc began studying piano as a young girl. However, what set her apart was her undeniable talent which quickly attracted the attention of renowned musicians such as Clementi and Hummel. With their encouragement, she applied to the Paris Conservatory at just 15 years old.  

Following her studies, she became a concert pianist and in time, was regarded as one of the leading musicians of her era. Her reputation eventually earned her a professorship at the Paris Conservatory – a groundbreaking achievement, as she was the only woman in such a position at the time and remained the sole female professor there for the entirety of the 19th century.  

Overture No2 and Its Neglected Legacy 

Despite her many achievements, Farrenc’s compositions never garnered the same recognition as those of her male counterparts. This was particularly evident in her orchestral works which, though highly skilled in their construction and orchestration, were often overlooked. Overture No2 which we are performing in this week’s concert is a prime example – it was never published during her lifetime and has remained relatively neglected in performance history.  

At the time of its composition, the “concert overture” was still a developing form, with only a handful of works written and even fewer performed. By 1834, only the overtures of Berlioz and Mendelssohn’s A Midsummer Night’s Dream had been played in Paris. Farrenc’s overture, however, stands as a remarkable example of the genre, showcasing her command of orchestration, striking contrasts between ensembles and rich textural layers. In fact, her orchestration was so skilful that even Hector Berlioz – one of the greatest orchestrators in history – studied her work.  

A Personal Connection 

Over ten years ago, I had the privilege of being a member of the RSNO’s Young Ambassadors and taking part in the RSNO’s Takeover work experience program, so it’s especially meaningful for me to be involved with the Orchestra again as a Dynamo Scholar – especially to celebrate a composer whose music deserves far greater recognition.  

It is frustrating to think how many incredible works by women composers remain underperformed due to historical bias. Farrenc’s story is just one example of the barriers women in music have faced and International Women’s Day is a perfect time to reflect on the need to continue championing these voices.  

Other Female Composers to Discover 

Farrenc’s Overture No2 is a fantastic work, but she is just one of many women composers who deserve more attention. If you’re looking to explore further, one personal favourite of mine is Judith Weir’s Still, Glowing. The piece unfolds in a sweeping, almost meditative manner, with slow-moving string chords creating a soft undercurrent. The marimba weaves in and out, reminiscent of the minimalist movement – like little ‘embers,’ we could say.  

There are countless other women composers whose music is waiting to be heard. As we celebrate International Women’s Day, let’s not only reflect on the challenges they have faced but also take the opportunity to discover and share their incredible work.