Tag Archives: First Woman

Clara Schumann – First Woman Royal and Imperial Chamber Virtuosa at the Austrian Court (1838)

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In honor of the bicentennial of the birth of Clara Schumann, Byron Schenkman & Friends performed a special concert to honor her last weekend. It was a delight to hear some of her rarely-performed music, especially in such an exquisite performance. The musicians played like a single multi-faced instrument, weaving in and out of one another with energy, compassion and grace.

Clara Schumann was the First Woman Royal and Imperial Chamber Virtuosa at the Austrian Court. She was one of those rare women who had a monetarily-successful career with her own compositions and performances. In fact, she was successful enough to support herself and her struggling husband, Robert Schumann. After Robert died, Clara was the one who kept his music alive for posterity, facilitating his preservation in the classical canon. She, on the other hand, is largely ignored.

With the permission of Byron Schenkman & Friends, I am sharing the program notes from that concert (lightly edited). References to particular pieces of music were included in the performance.

Clara Schumann Bicentennial Celebration by Byron Schenkman & Friends

Clara Schumann, née Wieck, was one of the most influential European musicians of the 19thcentury. She began her career as a child prodigy whose performances dazzled international audiences and who published ten volumes of music while still in her teens. At 18, she was named “Royal and Imperial Chamber Virtuosa” at the Austrian court, a first for anyone so young, let alone foreign, Protestant, and female. For most of the century she was at the center of a circle of German musicians dedicated to preserving and continuing the legacy of what would come to be known as Western classical music.

Following her triumph in Vienna, Clara composed a piece she calledSouvenir de Vienne,which included variations on a theme by Joseph Haydn. Early in their marriage she and Robert Schumann jointly studied scores of chamber music by Haydn, Mozart, and Beethoven.

Clara’s only piano trio was composed in 1846 and published in the following year. Clara indicated in a letter that she had dedicated her trio to the pianist and composer Fanny Hensel (née Mendelssohn); however, that dedication never appeared in print. Johannes Brahms performed the work in 1854 in Hamburg, and the violinist Joseph Joachim reported that it was a great favorite at the Hannover court where he was employed.

In 1835 Felix Mendelssohn conducted the premiere of sixteen year old Clara’s Piano Concerto in A Minor, op. 7, with her as soloist. The middle movement, a romance in the surprising key of A-flat major, is a luscious song without words for piano solo.

Robert and Clara Schumann were lifelong companions, lovers, and close colleagues who studied music together and often critiqued each other’s work. Clara outlived Robert by four decades. After his tragic early death she worked tirelessly to edit, arrange, and oversee the publication of his complete works while also supporting their large family.

During one of their few happy years together, Robert wrote a series of exquisite chamber works including his only quartet for piano and strings. Clara premiered this work at the Leipzig Gewandhaus on a program which also included Bach’s Chaconne in D Minor and Beethoven’s “Waldstein” Sonata.

 

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Nataki Garrett – First Woman Director of the Oregon Shakespeare Festival

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Earlier this year Nataki Garrett was appointed the First Woman Director of the Oregon Shakespeare Festival. A bit of history about the Festival will put the significance of this accomplishment in perspective.

The Oregon Shakespeare Festival began presenting plays in 1935, beginning with Twelfth Nightand The Merchant of Venice. Angus Bowmer, the Southern Oregon University drama professor who founded the festival, directed and starred in both productions. His wife Lois created costumes and scenery.

The city of Ashland helped fund the first productions as part of their Fourth of July celebrations but was fearful the festival would not be profitable, so they convinced Bowmer to include a boxing match. The rowdiness of the match suited Bowmer’s Shakespearean mindset, so both events were held. Charging $1 for reserved seats, and $.50 for adults the theatre festival made money—and covered the losses of the boxing match.

The Festival has been in continuous production since (except for a few years during World War II). During the 1950’s performances were abridged and presented on radio as well as on stage in Ashland.  By 1971 the festival had entertained one million visitors. All 37 of Shakespeare’s plays have been presented multiple times. Several decades ago other classic plays were introduced and now at least one original play is presented each season. In its 85 years of performances, it has had only five directors, and Nataki Garrett is the First Woman.

Garrett is a director, producer, playwright, educator, activist, and arts administrator, all skills that will be required to run this extensive theatre empire. She is a graduate of the California Institute of the Arts with an MFA in directing, a skill that has taken her to theatres throughout this country and to other countries as well.

In the past she served as associate dean at the California Institute of the Arts School of Theatre, and acting artistic director of the Denver Center for the Performing Arts. She is a champion of new works and has collaborated with Seattle Repertory Theatre and the Old Globe. Her passion is presenting new works and she continues to include those in the Festival’s programming. She believes it is important to consider the needs of the traditional audience, usually older patrons with time to travel to Ashland and the means to sustain an organization, but also to attract young audiences. She likes to “create spaces where both can rub elbows with each other.”

The Oregon Shakespeare Festival has blossomed during its history. Founded to present the works of a male playwright who used only men as actors, it has grown to include traditional and new plays, with casts of all genders, even women portraying “male” roles. Today more than 20 million people have attended performances in Ashland. Each year there are 750 to 850 matinee and evening performances in three theatres. Between five and eleven plays rotate six days a week. The festival has 675 paid staff, about 700 volunteers, and budget of $44 million. Garrett’s responsibilities will be significant, but she says it best, “As a little girl from Oakland raised by a single parent who was a teacher, growing up under Reaganomics, this is something beyond my wildest dreams.”

Margaret Bourke-White – Photojournalist

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Margaret Bourke-White went where few women, and not too many men, had been. She was the First Woman war correspondent, the First Woman allowed in combat arenas. She was also the First Westerner to photograph Soviet industry and the First Woman to have a photo on the cover of Life magazine.

Margaret White (Bourke was her mother’s maiden name, which she appropriated later) had a rocky academic career. She attended seven different universities, studying herpetology paleontology, zoology, art, swimming and aesthetic dancing. She also studied photography at the Clarence H. White (no relation) School of Photography in New York City. By the time she graduated from Cornell University in 1927, after providing the school newspaper with pictures of the campus, her love for photography had intensified. She set up her own commercial photography studio in Cleveland where she specialized in industrial photography. Her success contributed to her invitation to photograph Soviet industry in 1930.

She was an associate editor and staff photographer for Fortunemagazine when, in 1936, Henry Luce hired her as the First Woman photojournalist for Lifemagazine. That same year she became the First Woman to have a cover on Life. Her photos of the Fort Peck Dam project were featured in an article as well.

Bourke-White took photos during the depression that are said to rival those of Dorothea Lange (another student of the Clarence H. White School of Photography). After publishing her photos in Fortune, she published the book You Have Seen Their Faceswith Erskine Caldwell (whom she married for a short while). She later took photos of how Nazism was affecting Europe and how Communism was affecting Russia. It was at this time that she captured a rare picture of a smiling Stalin.

She spent World War II capturing history as it exploded, literally, around her. She was the only photographer on the scene in Moscow when the Germans raided the Kremlin, was with the Air Force in North Africa, and photographed Buchenwald as she traveled through Europe with General Patton as the war concluded. She admitted later, that “Using a camera was almost a relief. It interposed a slight barrier between myself and the horror in front of me.”

In all, Bourke-White was “torpedoed in the Mediterranean, staffed by the Luftwaffe, stranded on an Arctic island, bombarded in Moscow, and pulled out of the Chesapeake when her chopper crashed.” Her nickname became “Maggie the Indestructible.”

After the war she photographed the violence in the Pakistan-Indian partition and, at that time, took an iconic photograph of Ghandi, shortly before he was assassinated. She also photographed the unrest in South Africa, and the Korean War.

In her 50’s she recognized the symptoms of Parkinson’s disease but did not succumb to it readily, undergoing painful surgeries and treatment. Although her work was limited she continued to write and published her autobiography,Portrait of Myself. In all she published eleven books.

Bourke-White said that if you “saturate yourself with your subject…the camera will all but take you by the hand.” This may be accurate, but her eye for truth, her ability to see more in others than their faces, her appreciation for architectural detail, and her sense of the beauty of the ordinary were innate gifts. Today her photographs are in museums throughout the United States.

 

 

 

 

 

 

Military Progress 2019

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The United States military is making progress incorporating women into its higher ranks. Slowly, but still progress. Within the last week, there have been three promotions for military women that made the news:

        Captain Dianna Wolfson, of the U.S. Navy, is the First Woman to head a naval shipyard. She was appointed as the 50thperson to command the Puget Sound Naval Shipyard and began her duties last week. The shipyard has 15,000 sailors and employees. Capt. Wolfson has an engineering degree from the Massachusetts Institute of Technology. She has served aboard aircraft carriers and at naval shipyards, including as operations officer at Norfolk Naval Shipyard.

      Brigadier General Laura Yeager is the First Woman to command an Army infantry division. This appointment is effective June 29 in the California Army National Guard. General Yeager’s career trajectory will feel familiar to many women. She is a former Black Hawk helicopter pilot who served in Iraq, but left active duty when her son was born. She balanced four children and a career in the National Guard holding leadership positions in both Texas and California.

      Rear Admiral Shoshana Chatfield is assuming the presidency of the U.S. Naval College, the First Woman president since it was founded 135 years ago. Admiral Chatfield was also a helicopter pilot, serving in Afghanistan. She has been a political science professor at the U.S. Air Force Academy, then served in Guam and the Arabian Gulf. She replaces a president who is accused of abusing his position so, like many women, she will be left with cleaning up the mess.

Only 7% of the flag rank positions in the military (those at Rear Admiral or Brigadier General and above) are held by women. One might think that seems right as men far outnumber women in the military. However, women are 14% of the lower ranks, so they are not progressing in proportion to their service numbers. However, three appointments to positions of senior management announced within one week might sound like progress.

Posthumous Interview with Jeannette Rankin

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     Please Note:All quotations in italics are direct quotes from Jeannette Rankin. The other words are from my research on this historical dynamo or from my imagination. Thank you to Ana Maria Spagna and Laura Pritchett for proposing this in one of their workshops.

As the first woman ever elected to Congress, how were you greeted by your male colleagues when you arrived on the house floor in 1916?

Oh, the men rose to their feet and cheered. I had to rise twice myself and bow to them which, if you can believe the reports, I did “with entire self-possession.” I [was] deeply conscious of the responsibility resting upon me.

Were you surprised at that reaction?

A bit. I really didn’t know what to expect. But you have to remember, this was three years before they passed the Nineteenth Amendment giving the women the right to vote, and four years before it was ratified. I suspect some of them thought I was an aberration. After all, I was from Montana and the West was still considered a pretty unorthodox part of the country.

You were less popular after you voted against entering into World War I.

Yes, I was widely criticized, but I was one of 50 who voted that way, so I was not totally alone, not like when I was the sole dissenting vote against entering World War II. Then I was booed.

You said that you wouldn’t vote to send anyone to war because you yourself could not go to war. Women can now go to war. Would this change how you voted?

Absolutely not. I was, and am, still now, against all wars. You can no more win a war than you can win an earthquake. . .There can be no compromise with war; it cannot be reformed or controlled; cannot be disciplined into decency or codified into common sense. . . We have to get it into our heads once and for all that we cannot settle disputes by eliminating human beings.

Would you change anything if you had another chance?

I would do it all again, but this time I would be nastier.

Would you say you are a feminist?

I would definitely be on the front lines, and very proud to take a place beside Nancy Pelosi.

Are you pleased that so many women were just elected to Congress in 2018?

When I was elected I said, I may be the first woman member of Congress, but I won’t be the last.” But, what the hell! I thought we would have reached parity by now. I understand that, depending on current analysis, it could take another 75 to 100 years to reach parity. Men and women are like right and left hands; it doesn’t make sense not to use both. We’re half the people; we should be half the Congress.