Philly finally acknowledges female composers

Philly finally acknowledges female composers


norman lebrecht

August 02, 2018

The Philadelphia Orchestra has adjusted its upcoming season after criticism that it contained no music by women.

Two works have been inserted: Perspectives by Canadian composer Stacey Brown, which Yannick premiered in Montreal, and Masquerade by the British composer Anna Clyne.

Smart move.


  • John Borstlap says:

    Of course we do it much better than the males, who always get stuck in outdated fashions. But we, we have a natural, biological understanding of fashion, so we are the people who really help progress forwards. It would do programming good to exclude, for a couple of seasons, all music written by male composers and let us do the work. That would be real progress! Let #metoo spread throughout the programming business…. and do justice to our gender. I’m really fed-up with my suppression of thousands of years.


    • John Borstlap says:

      Sorry about that…. she is not suppressed at all here, I hasten to say, and runs her department (more or less) effectively. Only her practicing the bassoon in the lunch break sometimes gets on our nerves.

      • jaypee says:

        I don’t what’s more pathetic: that you think you’re funny or that you genuinely believe that your trolling here has any impact on the musical scene.

        • John Borstlap says:

          I’m sure this is from a bitter old white male (maybe even a former bassoon player) who wholeheartedly disapproves of us as a whole….. But without us he would not exist.


          • RW2013 says:

            John, do you also dress up as Sally when you write in her name?

          • John Borstlap says:

            She has a key of my office and uses my account. When we suggest her to have her own SD account she does not want to be responsible because she is for the freedom of women. We don’t agree with that here, but she is a big woman and staff is short, so we decide to support feminism. As long as her work does not suffer, we suffer in silence, especially now with her bassoon playing.

    • Conducting Feminista says:

      DAMN RIGHT! Women are SUPERIOR over men! PERIOD! God is a WOMAN and created WOMEN FIRST! Conducting will become an ALL WOMEN profession and women composers write SUPERIOR music over men! We are now living in a woman’s world! Men are becoming obsolete. This is the nature of God in action! God is correcting the error of man by letting women rise up to her true potential as the leaders and breadwinners of this world. Men just screw everything up because men are an error!

      • John Borstlap says:

        I so agree with all of this…. who are the p****-grabbing people? who wage war everywhere? who messed-up the money in the crisis of 2008? who insisted on the brexit while every person not suffering from BSE knew it was crazy? who don’t comb their hair when mayor or minister? who invented the atomic bomb? who invented slavery and partiarchy? who holds the baton and the purse? These things should be returned to the people who can handle them better. And also the bassoon could have been designed in a better way.


  • Grüffalo says:

    Very smart move.

  • boringfileclerk says:

    This is a step backwards for non binary/transgendered composers. When will Philly program their works?

  • Kyle Wiedmeyer says:

    I’m surprised they didn’t program Jennifer Higdon, before or after all the commotion, seeing as she has a strong relationship with the city of Philadelphia.

    • Barry says:

      They do program music by Higdon, probably once every two or three season.

      • HRBmus says:

        They have commisioned Jennifer Higdon at least four times, and perform her work more frequently than that of any other living American composer.

  • Dennis says:

    How about works be judged and included or excluded in programs based on their artistic merits, rather than the sex or skin color of the composer? What a novel concept.

    And in the end, orchestras are in business and need to sell tickets to survive. Do they think unknown contemporaries, like the two women mentioned above, will sell more tickets than Beethoven, Mozart, Mahler, etc?