Hommage to Women Composers Iris Graffman Wenglin & Ruth Lomon

• Clara Schumann (1819 - 1896): 9 Caprices en forme de valses, Op. 2 (Excerpts):
• 1 9 Caprices en forme de valses, Op. 2 (Excerpts): No. 4 in A-Flat Major 01:53
• 2 9 Caprices en forme de valses, Op. 2 (Excerpts): No. 6 in C Major 01:04
• 3 9 Caprices en forme de valses, Op. 2 (Excerpts): No. 7 in A-Flat Major 01:25
• 4 9 Caprices en forme de valses, Op. 2 (Excerpts): No. 8 in E-Flat Major 01:26
• 5 9 Caprices en forme de valses, Op. 2 (Excerpts): No. 9 in D-Flat Major 00:44
• Clara Schumann: Polonaise in E-Flat Major, Op. 1 No. 1:
• 6 Polonaise in E-Flat Major, Op. 1 No. 1 02:13
• Germaine Tailleferre (1892 - 1983): Jeux de plein air:
• 7 Jeux de plein air: II. Cache-cache mitoula 04:10
• Louise Talma (1906 - 1996): Four-Handed Fun:
• 8 Four-Handed Fun 03:13
• Miriam Gideon (1906 - 1996): Sonatina for 2 Pianos (Hommage à ma jeunesse):
• 9 Sonatina for 2 Pianos (Hommage à ma jeunesse): I. — 03:25
• 10 Sonatina for 2 Pianos (Hommage à ma jeunesse): II. — 01:35
• 11 Sonatina for 2 Pianos (Hommage à ma jeunesse): III. — 03:23
• Barbara Pentland (1912 - 2000): 3 Piano Duets After Pictures by Paul Klee:
• 12 3 Piano Duets After Pictures by Paul Klee: No. 1, Small Fool in Trance 02:08
• 13 3 Piano Duets After Pictures by Paul Klee: No. 2, Surfaces in Tension 02:00
• 14 3 Piano Duets After Pictures by Paul Klee: No. 3, Fish Magic 02:19
• Marga Richter (b. 1926): Variations on a Theme by Latimer:
• 15 Variations on a Theme by Latimer 08:55
• Thea Musgrave (b. 1928): Excursions:
• 16 Excursions: No. 1, Driving in the Highlands 00:49
• 17 Excursions: No. 2, The Road Hog 00:51
• 18 Excursions: No. 3, Learner-Driver 00:27
• 19 Excursions: No. 4, The Drunken Driver 00:47
• 20 Excursions: No. 5, The Sunday Drivers 00:59
• 21 Excursions: No. 6, Roadside Repairs 00:49
• 22 Excursions: No. 7, Fog on the Motorway 01:15
• 23 Excursions: No. 8, Backseat Driver 00:56
• Ruth Lomon (b. 1930): Soundings:
• 24 Soundings 06:43
• Jacqueline Fontyn (b. 1930): Spirales:
• 25 Spirales: I. — 03:48
• 26 Spirales: II. — 04:41
• Marta Ptaszynska (b. 1943): 3 Interludes (Excerpts):
• 27 3 Interludes (Excerpts): No. 1, — 01:37
• 28 3 Interludes (Excerpts): No. 2, — 04:57
• Shulamit Ran (b. 1949): Children's Scenes:
• 29 Children's Scenes: No. 1, A Little Invention 00:44
• 30 Children's Scenes: No. 2, Tribal Dance 00:34
• 31 Children's Scenes: No. 3, Rag Doll Waltz 00:57
• 32 Children's Scenes: No. 4, A Game 00:35
• 33 Children's Scenes: No. 5, A Dark Night 00:53
• 34 Children's Scenes: No. 6, A Little Toccata 00:33
• 35 Children's Scenes: No. 7, A Tale 01:06
• 36 Children's Scenes: No. 8, Giant Step 00:59
• 37 Children's Scenes: No. 9, The Ghostly Pond 01:28
• 38 Children's Scenes: No. 10, The Steel Soldier 00:46
• Total Runtime 01:17:07

Info zu Hommage to Women Composers

Ruth Lomon (1930-2017), Composer and Resident Scholar at the Women's Studies Research Center at Brandeis University and Composer-in-Residence with Boston Secession, and her friend Iris Graffman Wenglin, Florida-based pianist and lecturer, came to a stunning realization after Ruth traveled to London, where she looked for music written by women. There were very few scores to be found, and even fewer that were properly printed. With that, the duo set out on a mission to uncover the buried works of female composers over the years and bring them deserved recognition. The results of this endeavor come to life in HOMMAGE TO WOMEN COMPOSERS.

Featuring compositions by 11 female composers—Clara Wieck Schumann, Germaine Tailleferre, Louise Talma, Miriam Gideon, Barbara Pentland, Marga Richter, Thea Musgrave, Jacqueline Fontyn, Marta Ptaszyńska, Shulamit Ran, and Lomon herself—HOMMAGE TO WOMEN COMPOSERS offers a cross-section of genius and innovation through the Romantic period to the late 20th Century. From the grace and rhythmic definition of Schumann’s Five Caprices (1831) and Polonaise (1832), to the array of lyricism, rhythmic momentum, and moments of pointillist texture in Pentland’s Three Piano Duets After Pictures by Paul Klee (1958) and the brief yet personality-packed movements of Ran’s Children’s Scenes (1970), the diversity of styles, textures, and arrangements all within the genre of piano duet is a marvel to behold.

The impact of female composers on the world of music is known by some, although there is a long way to go in unearthing the full treasure trove that is compositions by female artists throughout history. With HOMMAGE TO WOMEN COMPOSERS, the impact is unignorable.

Iris Graffman Wenglin, solo piano

Ruth Lomon
Canadian-born composer Ruth Lomon(1930-2017) numbered among her teachers Frances Judd Cooke and Miklos Schwalb at New England Conservatory, Witold Lutoslawski at England’s Dartington College, and Lutoslawski and Henri Dutilleux at Centre Acanthes in Provence, France. A composer of concertos for piano, bassoon, and trumpet, Lomon was probably best known for her song-cycle Songs of Remembrance, and her oratorio, Testimony of Witnesses for chorus, orchestra, and soloists. Both works are based on the poetry of Holocaust victims and survivors that Lomon researched at the Yad Vashem World Holocaust Remembrance Center in Jerusalem, Israel, and the library at the U.S. Holocaust Memorial Museum in Washington, D.C.

Commissions included Odyssey, a trumpet concerto for former BSO principal trumpet Charles Schlueter, and the Pro Arte Chamber Orchestra of Boston. ReWeavings, a chamber work composed for Native American flutist R. Carlos Nakai, was commissioned by the Abiquiu NM Chamber Music Festival. The work is scored for Native American flute, clarinet, cello, piano, and marimba. In 2016, The Hallé Orchestra, conducted by Stephen Bell, released an album of viola and orchestral music including Lomon’s orchestration of the Rebecca Clarke viola and piano sonata, commissioned by the Rebecca Clarke Society and performed by Sarah-Jane Bradley, viola. The recording label was Dutton Epoch Records. Lomon made about 60 visits of several weeks’ duration to New Mexico, where her interest in Native American ceremonials was the catalyst for the composition of such works as ReWeavings, Imprints, and Five Ceremonial Masks.

In addition to her career in composing and teaching, Lomon was a distinguished pianist. She made her piano debut with the Montreal Symphony Orchestra in 1949, at the age of 18, while earning her Licentiate of Music at McGill University. Lomon concertized from 1971-1983 with the two-piano team Lomon and Wenglin in concerts of standard repertoire and specializing in the music of women composers. Lomon performed her own works as a soloist internationally.

At the end of her life she was working with great determination on this piano duo album project. For a list of her scores, visit I Resound Press at iresound.umbc.edu. More information about Lomon is available at ruthlomon.com

Iris Graffman Wenglin
is from a distinguished musical family. Joseph Graffman, Wenglin’s father, played the string bass in The New York Symphony Orchestra under Walter Damrosch, and her cousin is pianist Gary Graffman. Wenglin made her first professional appearance as a pianist at age 13 on the Jinx Falkenberg TV program, and at age 16 she started working as a rehearsal pianist for NBC Opera Theatre. As a teenager she performed several times on WNYC’s “Young Artist” series. She graduated from Music and Art High School and holds a B.A. and an M.A. from New York University and a M.Ed. from the Manhattan School of Music.

Wenglin was pianist for the Lyricum Wind Ensemble and the Ancora Trio (cello, flute, and piano). She also had an extensive career as an accompanist. Wenglin taught piano for over 50 years at the 92nd Street Y in New York City and privately in both New York and the Boston area, and she adjudicated for the New England Piano Teachers Association. Wenglin remains active in her retirement, giving concerts for the Friends of the Sarasota (FL) Concert Association as well as lecture-recitals in Sarasota. In 2012 she gave a concert with the violinist Joseph Silverstein.

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