A brilliant showcase of female composers, but why so rare?
It is essential to shed light on female composers and the brilliance of a conductor like Anja Bihlmaier, but part of me wonders why this does not happen more frequently beyond the pretext of an international day to celebrate. The concert was a powerful reminder of the wealth of talent that remains underrepresented in mainstream programming.
The selection of works showcased an interesting blend of style, form, and substance. Each of the four pieces brought something distinct, collectively presenting a multifaceted repertoire that is too rarely given such a platform. Despite this, the disappointingly low attendance left me feeling somewhat melancholic. One cannot help but be cynical about what this signifies—does it reflect a lack of genuine engagement with female composers beyond token events, or simply a lack of awareness?
The evening opened with the UK premiere of Olga Neuwirth’s Dreydl, an evocative and anxiety-inducing piece inspired by children’s songs and the imagery of a spinning troll. The soundscape was at times unsettling, almost mirroring the unpredictability of life itself, particularly poignant given that it was composed during the pandemic. The piece felt like a game of chance, with unexpected shifts and sharp edges that accentuated its narrative gestures. Bihlmaier’s energetic conducting brought out the work’s inherent volatility, guiding the orchestra through its unexpected spins and turns. The conclusion, resembling a lullaby, gave a sense of time slipping away—a striking reflection on life’s fleeting nature.
Sofia Gubaidulina’s The Light of the End followed, a composition steeped in conflict and dialogue. The interactions between the solo cello, horn, and unsettling string textures created an ethereal and haunting atmosphere. At times, the piece felt like an exploration of a near-death experience—raw and deeply expressive. The moments of joy, though present, felt dissonant, almost illusory. The closing passages were moving, eerie, yet magical, leaving an impression of unresolved tension.
Sarah Gibson’s Beyond the beyond, receiving its world premiere as a BBC commission, offered a dense, emotionally charged soundscape. It was an intricate work filled with contrasting moods, balancing anguish with a sense of optimism. The relentless ticking of time was palpable throughout, intensifying into a whirlwind of emotions that seemed to grow faster and faster. The full-bodied orchestral textures contributed to an immersive experience, demonstrating Gibson’s ability to craft a piece that feels both grand and deeply personal.
The evening concluded with Emilie Mayer’s Symphony No. 5 in E minor, a composition that showcased Mayer’s gift for lyrical and expressive writing. The Adagio was solemn and deeply moving, while the Scherzo: Allegro vivace was explosive, its rapid tempo injecting a dynamic energy. The final Allegro vivace softened the intensity, leading to a triumphant yet demure conclusion. Mayer’s symphony provided a fitting end to a programme that underscored the richness of female composers’ contributions across three centuries.
Throughout the evening, Anja Bihlmaier’s charisma and command over the orchestra were evident. She masterfully navigated the complex and varied musical terrain, ensuring that each piece was given the depth and attention it deserved. Her presence was a reminder of how important it is to have such role models in prominent conducting roles.
Ultimately, this concert was an exceptional showcase of female composers, spanning multiple generations and styles. Yet, the lingering question remains—why are these composers not more regularly integrated into the mainstream repertoire? The music is there, waiting to be heard. It should not take a special occasion to bring it to the stage.