"Nocturne" by Mary Howe

Presenter Information

Elaine Sara LimFollow

Faculty Advisor Name

Dr. Lori Piitz

Department

School of Music

Description

"Nocturne" is an exquisite piano piece by an American composer May Howe (1882-1964), written in 1913. Here, Howe creatively weaved together the romantic piano style of Chopin, the impressionistic style of Debussy, and the modes used in Gregorian chants.

From Richmond, Virginia, Mary Howe was born during the Late Victorian era, an era when expectations for men and women musicians differed. While men chose the musical career path they wanted, women were discouraged, as music was to be only an ornament for them. Although keyboard proficiency was a “desirable, attractive, and useful” accomplishment for women, they were not expected to go beyond that. The purpose of women who taught piano was seen solely as providing “pin money.” On stage, a woman performing expressively with a contorted face was considered inappropriate. Major symphony orchestras did not admit women, and this policy of exclusion led talented instrumentalists and conductors to assemble their own all-female orchestras.

Although women could also write their own music, they were underestimated, and it was more acceptable for them to write short pieces and songs. Like other young women during her time, Howe was expected to eventually enter into marriage, maintain a proper home, raise a family, and fulfill community responsibilities. Despite having a family, Mary Howe found time to compose for different mediums including orchestra, ballet, vocal, piano, choral, chamber, and two-piano. Mary Howe once said to her son, “I wish that my name was Martin Howe, and that would eliminate the whole woman question.”

Despite all these biased views on women composers, Howe took every means to promote her works. She was her own publicity agent, and became involved with different women’s organizations that provided strong support for one another. The National League of American Pen Women and The Chamber Music Society of Washington gave Howe avenues to promote her works and interact with other composers. In these organizations, Howe gave solo recitals of her own works and occasionally collaborated with other composers by playing each other’s works. She was also involved in the establishment of the National Symphony Orchestra and even served on the board of what is now the Kennedy Center.

She died in 1964 at the age of 82. Her oeuvre encompasses over 200 compositions that include seven volumes of songs, seventeen choral works, thirteen orchestral works, eleven chamber works, and twelve piano works. As a composer, Howe needed to promote her works, and yet at the same time, she facilitated opportunities for other artists and institutions to flourish. Mary Howe was a real force in the musical life and culture of Washington, DC.

Below is a YouTube link to "Nocturne" by Mary Howe, which I performed recently at Forbes Center Recital Hall.

https://www.youtube.com/watch?v=zoLAsdDeCEc

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"Nocturne" by Mary Howe

"Nocturne" is an exquisite piano piece by an American composer May Howe (1882-1964), written in 1913. Here, Howe creatively weaved together the romantic piano style of Chopin, the impressionistic style of Debussy, and the modes used in Gregorian chants.

From Richmond, Virginia, Mary Howe was born during the Late Victorian era, an era when expectations for men and women musicians differed. While men chose the musical career path they wanted, women were discouraged, as music was to be only an ornament for them. Although keyboard proficiency was a “desirable, attractive, and useful” accomplishment for women, they were not expected to go beyond that. The purpose of women who taught piano was seen solely as providing “pin money.” On stage, a woman performing expressively with a contorted face was considered inappropriate. Major symphony orchestras did not admit women, and this policy of exclusion led talented instrumentalists and conductors to assemble their own all-female orchestras.

Although women could also write their own music, they were underestimated, and it was more acceptable for them to write short pieces and songs. Like other young women during her time, Howe was expected to eventually enter into marriage, maintain a proper home, raise a family, and fulfill community responsibilities. Despite having a family, Mary Howe found time to compose for different mediums including orchestra, ballet, vocal, piano, choral, chamber, and two-piano. Mary Howe once said to her son, “I wish that my name was Martin Howe, and that would eliminate the whole woman question.”

Despite all these biased views on women composers, Howe took every means to promote her works. She was her own publicity agent, and became involved with different women’s organizations that provided strong support for one another. The National League of American Pen Women and The Chamber Music Society of Washington gave Howe avenues to promote her works and interact with other composers. In these organizations, Howe gave solo recitals of her own works and occasionally collaborated with other composers by playing each other’s works. She was also involved in the establishment of the National Symphony Orchestra and even served on the board of what is now the Kennedy Center.

She died in 1964 at the age of 82. Her oeuvre encompasses over 200 compositions that include seven volumes of songs, seventeen choral works, thirteen orchestral works, eleven chamber works, and twelve piano works. As a composer, Howe needed to promote her works, and yet at the same time, she facilitated opportunities for other artists and institutions to flourish. Mary Howe was a real force in the musical life and culture of Washington, DC.

Below is a YouTube link to "Nocturne" by Mary Howe, which I performed recently at Forbes Center Recital Hall.

https://www.youtube.com/watch?v=zoLAsdDeCEc