Femmes

March 2023
The album “Femmes” is a commendable attempt to shine a spotlight on the works of 23 female composers, spanning a diverse range of musical periods and styles. Led by cellist Raphaela Gromes, pianist Julian Riem, and the Festival Strings Lucerne under the direction of Daniel Dodds, the performances are characterized by vivacity and technical finesse. However, despite its well-intentioned endeavor, the album falls somewhat short of its aspirations, inadvertently reinforcing rather than dispelling the notion that female composers produced primarily lightweight and inconsequential compositions.

While the album includes pieces by notable female composers such as Hildegard, Lili Boulanger, and Clara Schumann, as well as unexpected names like Mozart and Purcell, the selection leans toward shorter, less substantial works. This choice inadvertently undermines the depth and ingenuity that these composers were capable of, overshadowing their larger and more impactful compositions. The presence of Georges Bizet’s Carmen Fantasy as the longest single work on the album further contributes to the irony of the situation, as it undermines the primary objective of showcasing female compositional prowess.

The strength of the album lies in its execution of delicate nocturnes by composers like Lili Boulanger, Cécile Chaminade, and Henriëtte Bosmans. These miniature gems offer moments of delight, albeit without fully revealing the potential of the featured composers. Notably absent are more significant works that would have better showcased the depth and creativity of composers like Luise Adolpha Le Beau and Grazyna Bacewicz, who are recognized for their groundbreaking contributions to the world of classical music.

Unfortunately, the album misses the opportunity to include larger, more intricate compositions that would challenge the prevailing narrative of female composers producing only fleeting and superficial pieces. In doing so, it inadvertently reinforces the very stereotype it seeks to challenge. The omission of substantial works by contemporary composers like Elisabeth Maconchy, Kaija Saariaho, and Dobrinka Tabakova is a puzzling oversight, one that could have elevated the album to a new level of artistic and intellectual exploration.

Despite these shortcomings, the performances on “Femmes” are marked by Raphaela Gromes’s effervescent playing style, capturing the spirit of the compositions with enthusiasm and skill. Julian Riem’s piano work complements Gromes’s cello beautifully, and the collaboration with Festival Strings Lucerne is consistently engaging and dynamic.

“Femmes” is a well-intentioned album that sets out to celebrate the works of female composers throughout history. While the performances are executed with finesse and passion, the album’s focus on shorter, less substantial pieces inadvertently undermines its noble goal. By excluding more substantial and innovative compositions, the album falls short of fully challenging the historical narrative it seeks to address. As a result, “Femmes” remains a missed opportunity to truly showcase the exceptional contributions of female composers and their lasting impact on classical music.