ALEXANDRA FOL - BULGARIA
BORN 11 JULY
BORN 11 JULY
Alexandra Fol (born July 11, 1981) in Sofia, Bulgaria is a Bulgarian-Canadian composer who resides in Montreal, Quebec, Canada.
Fol has composed more than 40 works in different mediums, which have been performed by ensembles such as Sofia Philharmonic Orchestra, the orkest de ereprijs, Ossia New Music, the New Fromm players, the thingNY ensemble, the Young Artists Orchestra, McGill University Orchestra, the Montréal Symphony Orchestra, the Sofia Symphony Orchestra, the Orchestre de la Francophonie, the New Score Chamber Orchestra, Ensemble Paramirabò, the Trinity Wall Street Choir, the CYE ensemble, among many others. She has composed music for documentary, movies, including “Ancient Thrace – Door to Immortality”, sponsored by the NetHeritage fund of the European Union, and for various Thracian rituals. Her works have appeared in CDs released by Gutenberg Publishing (Bulgaria) and Disques Benedictus (Canada)
Fol lives and works in Montréal as a freelance composer, organist, pianist and conductor. Her music is available through the Canadian Music Centre. She serves as vice-president of LAUDEM, the Association of Liturgical Musicians of Canada.
♫ LISTEN
Mon âme fut à sa merci by Alexandra Fol
Mon âme fut à sa merci by Alexandra Fol
LIZA LEHMANN - UK
BORN 11 JULY
Liza Lehmann was an English operatic soprano and composer, known for her vocal compositions.
After vocal studies with Alberto Randegger and Jenny Lind, and composition studies with teachers including Hamish MacCunn, Lehmann made her singing debut in 1885 in London and pursued a concert career for nearly a decade. In 1894, she married and left the stage.
After her performing career ended in 1894, Lehmann concentrated on composing music for the rest of her life. She completed one of her best known works two years later, in 1896, the song cycle for four voices and piano titled In a Persian Garden, settings of selected quatrains from Edward FitzGerald's version of the Rubāiyāt of Omar Khayyām. She composed many more song cycles including The Daisy Chain and an In Memoriam based on Alfred Lord Tennyson's love poem. She also became known for her art songs, parlour songs and other works in the following years. She wrote many children's songs, ranging from the sweet and trivial "There are fairies at the bottom of our garden" to the melodically and harmonically passionate "Stars" in The Daisy-Chain. Her tenor song "Ah, moon of my delight" from In a Persian Garden has been recorded through the years by tenors such as John McCormack, Jan Peerce, Mario Lanza, Robert White, and Webster Booth.
In 1904 she was commissioned by Frank Curzon to compose the score for the Edwardian musical comedy Sergeant Brue, with a libretto by Owen Hall and lyrics by James Hickory Wood. The piece was a success in London and New York, but Lehmann was unhappy that Curzon added other composers' music to her score. Although she refused to write any further musicals, Lehmann composed the score for a comic opera adaptation of The Vicar of Wakefield in 1906, with a libretto by Laurence Housman. This piece was a modest success but did not lead to further comic operas. In 1916, she returned to writing for the stage, with the score for the opera Everyman, which was produced by the Beecham Opera Company.
Lehmann, Ethel Smyth and Maude Valerie White were England's foremost female composers of songs at the beginning of the 20th century. Although they all composed solo settings of serious texts, Lehmann and White excelled in setting lighter material. Some of Lehmann's compositional practices, such as her frequent writing of four-voice cycles and writing piano links between songs, were consistent with her time. Although her pieces were inventive, they are now often overlooked and disregarded.
In 1910, she toured the United States, where she accompanied her own songs in recitals. She was the first president of the Society of Women Musicians and became a professor of singing at the Guildhall School of Music in 1913.
Liza Lehmann was an English operatic soprano and composer, known for her vocal compositions.
After vocal studies with Alberto Randegger and Jenny Lind, and composition studies with teachers including Hamish MacCunn, Lehmann made her singing debut in 1885 in London and pursued a concert career for nearly a decade. In 1894, she married and left the stage.
After her performing career ended in 1894, Lehmann concentrated on composing music for the rest of her life. She completed one of her best known works two years later, in 1896, the song cycle for four voices and piano titled In a Persian Garden, settings of selected quatrains from Edward FitzGerald's version of the Rubāiyāt of Omar Khayyām. She composed many more song cycles including The Daisy Chain and an In Memoriam based on Alfred Lord Tennyson's love poem. She also became known for her art songs, parlour songs and other works in the following years. She wrote many children's songs, ranging from the sweet and trivial "There are fairies at the bottom of our garden" to the melodically and harmonically passionate "Stars" in The Daisy-Chain. Her tenor song "Ah, moon of my delight" from In a Persian Garden has been recorded through the years by tenors such as John McCormack, Jan Peerce, Mario Lanza, Robert White, and Webster Booth.
In 1904 she was commissioned by Frank Curzon to compose the score for the Edwardian musical comedy Sergeant Brue, with a libretto by Owen Hall and lyrics by James Hickory Wood. The piece was a success in London and New York, but Lehmann was unhappy that Curzon added other composers' music to her score. Although she refused to write any further musicals, Lehmann composed the score for a comic opera adaptation of The Vicar of Wakefield in 1906, with a libretto by Laurence Housman. This piece was a modest success but did not lead to further comic operas. In 1916, she returned to writing for the stage, with the score for the opera Everyman, which was produced by the Beecham Opera Company.
Lehmann, Ethel Smyth and Maude Valerie White were England's foremost female composers of songs at the beginning of the 20th century. Although they all composed solo settings of serious texts, Lehmann and White excelled in setting lighter material. Some of Lehmann's compositional practices, such as her frequent writing of four-voice cycles and writing piano links between songs, were consistent with her time. Although her pieces were inventive, they are now often overlooked and disregarded.
In 1910, she toured the United States, where she accompanied her own songs in recitals. She was the first president of the Society of Women Musicians and became a professor of singing at the Guildhall School of Music in 1913.
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