In premise, it may sound interesting to you--and it is. But there is one caveat. The author, Anna Beer, uses a lot of music theory-speak, which is fine by me, but may be confusing to anyone who doesn't know what strophic form means, or what a cantata is.
That said, the main take-away I'm getting from this book is that I--feminist, musician, music teacher--am sorely lacking in knowledge of women in music history.
Sure, I learned about Hildegarde von Bingen, Fanny Mendelssohn, and Clara Schumann a little in college. But that's it. I've sung a few choral works by women composers here and there, but for the most part, my performing life has been filled with the works of men.
I'm setting out to change that. I've been looking for reasons to blog more, and this is one way to do it: I will be searching out female composers and listening to their surviving works, documenting here what I learn of them.
For a start, I leave this gem I've just found tonight on YouTube, by Germaine Tailleferre. I know nothing of her...yet.