Women at an Exposition - 1893 Chicago World Fair
View record and artist detailsRecord and Artist Details
Composer or Director: Maude Valerie White, Amy Marcy (Cheney) Beach, Clara Kathleen Rogers, Kate Vannah, Cécile (Louise Stèphanie) Chaminade, Mary Knight Wood, Liza Lehmann, Thomas (Augustine) Arne, Clara (Josephine) Schumann
Label: Classics
Magazine Review Date: 12/1993
Media Format: CD or Download
Media Runtime: 68
Mastering:
DDD
Catalogue Number: 37240-2

Tracks:
Composition | Artist Credit |
---|---|
Singing Joyfully |
Amy Marcy (Cheney) Beach, Composer
Amy Marcy (Cheney) Beach, Composer Kimberly Schmidt, Piano Sunny Joy Langton, Soprano Susanne Mentzer, Mezzo soprano |
(4) Songs, Movement: Sweetheart, Sigh no more (wds. T. B. Aldrich) |
Amy Marcy (Cheney) Beach, Composer
Amy Marcy (Cheney) Beach, Composer Kimberly Schmidt, Piano Sunny Joy Langton, Soprano |
(4) Sketches, Movement: In Autumn |
Amy Marcy (Cheney) Beach, Composer
Amy Marcy (Cheney) Beach, Composer Kimberly Schmidt, Piano |
Romance |
Amy Marcy (Cheney) Beach, Composer
Amy Marcy (Cheney) Beach, Composer Elaine Skorodin, Violin Kimberly Schmidt, Piano |
Rosemonde |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Kimberly Schmidt, Piano Susanne Mentzer, Mezzo soprano |
(L')Été |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Kimberly Schmidt, Piano Sunny Joy Langton, Soprano |
Chanson Brétonne |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Kimberly Schmidt, Piano |
Goodbye, sweet Day |
Kate Vannah, Composer
Kate Vannah, Composer Kimberly Schmidt, Piano Susanne Mentzer, Mezzo soprano |
Titania's Cradle |
Liza Lehmann, Composer
Kimberly Schmidt, Piano Liza Lehmann, Composer Sunny Joy Langton, Soprano |
(The) Blind Beggar of Bethnal Green |
Thomas (Augustine) Arne, Composer
Kimberly Schmidt, Piano Sunny Joy Langton, Soprano Thomas (Augustine) Arne, Composer |
(The) Throstle |
Maude Valerie White, Composer
Kimberly Schmidt, Piano Maude Valerie White, Composer Sunny Joy Langton, Soprano |
Ici bas |
Maude Valerie White, Composer
Kimberly Schmidt, Piano Maude Valerie White, Composer Susanne Mentzer, Mezzo soprano |
Ashes and Roses |
Mary Knight Wood, Composer
Kimberly Schmidt, Piano Mary Knight Wood, Composer Susanne Mentzer, Mezzo soprano |
Ah love but a day |
Mary Knight Wood, Composer
Kimberly Schmidt, Piano Mary Knight Wood, Composer Susanne Mentzer, Mezzo soprano |
Sonata for Violin and Piano |
Clara Kathleen Rogers, Composer
Clara Kathleen Rogers, Composer Elaine Skorodin, Violin Kimberly Schmidt, Piano |
Out of my own great woe |
Clara Kathleen Rogers, Composer
Clara Kathleen Rogers, Composer Kimberly Schmidt, Piano Susanne Mentzer, Mezzo soprano |
(3) Lieder, Movement: Liebst du um Schönheit |
Clara (Josephine) Schumann, Composer
Clara (Josephine) Schumann, Composer Kimberly Schmidt, Piano Susanne Mentzer, Mezzo soprano |
Author:
Best, I think, is the song that comes last: Ici bas, a nostalgic setting by Maude Valerie White of Sully Prudhomme's poem, sung by Susanne Mentzer sounding like a young Frederica von Stade. Longest is the Violin Sonata of Clara Kathleen Rogers, not performed at the Fair but chosen for this record when those of her works that were given proved inaccessible. It is claimed as a premiere recording, and is a stoutly constructed piece with a likeable slow movement. Other instrumental compositions include Chaminade's Chanson Bretonne which has a touch of the Irish about it. The name most frequently included in lists of American writers is that of Amy Beach (or more usually 'Mrs Beach'), whose two-part song Singing Joyfully, originally performed by the Exposition Children's Choir, is here sung as a duet by the well-matching voices of Mentzer and Sunny Joy Langton.
Violinist and pianist, like the two singers, give pleasure, but when the booklet-notes say of the Sonata that it ''is very difficult for both soloists'' the thought occurs that, certainly as far as the piano part is concerned, a reasonably competent amateur would not have too much trouble sight-reading it. Most of the music here is in fact very undemanding both upon the listener and the performer. I wonder whether the Representative Women had heard of the 35-year-old Ethel Smythe, whose far from undemanding Mass in D had its premiere in London that very year.
'
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