The Minerva Festival’s Guide to Graphic Scores
contributors: Marcella Keating, Joanna Ward, Leia Devadason Scores come in all shapes and sizes. In recent years, some composers have...
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The blog is open for submissions throughout the year, please get in touch via email (theminervafestival@gmail.com) if you have an idea for a piece, we would love to hear from you!
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cambridgefemalecomposers
Music by female and non-binary composers to listen to in lockdown
Jenny Frost In these strange and unsettling times, we continue to see that music brings us together, as it always has. From the virtual...
cambridgefemalecomposers
Silent in the Churches
An illustrated lecture by Sarah MacDonald with the Selwyn Consort (members of the Choir of Selwyn College, Cambridge) Minerva Festival |...
cambridgefemalecomposers
Music museums kept only for men?
Museums and exhibitions seem to be thriving in most places across Europe at the moment, with virtually every reasonable sized town and...
cambridgefemalecomposers
Britten Sinfonia on Freya Waley-Cohen
Described as ‘at once intimate and visionary’ by BBC Music Magazine, Freya Waley-Cohen’s music has been performed all over the country in...
cambridgefemalecomposers
Introducing Minerva 2020
HELLO! The Minerva Festival turns two this year! Inaugurated in 2018, the festival aimed to elevate the voices of female composers who...
cambridgefemalecomposers
Katharine Parton on music and motherhood
Historically, when women have had a career in music they leave the professional sphere when they marry and then fade further into the...
cambridgefemalecomposers
Women, liturgy and music
Redressing the imbalance of women in music means creating spaces for them to be properly, seriously valued – a space which has...
cambridgefemalecomposers
'Compose yourself': The female composer in musical theatre
As James Brown and Betty Jean Newsome once wrote, this is a man’s world. Forms of expression, narrative and even language have arguably...
cambridgefemalecomposers
Rebecca Clarke: impostor syndrome and potential power
I first came across the music of Rebecca Clarke when I learnt her piece ‘Morpheus’ for viola and piano. It is a beautiful folky,...
cambridgefemalecomposers
Sophie Westbrooke on Elisabeth Jacquet de la Guerre
Elisabeth Jacquet de la Guerre (1665-1729) was a French harpsichordist, organist and composer known in the court of Louis XIV. She was...
cambridgefemalecomposers
Time to Take Notice: Corinne Rydman on the music of Florence Price
I was in my second year of graduate school looking for recital repertoire when I discovered Florence B. Price and her music. No. Discover...
cambridgefemalecomposers
'That has a gender? Of course it does.' Rachel Becker on Instruments and Gender
The nineteenth-century was a hot-bed of strongly gendered descriptions of woodwind instruments, their sounds, their performers, and their...
cambridgefemalecomposers
Nat Jobbins on playing with gender and music
When Virginia Woolf hand-sewed the bindings of over a thousand copies of Orlandoin 1928, she stood unflinchingly in front of The Canon...
cambridgefemalecomposers
Sarah MacDonald reflects on being the first female director of music at an Oxbridge college
I was Organ Scholar at Robinson College as an undergraduate from 1992-95, and after a brief subsequent sojourn in my native Canada, I...
cambridgefemalecomposers
Joanna Ward on achieving diversity through composing competitions
When I was approached to be a part of the Cambridge Female Composer Festival, having a role organising the composing competition seemed...
cambridgefemalecomposers
A Festive Welcome From the Chairs!
The idea for this festival came from two annual recitals held in Christ’s chapel dedicated to music by female composers. We both loved...