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Antoinette Kirkwood

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Antoinette Kirkwood (26 February 1930 - 28 January 2014) was an English composer born in London, with Irish family connections.[1] She studied with Claud Biggs at the Irish Academy of Music and then piano and composition with Dorothy Howell and cello with Paul Tortelier at the Royal Academy of Music.[2] She often accompanied her mother, the soprano Rome Lindsay.[3] Radio Éireann broadcast her Symphony, op 8, composed in 1953.[2] This "very notable achievement", said one unidentified reviewer, established that Kirkwood "can write a memorable tune in a definite key and can hold the listener’s interest for a considerable time".[4] On 28 April 1960 the conductor Kathleen Merritt organized and conducted a Wigmore Hall concert of 'Contemporary British Women Composers', featuring the music of Kirkwood alongside Ina Boyle, Ruth Gipps, Dorothy Howell, Elizabeth Maconchy and Grace Williams.[5]

Kirkwood was the founder and conductor of the St Columba's Orchestra (associated with the London church) from 1957 until 1961. For four years beginning in 1969, she was a member of the executive committee of the Composers' Guild of Great Britain.

She married the writer Richard Phibbs (1911-1986, author of Buried in the Country, 1947) in 1961 at St Columba's.[6][7] Her marriage, three children and caring for her mother and husband through their terminal illnesses, led to a complete cessation in her composition activity between 1961 and the late 1980s.[1] During that period they were living at 56 Sutherland Street, London SW1.[8]

On her husband's death in 1986 she raised money to re-publish two of his books (Cockle Button, Cockle Ben, for children, and Harmony Hill, four short stories), as well as resuming her own career as a composer.[9] She died on 28 January 2014, aged 84.[10]

Works

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Kirkwood composed orchestral concert works, theatre music and two ballet scores, as well as instrumental and chamber pieces (including a cello sonata and the Rapsodie for harp) and many songs. Marie Fitzpatrick identifies a development in her style from the three folksong based orchestral Fantasies (1958–61), through the six Intermezzos for piano of 1959, showing the influence of Bartok, and also including more technically demanding explorations, such as the Soliloquy for guitar (1985).[11] Her publishers are Curlew & Andresier and Bardic Edition. Selected works include:

Orchestral

  • Symphony No. 1, op. 8 (1953, recording at the British Music Collection)[12]
  • Alessandro, op. 12 - (1957, music drama after the book by Gerard McLarnon)
  • Musa the Saint, op. 16 - (1958, ballet after the book by Antoinette Kirkwood)
  • Fantasia No. 1 for orchestra, op. 13 (1958)
  • Fantasia No. 2, op. 14 (on an old Irish reel)
  • Fantasia No. 3, op. 18 (1961, on an old Sligo tune)
  • Suite for String Orchestra, op. 5 (1960)[13]
  • The Empty Stable, op. 10 - Incidental music
  • Unhallowed, op. 4 - Incidental music

Chamber and instrumental

  • Cello Sonata, op. 6 (1950)
  • Six Intermezzi for piano (1959)
  • Petite Suite, op. 20 No. 2 for Guitar
  • Rapsodie No. 1, op. 21 No. 4 for Viola and Guitar
  • Soliloquy, op. 19 No. 3 for Guitar (1985)
  • Largo, op. 17 No. 1 for Flute and Piano
  • Rapsodie, op. 19 No. 2 for Harp solo
  • Sleepy Waters in the Moonlight, for 2 Violins and Violoncello
  • Sonatina, op. 2 No. 1, piano (1946)
  • Nocturne, op. 2 No. 2, piano

Vocal

  • Carol, SATB and piano
  • The Fly, op. 7 No. 1 (William Blake)
  • The Barrel Organ, op. 7 No. 5 (Michael Ashe)
  • Must she go?, op. 9 No. 1 (James Forsyth)
  • Morning in Bengal, op. 9 No. 2 (Anthony Hayward)
  • The Tourney, op. 9 No. 3 (Anthony Hayward)
  • Remorse, op. 9 No. 4 (Michael O'Hagan)
  • The Song of the Fisherman of Cacru, op. 11 No. 3 (James Forsyth)
  • The Oyster-Catcher’s Song, op. 11 No. 4 (James Forsyth)
  • Der Schiffbrüchige, op. 15 (Heinrich Heine)
  • Krönung, op. 17 No. 2 (Heinrich Heine) High Voice and Strings[3][4][14]

A few of her works have been recorded and issued on media, including:

  • Six Intermezzi[15]
  • Sonata for Violoncello and Piano[16]
  • Suite for Strings, Orquestra de Cordas de Santana de Parnaíba, YouTube[17]
  • Women Composers - Vol. I CD
  • Women Composers - Vol. II CD[4]

References

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  1. ^ a b Halstead, Jill (June 1997). The woman composer: creativity and the gendered politics of music composition. Scolar Pr. p. 300. ISBN 1-85928-183-4. ISBN 978-1-85928-183-3
  2. ^ a b Contemporary Music Review, Vol. 11 Parts 1 and 2, pp. 177-8
  3. ^ a b Lazarus, Emma; Heine, Heinrich (1881). Antoinette Kirkwood biography. New York: Worthington/University of Massachusetts Amherst. Retrieved 2 February 2012.
  4. ^ a b c "Antoinette Kirkwood". Bardic Music. Archived from the original on 3 March 2012. Retrieved 2 February 2012.
  5. ^ 'London Concerts: Six Women Composers', in The Musical Times, Vol. 101, No. 1408, June 1960, pp. 373-374
  6. ^ Sadie, Julie Anne; Samuel, Rhian (1994). The Norton/Grove dictionary of women composers. New York: W.W. Norton. p. 250 . ISBN 0-393-03487-9.
  7. ^ The Times 24 July 1961, p. 12
  8. ^ Who's Who in Music, 5th ed. (1969), p. 173
  9. ^ Helen Reid. 'For the Love of Richard', Western Daily Press, 1 August 1988, p. 8
  10. ^ "Antoinette Kirkwood". Bardic Music. Archived from the original on 3 March 2012. Retrieved 24 December 2010.
  11. ^ Marie Fitzpatrick . 'Kirkwood, Antoinette' in Grove Music Online (2001, rev. 2023)
  12. ^ "Symphony no. 1". British Music Collection. 17 April 2009.
  13. ^ 'Six Women Composers', The Musical Times, Vol. 101, No. 1408 (June 1960), pp. 373-4
  14. ^ "Scores by Antoinette Kirkwood". The Collection. Arts Council England. Archived from the original on 19 July 2012. Retrieved 3 February 2012.
  15. ^ Included on A Potpourri of Piano Music, Catherine Nardiello, piano, Cassette CN-105
  16. ^ extract performed by Gemma Christine Connor
  17. ^ Suite for Strings - Antoinette Kirkwood (Estreia Nacional Brasileira)

Further reading

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