Comparative analysis of performance issues and piano idiom in chosen compositions of Amy Beach and Valborg Aulin

Abstract

Western classical music has historically been dominated by men, with women composers generally being denied prominence or canonical prestige. It was challenging for women to establish themselves as creative equals to men owing to social, cultural, and institutional barriers. This dissertation examines the works of two women composers from the late nineteenth century, Amy Beach (1867–1944) from the United States and Valborg Aulin (1860–1928) from Sweden. Despite emerging from different musical environments, their works exhibit significant stylistic similarities, even as each composer cultivated a unique and individual musical idiom. The research largely investigates two early works: Beach's Ballad Op. 6 and Aulin's Piano Sonata Op. 14, Grande Sonate sérieuse. Beach s Four Sketches Op. 15 and Aulin s Three Fantasy Pieces Op. 30 are also briefly addressed. Written at an early stage in each composer's career, these pieces are analysed through the perspective of performance practice, devoting particular attention to pianistic idiom, technical difficulties, expressive demands, and interpretive possibilities. Aulin's formal training in Sweden, Denmark, and France contrasts with Beach's mostly self-taught upbringing in Boston's conservative environment. The study also considers the impact of musical education, geographic and cultural context, and exposure to modern trends. This performance-based method emphasises the works distinctive voices while situating them within late-Romantic musical contexts by integrating score analysis with the real-life experience of preparing for the performance and finally playing the pieces. By delivering the first comparative performance-focused examination of these two composers piano works, the study addresses a scholarly gap and gives particular attention to the under-represented Aulin about whom little has been written in English language. This study aims to expand the canon, inspire historically informed performance, and contribute to a wider appreciation of women's creative accomplishments in nineteenth-century music by showcasing their artistry and recording interpretative observations.