Last week a 17-year-old girl forced the Edexcel exam board to change its A-level music syllabus to include the work of women composers. Jessy McCabe, a sixth former at Twyford Church of England High School in London, started a petition after studying gender inequality. Good for her, you might think. But is it good for A-level students?
A delicate question lies at the heart of the subject of female composers, and it’s not ‘Why are they so criminally underrepresented in the classical canon?’ It’s ‘How good is their music compared with that of male composers?’
Ms McCabe told the press that ‘I’d quite like to learn about the music of Clara Schumann.’ OK, let’s start there. As I write this, I’m listening to a recording that couples the piano concertos of Mr and Mrs Schumann. In track three, I marvel yet again at Robert’s genius. The leaping melody of the finale turns into a fugue and then a waltz, enticed by the piano into modulations that never lose their power to surprise and delight.
Then comes track four, the first movement of Clara’s concerto, and within ten seconds we know it’s a dud.
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