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How many of these works have you heard and how many times? I am genuinely interested to hear your answers.
Ethel Smyth: On the Cliffs of Cornwall (Conducted by DMA student @gordon_swcheung), Mabel Daniels: Deep Forest (latest edition in the making by DMA 3 conductor @davidscott_conductor), Louise Farrenc: Overture No. 2, and Andrée’s Overture in G minor & Varför och därför (US premiere)

I program women composers because their music deserves to be heard. Not simply because the statistics tell us there is a gap, but because the music is good. It is compelling, inventive, powerful, beautiful, surprising, and it belongs in the repertoire. And there’s more exploration & uncovering to do!

Next November, the Boston University Symphony Orchestra will record several works by Elfrida Andrée, including music that has never before been commercially recorded and, in several cases, rarely performed. For me, this is about more than correcting the historical record. It is about discovering great music and giving students the opportunity to help bring it into the world.

The numbers remain striking. The Donne Foundation’s 2025/26 report found that of more than 20,000 works performed by 110 orchestras in 30 countries, only 8.5% were by women composers. And in terms of performance time, women’s music accounted for less than 5% of the total minutes on stage.

There is still much to uncover. And I intend to keep looking, not because women composers need a special category, but because there is so much great music out there waiting to be heard.
I continue to press on this issue as I assess every program I conduct to ensure women composers are being listened to, programmed and uncovered. 

I hope you’ll join me at an upcoming concert, and please come say hello!

Check out the link in bio for more information on these upcoming concerts. 

PS: Men’s composers are also on the programs!
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Article published by @donne_uk
@ekkehardjung.artists @bu_music @buarts @cimedu 
#2026 #fallevents #classicalmusicconcert #womenconductor #womeninmusic
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