Why Were Women Composers' Works Often Published Under Male Composers' Names?

In the Western European cultural tradition, the first half of the 19th century was marked by a profound social and cultural shift, where women's roles and reputations were heavily regulated. This period was characterized by rigid social structures and strict norms that dictated both women's behavior and their visibility in public life. As a result, women composers often faced significant challenges in having their works published and recognized. This article explores the historical context and the reasons behind the practice of publishing women composers' works under male names.

The Invisible Women in Society

The societal expectations of women during this era were narrowly defined. Women of certain social classes were expected to be invisible, with their public appearances strictly limited. Their names were scarcely mentioned in public, appearing in newspapers only in the most significant events of their lives: birth, marriage, and death. Even in public spaces, women were expected to be accompanied by male relatives or servants, as unescorted public appearances were considered scandalous and indicative of dubious morals.

The Case of the Mendelssohns

The Mendelssohn family, a notable Jewish family of musical repute, exemplifies the societal norms of the time. Faced with the challenge of being both Jewish and of a class that required women to be invisible, the family took steps to assimilate by adopting the surname "Bartholdy." This change was intended to make them appear more aristocratic and less associated with their Jewish heritage. Felix Mendelssohn-Bartholdy, a renowned composer, faced the additional pressure of traditional gender roles within his family and society.

Fanny Mendelssohn, Felix's sister, was a talented musician with exceptional compositional skills. However, societal expectations prevented her from performing publicly. In fact, culture dictated that she only perform at family gatherings, which were exclusive and invitation-only. Despite Fanny's natural talent, both Felix and their father believed that she should contribute her ideas to Felix, as he was the family's public face and the better-known composer. This led to a murkiness in the attribution of their musical contributions, as it is uncertain how much of Felix's published music was actually Fanny's.

The Intricate Publishing Dynamics

In the pre-internet era, music publishing relied on personal networks and relationships within the musical community. Felix often asked Fanny to review his compositions and make suggestions, a practice that continued even after Fanny married and took on a new surname, Fanny Mendelssohn Hensel. Fanny's work was eventually recognized, with some of her pieces being published by her husband, the court painter and publisher William Hensel. However, the trend of publishing works under male names persisted, with Fanny's name occasionally appearing alongside a male counterpart posthumously.

Impact of Gender Stereotypes on Composition

The cultural pressures on women during this period had a profound impact on the development and recognition of women composers. Women were discouraged from performing publicly, and their names were often omitted in formal publications. This effectively marginalized their contributions to the musical canon and hindered the progression of women in the field of music composition.

Conclusion

The practice of publishing women composers' works under male names was a direct reflection of the historical gender biases and societal norms that governed the lives of women during the 19th century. While Fanny Mendelssohn represents a successful case of overcoming some of these barriers, the broader context highlights the challenges faced by women composers in achieving recognition and perpetuating their legacy. As society continues to evolve, efforts must be made to ensure that the contributions of all composers, regardless of gender, are fully acknowledged and celebrated.

Keywords

- Women Composers

- Historical Gender Bias

- Publishing