Marie-Catherine Girod (piano)

Farrenc: Les Italiennes, Op. 14: I. Cavatina No. 1
Montgeroult: Piano Sonata, Op. 5 No. 3: III. Presto
Bon, A: Harpsichord Sonatas, Op. 2: I. Sonata in G Minor
Beach, A: Piano Pieces (2), Op. 102: II. Dancing Leaves
Beach, A: Scottish Legend, Op. 54, No. 1
Backer-Grøndahl: Fire Skizzer (Four Sketches) for piano, Op. 19: No. 2. Allegretto Leggiero
Schumann, Clara: Romanze in A minor, Op. 21 No. 1
Mendelssohn, Fanny: Wanderlied Op. 8 No. 4
Smyth: Variations on an Original Theme (of an Exceedingly Dismal Nature) in D flat major
Bonis: Mélisande, Op. 109
Barbillion: Bord de mer, le soir
Barbillion: Fête de soleil
Boulanger, L: D'un vieux jardin
Bosmans: Préludes (6)
Tailleferre: Impromptu
Chaminade: Toccata Op. 39
Park, M H: Piano Sonata in F major, Op. 4, No. 1: II. Tempo di minuetto
Zumsteeg, E: Polonaise No. 3
Peterson, C G: Staccato Polka

Was the golden age of the piano that of a defeat for female composers? If they occupied an important place in ancient and baroque music, the bourgeois society which emerges from the Enlightenment limits their access to the conservatory and to the quarry.

Marie-Catherine Girod explores this key moment and reveals to us the talent of the resistance fighters of the classical and romantic periods, and of the first modernism, those whose history has retained the name, such as Fanny Mendelssohn or Clara Schumann, or of whom she is rediscovering it today.