As we celebrate International Women's Day on March 8, 2025, with the theme "Accelerate Action," we are reminded of the ongoing fight for gender equality in all fields—including music composition. This day serves as a global call to recognize women's achievements and push for further progress. The world of classical composition has long been dominated by men, but female composers are stepping into the spotlight, shaping the soundscape of contemporary music while sharing their thoughts on what it means to be a woman in this field.
International Women's Day is not just about reflecting on the past but also about inspiring the future. By amplifying the voices of women composers—past and present—we honour their contributions and reaffirm the importance of gender equity in the arts. Their stories exemplify resilience, talent, and the necessity of breaking down barriers to create a more inclusive and diverse musical world.
Navigating a Male-Dominated Industry
Women composers have long faced obstacles in getting their works published, performed, or even acknowledged. Clara Schumann, one of the most celebrated pianists and composers of the 19th century, once lamented, “I once thought that I possessed creative talent, but I have given up this idea; a woman must not desire to compose—there has never yet been one able to do it. Should I expect to be the one?” Despite her doubts, Schumann composed numerous works that continue to be performed today.
Similarly, Fanny Mendelssohn, sister of Felix Mendelssohn, struggled for recognition. While immensely talented, many of her works were initially published under her brother’s name. “Music will perhaps become his [Felix’s] profession, while for me it can and must be only an ornament,” she wrote. However, her works have since gained the recognition they deserve.
The obstacles faced by women composers were often systemic. Louise Farrenc, a 19th-century French composer, fought for equal pay as a professor at the Paris Conservatoire. After the successful premiere of her Symphony No. 3, she used its success as leverage to demand—and finally receive—salary equality with her male counterparts. “A woman must have courage to demand her rightful place,” she wrote.
Championing Visibility and Representation
Cécile Chaminade, a French composer and pianist, was one of the first women to achieve significant fame in her lifetime, though she still faced gender-based skepticism. “If I were a man, people would have thought my works were much better,” she once said. Despite this, she gained international acclaim, particularly in the United States, where Chaminade Clubs were formed in her honour.
British composer Dame Ethel Smyth was not one to quietly accept limitations. A suffragette and fierce advocate for women’s rights, she composed the anthem “The March of the Women,” which became a rallying cry for the movement. Smyth once wrote, “I feel I must fight for [women in music] as I did for the vote.” Her operas and choral works, once dismissed, are now being revived and celebrated.
Another pioneering figure was Amy Beach, the first American woman to have a symphony published and performed. She spoke about the challenges of balancing societal expectations with her career. “A woman who aspires to be a composer must be prepared for a struggle against prejudice,” she remarked. Despite this, her Gaelic Symphony remains a landmark in American classical music.
Breaking Stereotypes, One Note at a Time
The challenges these women faced are echoed in the experiences of more recent composers. “I don’t want my music to be described as ‘feminine’ or ‘masculine,’” said Unsuk Chin, a South Korean composer known for her bold, experimental works. “Music is music.”
Still, gendered expectations persist. “I’ve been told my music is ‘too aggressive for a woman,’” says composer Anna Thorvaldsdottir. “What does that even mean? Art shouldn’t be limited by gender.”
Composer Lili Boulanger, the first woman to win the prestigious Prix de Rome, struggled with expectations placed upon her as a young female composer. Despite being frail due to chronic illness, she composed deeply expressive works. “I shall write music as long as I live,” she once wrote. Her legacy paved the way for future generations of female composers.
In the 20th century, composers like Florence Price and Nadia Boulanger further broke barriers. Price, the first African-American woman to have a symphony performed by a major orchestra, wrote, “I have two handicaps—those of sex and race.” Yet she persevered, leaving behind a body of work that is only now being rediscovered. Nadia Boulanger, meanwhile, became one of the most influential composition teachers of all time, mentoring figures like Aaron Copland and Philip Glass. She famously said, “Do not take up music unless you would rather die than not do so.”
Looking to the Future
With initiatives such as the Hildegard Commission and the Luna Composition Lab providing support for young female and non-binary composers, the future looks promising. Composer and advocate Gabriela Lena Frank encourages women to claim their space. “Be unapologetic,” she advises. “Write the music you want to hear. Take up room.”
Kaija Saariaho, one of the most renowned contemporary composers, noted, “It is our responsibility to make sure that the history of music includes the voices of women.” Her ethereal, otherworldly compositions have challenged traditional notions of orchestration and sound.
The impact of women composers is undeniable, and their contributions are being recognized more than ever before. As more female composers share their voices—both through their words and their music—the industry continues to evolve. The barriers may not be entirely gone, but they are being rewritten, one composition at a time.