In Search of Luise Adolpha Le Beau

With a generous Graduate Award from The Presser Foundation, I traveled to Berlin from mid-March to early June 2022. I examined Le Beau’s estate at three German state libraries to uncover her unpublished Lieder manuscripts and other primary source material related to the compositional and performance practice of her Lieder.


My musicological interests lie in researching, programming, and interpreting the song and chamber music repertoire of historic women composers, particularly those from the nineteenth century. By challenging gendered historiographical narratives that surround “canon” creation, I wish to question, analyze, and reveal the socio-cultural constructs and biases that continually diminish the historic contributions of women creators within the field of classical music.

Through my experiences as a vocalist and concert curator, I find the medium of the song recital to be a nuanced forum that highlights notions of “canonicity.” By exposing performers, collaborators, audiences, and ourselves to song repertoire by historic women composers, we labor to create a more inclusive and more accurate historical “canon” narrative. To this end, I will focus my Doctoral lecture recital research on the Lieder repertoire, both published and unpublished, of German composer Luise Adolpha Le Beau (1850-1927).

Portrait of the composer (1872)
Photo: Badische Landesbibliothek Karlsruhe

Historical Background

Born in Rastatt, Germany, Luise Adolpha Le Beau (1850-1927) was raised in a musical family, and her parents devoted themselves to her education. She later cultivated her professional career as a composer, pianist, music critic, and piano pedagogue, although she identified primarily as a composer. Le Beau wrote in large-scale forms, such as symphonies, operas, and choral works, but also embraced small-scale Lieder and instrumental chamber music. During the 1870’s and 1880’s in Munich, Le Beau was successful in publishing and seeking performances of her newest works. In the decades that followed, however, she struggled to find further performance opportunities, moving to Wiesbaden, Berlin, and Baden-Baden to seek more fertile collaborative landscapes.

Le Beau’s memoirs, Lebenserinnerungen einer Komponistin (Memoirs of a Woman Composer), published in 1910, detail her frustrations with the sexism and lack of acceptance she faced as a woman composer, which contributed to Le Beau’s withdrawal from her public career as a composer in the early 1900’s.

As Le Beau was thwarted in her compositional life, upon her passing, although she meticulously organized and catalogued her manuscripts and personal papers, Le Beau’s music was simply “forgotten.” While more recent scholarship has explored her large-scale works and instrumental chamber music, there is little to no scholarship about Le Beau’s Lieder repertoire, only a handful of her ten published Lieder opuses are readily available to the public, and to my knowledge, few professional recordings of Le Beau’s Lieder exist.

Archival Research in Germany

With a generous Graduate Award from The Presser Foundation, I traveled to Berlin from mid-March to early June 2022. I examined Le Beau’s Nachlaß (estate) at three German state libraries to acquire copies of her unpublished song manuscripts and other primary source material relevant to the compositional and performance practice of her songs. I accessed Le Beau’s personal estate in the public archives of the Berlin State Library, the Bavarian State Library, and the Baden State Library Karlsruhe. I spent most of my time at the Berlin State Library since Le Beau bequeathed seventy-nine volumes of her manuscripts to this institution. Le Beau’s entire oeuvre contains over sixty works, including ten published song opuses.

Memorial plaque for Luise Adolpha Le Beau in Baden-Baden at Lichtenthaler Straße 46
Photo: Gerd Eichmann

Upon my return to the United States (and with the support of various collaborators), I will transcribe her unpublished song manuscripts into working scores, as well as translate her correspondence and personal journals. I plan to incorporate a portion of this research into the lecture recital for my Doctor of Musical Arts degree at Peabody Institute. In the future, I hope to present concerts of Le Beau’s Lieder with an accompanying lecture on her life and music. Other potential projects include presentations of Le Beau’s Lieder at venues throughout the Washington DC/Baltimore area, a recorded album of Le Beau’s song repertoire, as well as publishing a collected edition of her Lieder scores.

L’Allée des Rêves (The Alley of Dreams), c. 1855 by Jean-Baptiste Camille Corot
University of Arizona Museum of Art

If I now, at the age of fifty-nine, try to describe my experiences as objectively as possible, it is not done out of vanity or arrogance, but rather, from other motives. Firstly, it was a wish of my dear, blessed father that I would point out the many difficulties that stand in the way of a woman in the field of musical composition, the envy and resentment of my colleagues, as well as the prejudice and misunderstanding in the advice of those who were the most qualified and best situated to nurture a talent, and that I speak the truth loudly without shyness or regard for well-known individuals – however, I was also supported by others, who played a role in my life as an artist, who encouraged me to tell my story…

In his encyclopedia of music history, Herr Ritter compares the making of music in the nineteenth century with a large forest that is covered with all kinds of trees and says, that not only do a few giant trees make up the forest, but rather, the small trees, bushes, grasses, flowers, and mosses are essential to giving it its real character… Whatever gifts I was given, I have nurtured with all my strength; no one can do anything more! I did not disdain even the smallest gifts, but rather, I took delight in all musical works, as long as they were artistically serious and true… Should one or another of my compositions please later generations, I have not written in vain. I have never wished for more recognition than I deserve! Finally, I thank all those who are still living or have already led the way to a better land, all those who have given me the gift of interest and friendly encouragement for my striving!   

Excerpted from “Foreword” | Lebenserinnerungen einer Komponistin (1910) by Luise Adolpha Le Beau
Translation by Noelle McMurtry


  • June 20th, 2022 – I’ve returned from my travels in Germany with a lot of manuscripts and primary source material to examine! I also launched my blog, She Is Song, a forum to share research, recordings, and other information about women creators in classical music. For my first blog series, I’ll write about my experiences in Germany as I searched for the song repertoire of Luise Adolpha Le Beau. Be sure to subscribe to follow my work (it’s free!).
  • July 1st, 2022 – I posted In Search of Luise Adolpha Le Beau (Part I): My Mother in the Library on She Is Song. Check it out!
  • August 8th, 2022 – I posted In Search of Luise Adolpha Le Beau (Part II): An Estate in Ashes” on She Is Song. Check it out!
  • January 31st, 2023 – I will perform excerpts from Le Beau’s Vier Terzette, op. 5 and Zwei Duette, op. 6 with sopranos Julie Bosworth and Claire Galloway Weber on Sauvez moi de l’amour, a chamber music recital featuring works by David Lang, Mel Bonis, Comtessa de Dia, Maddalena Casulana, and Caroline Shaw. Click here for more information; keep an eye on this project space and my YouTube channel for video excerpts from the concert.


Trio for Pianoforte, Violin and Violoncello Scherzo.
“Allegro – Trio – Da Capo”
Bartek Niziol, violin
Denis Severin, violoncello
Tatiana Korsunskaya, piano
Sonata for Piano and Violoncello op. 17 D Major
“Movement II – Andante tranquillo”
Denis Severin, violoncello
Tatiana Korsunskaya, piano
Photos by Olga Severina
Portrait of Luise Adolpha Le Beau (1850-1927) Author Unknown; Alamy Photos
Cover for Le Beau’s autobiography, Lebenserinnerungen einer Komponistin (1910)


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