Child Composers and Their Works: A Historical Survey by Barry Cooper

By Barry Cooper

This publication is the 1st survey of composers born ahead of 1900 who wrote colossal musical works ahead of age sixteen. The publication offers a normal review of the topic to the current day, arguing that those works have usually been marginalized, denigrated, or missed with out justification, and deciding upon attainable purposes for this. it's also an annotated record of good over a hundred impressive baby composers, featuring a useful and convenient reference of those creators and their works prior to age sixteen.

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Many childhood works by composers such as Wesley, Crotch, Franck, Ouseley, Saint-Saëns, Rheinberger, Paladilhe, Busoni, Bloch, Furtwängler, and Tcherepnin have so far never appeared in print or in recordings, and are likely to be unfamiliar to anyone except perhaps one or two specialists. The same applies to works that were published shortly after they were written but not since The Marginalization of Children’s Compositions of the Past 27 then, as these will be equally unfamiliar today except to the occasional specialist.

No women appeared in the curriculum. 16 A similar response would no doubt have resulted if she had asked why no works by children were in the curriculum, but feminist musicologists are unlikely to ask this question. Moreover, the absence of children’s compositions is less obvious and therefore more insidious. When searching for women composers, one can simply look up a name in an index and not find it. 17 The names of most notable child composers, however, are present in music histories, since these composers continued to compose as adults.

Information on Greenberg is available on many websites, notably The Juilliard Journal Online 18, no. 8 (May 2003); 22, no. 2 (Oct. edu. 19. uk. 20. Paul Griffiths, Bartók, 2nd ed. (London: Dent, 1988), 4. • 3• The Marginalization of Children’s Compositions of the Past D espite the substantial amount of music written by children of the past, as indicated in the Checklist in Part 2, very little has received even a brief mention in recent music histories. 1 The most basic reason is simply that disproportionately large numbers of sources of children’s compositions have been lost.

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