Ethel_SmythFemale composers have historically struggled for recognition in a field dominated by men, even in the modern world. Looking back into the 19th and early 20th centuries, we see even more of a struggle. Such was the case of Dame Ethel Smyth, an English composer who was active as a composer primarily in the late 19th century, with a limited composition output in the early 20th century as she slowly lost her hearing. Today we look at her Cello Sonata in A minor, Op. 5, composed in 1887.

Smyth was briefly a student of Reinecke before switching to studies with Herzogenberg. In listening to this early work, you can clearly hear the influences of Herzogenberg, who was a proponent of the works of Brahms. The opening of the work begins with a lyrical cello line, over a syncopated piano accompaniment, a sound that many would quickly identify as a Brahms work if presented with a short sample. The instruments switch roles, before a short trading of motives leads us slowly to the more calm second theme, with the introduction of triplet embellishments in the cello.

After a migration to E Major, we see a much more aggressive tone in the cello, before settling back into a variation on the second theme. We migrate back into A minor, led by double stops in the cello, taking us back to the recapitulation, slowly migrating to A Major for the end of the movement.

As we move into the second movement, marked Adagio non troppo, we see the influence of Herzogenberg's second love - Bach. Smyth opens with a slow theme in the left hand of the piano, before the right hand begins a canon at the 5th after four measures.  A third voice enters on the original pitches, but down an octave at measure 8, along with a new soaring cello melody over this canonical accompaniment. It's in this movement that Smyth truly shows her unique voice, with beautiful writing in the cello in it's upper range, singing out over the piano. The cello switches to pizzicato briefly, before slowly winding us down to the end of the movement in E minor at a barely audible dynamic.

The third movement finally takes us to a more lively sound. Written in 6/8 time, Smyth opens with the piano in a quarter note/eighth note rhythm that keeps the momentum moving forward. She alternates this passage with 2/4 sections that introduce alternate themes, with a particularly lively theme at rehearsal C.  Finally, a rousing Presto section takes us to a lively ending, though the voice leading of the final two chords leaves me wanting a more decisive ending.

There are few recordings of this work available.  Currently, the only recording available is one by the Fanny Mendelssohn Quartet, with Céline Dutilly on piano, as part of a collection of Smyth's complete works.