ABSTRACT

Tatjana Goldberg reveals the extent to which gender and socially constructed identity influenced female violinists’ ‘separate but unequal’ status in a great male-dominated virtuoso lineage by focussing on the few that stood out: the American Maud Powell (1867–1920), Australian-born Alma Moodie (1898–1943), and the British Marie Hall (1884–1956). Despite breaking down traditional gender-based patriarchal social and cultural norms, becoming celebrated soloists, and greatly contributing towards violin works and the early recording industry (Powell and Hall), they received little historical recognition. Goldberg provides a more complete picture of their artistic achievements and the impact they had on audiences.

chapter |5 pages

Introduction

chapter 1|18 pages

She wants to play the violin!

chapter 2|22 pages

The ‘angelic’ counterparts

chapter 3|48 pages

Maud Powell

I must carry a message as long as I am able

chapter 4|25 pages

Marie Pauline Hall

Transcending limitations

chapter 5|34 pages

Alma Moodie

From praise to oblivion