Sisters in Sync: 3-2-1 with Alice Farnham
3 Questions - 2 Insights - 1 unique photo with remarkable women musicians
Alice Farnham is a force for change in the world of classical music, a conductor and educator whose career exemplifies the power of women uplifting women. Known for her dynamic leadership on the podium and her tireless dedication to mentoring the next generation, Alice is a trailblazer in a field historically dominated by men. Her passion for empowering female musicians and conductors is evident not only in her work but in the way she collaborates to create opportunities for others.
A shining example of her advocacy is her partnership with Perth Symphony Orchestra’s Women on the Podium program. Through this initiative, Alice has played a pivotal role in nurturing the talent and confidence of aspiring female conductors, providing them with the skills, mentorship, and encouragement needed to succeed in a demanding profession. Her work with the program underscores her belief in the importance of creating space for women to lead in music and inspire future generations.
Alice’s achievements as a conductor are equally inspiring. From her work championing lesser-known compositions by female composers like Imogen Holst to her innovative programming that celebrates diversity and inclusion, she has redefined what it means to be a leader in classical music. Her dedication to education, her ability to connect with audiences, and her commitment to amplifying the voices of women in music make her a true role model.
This article explores Alice Farnham’s reflections on championing women in music, her admiration for Imogen Holst, and the evolving representation of women in the industry. She shares insights on mentorship, favourite compositions, and her work with the Women on the Podium program, offering a vision for a more inclusive future in classical music.
Who is a lesser-known female musician or composer you believe deserves more recognition and why?
Imogen Holst is a truly remarkable figure who deserves far more recognition. She is often overshadowed by her father, Gustav Holst, or remembered primarily for her role as an assistant to Benjamin Britten. However, Imogen was an artist in her own right, with a career that spanned composition, conducting, teaching, and championing both folk and early music traditions.
Her commitment to music education was groundbreaking. During World War II, Imogen worked with the early iterations of what would become the Arts Council, travelling across England to bring music to underserved communities. She later played a crucial role at Dartington Hall, where she helped establish one of the first music degree programs. Imogen even travelled to India to teach Western classical music, but instead of imposing her methods, she embraced the richness of Indian musical traditions. This act of mutual learning was exceptionally forward-thinking during a time when the British Empire was still rooted in cultural dominance.
As a composer, her works reflect both elegance and experimentation but Imogen’s influence also extended into the realm of conducting, where she broke new ground. She founded and directed one of the earliest professional choirs in the UK, which included prominent singers such as Robert Tear. Additionally, she was a prolific editor and arranger, contributing significantly to the works of Britten and others. Imogen’s love for folk dance and her involvement with Cecil Sharp’s folk song movement further highlight her dedication to preserving and promoting cultural heritage.
Despite her remarkable contributions, Imogen downplayed her achievements. She often dismissed her own music, calling it mere “dabbling,” and saw her role as supporting the work of others rather than championing her own. This humility, though admirable, has contributed to her underappreciation in musical history. Her versatility and pioneering spirit were ahead of their time—engaging with community music, early music revival, and cross-cultural collaboration decades before these practices became widely embraced.
In a field dominated by the recognition of male composers and conductors, Imogen Holst’s story serves as a powerful reminder of the many women whose influence has shaped the musical landscape. It is time to give her legacy the recognition it deserves, not just as the daughter of a famous composer, but as a groundbreaking artist, educator, and conductor who left an indelible mark on British music.
Could you share a favourite composition by a woman that resonates with you?
One of my favourite pieces by Imogen Holst is Persephone (1929), a symphonic work she composed while still a student. The piece reflects a clear influence from Ravel, demonstrating her profound understanding of orchestration and her ability to emulate the intricate textures and harmonic language of her time. It is remarkable how, at such a young age, she was able to craft a work that balanced technical mastery with emotional depth. Persephone not only highlights her ability to absorb and reimagine the styles of composers she admired but also hints at the unique voice she was beginning to develop.
Another standout work is Variations on 'Loth to Depart' (1962), a set of variations composed for string quartet and two string orchestras. The piece was designed to cater to both professional and amateur musicians, with the second orchestra specifically intended for less experienced players. This demonstrates Imogen’s dedication to community music and her innovative approach to composition. By integrating musicians of differing skill levels, she created a work that was as much about collaboration and inclusion as it was about artistry.
The interplay between the professional string quartet and the two orchestras creates a rich, dynamic texture, highlighting her sensitivity to both form and expression. The work exemplifies her belief in the power of music to bring people together, bridging gaps in ability to create something truly meaningful. This pioneering concept prefigures many modern community music practices and underscores her forward-thinking ethos, making Variations on 'Loth to Depart' a remarkable example of her compositional ingenuity.
How has the representation of women in the music industry evolved over the years?
There have been noticeable improvements in how women are represented, particularly in conducting and programming. However, challenges remain. Some programming still feels tokenistic—like featuring music by female composers only in the first half of concerts. There is also a tendency to focus on smaller chamber pieces rather than full symphonic works. But it’s encouraging to see orchestras, such as the BBC Concert Orchestra, rearrange chamber works by women for larger ensembles, expanding the canon in creative ways.
How has the work of women in music influenced your artistic style or approach?
The work of women in music has shaped how I think about collaboration and inclusion. Someone like Imogen Holst, for example, didn’t just create music; she found ways to bring people together, whether it was through folk music, early music, or community projects. Her ability to bridge different worlds—professional and amateur musicians, Western and Indian music—has definitely influenced how I approach conducting and programming. It’s about creating opportunities for everyone to be part of something meaningful.
Can you share an experience where collaborating with other women significantly influenced your work?
Working with Women on the Podium through Perth Symphony Orchestra has been one of the most rewarding collaborations of my career. It’s been amazing to see how talented and passionate the participants are, and it’s reminded me how important it is to create these opportunities. Mentoring them has been inspiring—they bring such energy and determination. It’s strengthened my belief that when women support each other, we can really make change happen.
In what ways do you believe female musicians can drive positive change within the music industry?
I think women can drive change by supporting each other and challenging the status quo. Mentorship is a huge part of this—programmes like Women on the Podium are a great example of how structured support can open doors for the next generation. It’s also about rethinking how we present music. Why stick to the same old overture-concerto-symphony format when there are so many other ways to create engaging, inclusive programmes? Women are already leading the way here, and I think that’s how we’ll keep making progress.
