Sisters in Sync: 3-2-1 with Alice Farnham
This month, we had the pleasure of speaking with Alice Farnham, an inspiring conductor and educator whose career is dedicated to championing women in classical music. Alice shared her thoughts on the overlooked legacy of Imogen Holst, her favourite compositions, and the evolving representation of women in the music industry. From her innovative work with Perth Symphony Orchestra’s Women on the Podium program to her insights on collaboration and mentorship, Alice’s reflections remind us of the power of women supporting one another to drive meaningful change.
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.
Sisters in Sync: 3-2-1 with Alexandra Dariescu
In this exclusive Sisters in Sync interview, we sit down with acclaimed pianist and advocate for women’s music, Alexandra Dariescu. Known for her innovative performances and commitment to spotlighting underrepresented composers, Alexandra opens up about the empowering moments in her career, her latest musical discoveries, and the values that drive her creative spirit.
3 Questions - 2 Insights - 1 unique photo with remarkable women musicians
Alexandra Dariescu has established herself as one of classical music's most powerful voices for change, breaking barriers and championing works by female composers that have been overlooked for far too long. From making history with the Melbourne Symphony Orchestra to introducing a groundbreaking award at the Leeds International Piano Competition, Alexandra is actively reshaping the classical music landscape.
In this candid conversation, Alexandra Dariescu shares her experiences as a transformative force in classical music, from her pioneering performances of works by composers like Nadia Boulanger and Clara Schumann to her insights on building a meaningful career in the industry. Her passion for bringing forgotten masterpieces to light, combined with her commitment to empowering the next generation of musicians, offers a compelling glimpse into how one artist is helping to create lasting change in classical music.
What moment in your career made you feel most empowered as a woman in the music industry?
Every time I perform a piano concerto written by a female composer and it’s a premiere in that specific territory, I feel we are making history together with the orchestra. It’s an incredible honor and a celebration of how far we have come. This happened again on my recent Australian tour—I performed Clara Schumann’s Piano Concerto with the Melbourne Symphony Orchestra and it was the very first time in the 118-year history of the orchestra this concerto was performed!
Also, this year, at the Leeds International Piano Competition, I handed the Alexandra Dariescu Award for an outstanding performance of a work by a female composer. It was the first time in the 60-year history of the competition that such an award was given. That moment felt incredibly empowering, knowing we’re creating change and shaping the future of the next generation of musicians.
What's a recent discovery you've made in music composed or performed by women?
The works for piano and orchestra by Clara Schumann, Nadia Boulanger, Dora Pejacevic, Leokadiya Kashperova, Florence Price, Germaine Tailleferre, Amy Beach, Doreen Carwithen. They truly deserve to be heard!
Who is a lesser-known female musician or composer you believe deserves more recognition and why?
Nadia Boulanger was one of the most influential musicians of all time. Not only did she teach Quincy Jones, Dinu Lipatti, Daniel Barenboim, Aaron Copland but she was also the first woman to conduct the New York and Boston Symphony Orchestras. So it’s astonishing that her Fantaisie Variée did not have its US premiere until 2022, when I performed it with the Houston Symphony. It’s full of original harmonies, with a beautiful middle theme that makes you want to hug the world. And the ending is so triumphant, building to a massive climax.
What's a valuable lesson you've learned throughout your career?
To always stay true to yourself, work hard and dare to dream. Perseverance is key, learn from your mistakes and most importantly don’t give up!
How do you stay motivated and creative in the challenging landscape of the music industry?
Always create and be creative. Don’t wait for the phone to ring! Be as proactive as you can, start conversations and be brave in creating new collaborations. Be curious and imaginative as this is what’s going to keep you thriving in a long term career.
Image Description: A split-screen image showing a virtual meeting between two women. In the top half, Alexandra Dariescu, smiles warmly, seated in a room with soft lighting, a piano visible in the background, and shelves mounted on the wall. She wears a light blue shirt with pearl earrings. In the bottom half, Stephanie Nicholls from Mirabilis Collective smiles in front of a framed poster, seated in a comfortable room. She wears glasses, earrings, and a dark grey top, with the edge of a wooden door and a couch in the background. The image captures a friendly and collaborative moment between the two.
Catch Alexandra Dariescu’s Royal Stockholm Philharmonic Orchestra Debut
Alexandra Dariescu makes her debut with the Royal Stockholm Philharmonic Orchestra performing Clara Schumann's Piano Concerto under conductor Magnus Fryklund on Thursday, January 9 2025 at 7:30pm.
Sisters in Sync: 3-2-1 with Hannah Lee Tungate
Hannah Lee Tungate, creative producer and president of Tenth Muse Initiative, is an incredible advocate for underrepresented voices in classical music. Through award-winning shows and innovative projects like the Women Composers Project, she’s creating new platforms for diverse voices in Perth’s music scene. In September's Sisters in Sync interview, Hannah shares her journey, her passion for inclusion, and her vision for a more vibrant and diverse future in classical music.
3 Questions - 2 Insights - 1 unique photo with remarkable women musicians
This month's Sisters in Sync features an inspiring conversation with soprano Hannah Lee Tungate of the Boorloo/Perth-based Tenth Muse Initiative (TMI). Tenth Muse was born out of frustration with the lack of diversity often seen in classical music, but Hannah and her team have transformed that frustration into a vibrant collective that shines a light on diverse voices and fresh perspectives. TMI has achieved remarkable success, including an award-winning Fringe show, nominations in the Performing Arts WA Awards, commissions of new works by emerging composers and poets, and concerts that range from opera to intimate gatherings centred around cups of tea.
Hannah’s passion for amplifying underrepresented voices has guided her journey as a producer and advocate for women composers, especially through the Women Composers Project. As TMI’s president and creative producer, Hannah continues to create platforms for new and diverse voices in Western Australian classical music, driving change with her deep commitment to inclusion.
Tenth Muse Initiative's next event, Sapphic Serenade, will be held on Wednesday 20 November at Perth City Farm, featuring beautiful string quartets by sapphic composers and a twilight market with queer-owned businesses. It’s an evening of calming music to celebrate pride—don’t miss it! Click here for tickets.
In this interview, Hannah shares insights into the inspiration behind her career, the importance of mentorship, and how she’s making classical music more engaging and inclusive for future generations.
What’s one piece of advice from a woman in music that has stuck with you?
Back in 2016, the amazing Jessica Gethin was giving a talk at a Women in Music event at UWA, and she said that most people will give you a small amount of their time for a cup of coffee. If there’s someone who’s further along their career than you or that you admire and you’d like to connect with them or learn from them, ask if you can buy them a coffee. A short amount of their time for a cup of coffee, and you just don’t know where it will lead you (and Tenth Muse Initiative actually wouldn’t exist without it).
Who is a lesser-known female musician or composer you believe deserves more recognition and why?
I find it really challenging to choose just one lesser-known woman composer. There are so many out there deserving of recognition, as there have been so many nearly lost to history.
This week I’ve been listening to Henriëtte Bosmans — the incredible Dutch composer who, despite being labelled as an ‘undesirable’ by the Nazi regime & so was prevented from performing publicly, supported herself by performing at secret underground house concerts. Her considerable oeuvre includes orchestral works, chamber music and many songs.
And of course, Barbara Strozzi will always be on my list — though I think (& hope) she’s becoming more and more well known!
How do you think the music industry can better support and uplift women artists and composers?
Acknowledge that there is a lack of gender representation within the sector and then program more music by women, hire more women as soloists, hire more women as conductors, hire more women into creative leadership roles. And then keep doing it. Keep working on removing the barriers that have kept so many artists suppressed.
How has mentorship, especially from other women, played a role in your career, and what value do you think it brings to emerging female artists?
I’ve been very fortunate to have many amazing mentors and 95% have been other women. The mentorship I’ve received has always come from people I truly admire in the industry, and I’ve been lucky to find many people who want to raise you up instead of tear you down. And I want to continue to do that for other emerging artists that follow me. Mentorship from other women has given me the confidence to keep going, and I know I have a raft of people to support me when I need it.
Can you share a pivotal moment in your career that shaped your path as an artist?
It was at PSO’s inaugural Women on the Podium weekend in 2019, and the incredible Bourby Webster was talking to us about the business side of being an artist, and how she’d founded PSO, and all the steps she took to get there. And in that moment the first spark of Tenth Muse Initiative was born. I was so inspired by the path Bourby had taken that it set a fire in me that didn’t go away, and under a year later TMI was born.
I had known that I wanted to see greater representation in the music industry and had been researching women composers for a while, but it was hearing how Bourby took PSO from concept to what the orchestra is today that it just clicked. Everything I have worked towards as an artist since then has been to build Tenth Muse Initiative and tell the stories of all these unheard voices, and raise up artists whose work deserves to be performed.
This image features two people in a virtual meeting. At the top, Hannah Lee Tungate, Creative Producer at Tenth Muse Initiative, smiles at the camera with curly brown hair, wearing glasses and a black top. Her background showcases a vibrant yellow wattle tree against a clear blue sky. Below her, Stephanie Nicholls of Mirabilis Collective smiles as well, wearing glasses and a colourful floral necklace. Behind her is framed artwork featuring musical instruments, including a violin and piano. Both appear engaged and focused on their conversation.
Sapphic Serenade
Sapphic Serenade is an event for the quiet queers. Join Tenth Muse Initiative for an evening of stunning string quartets by sapphic composers; celebrate pride with calming music for voice and strings.