”Un compositeur d’un grand mêrite” i Paris – Laura Netzel och hennes kammarmusik vid ingången till kvinnornas århundrade

An interest in women in Nordic music history and a fascination with Laura Netzel's (1839–1927) chamber music characterises this article. In addition to focusing on works, reception, and context, the article examines the question of what role did gender play in the reception of Netzel's and her women colleagues' chamber music? How is the reviewers' understandings of gender and originality intertwined into their texts in daily newspapers and music magazines? And finally: Do possibilities for a transformation towards a more equal chamber music repertoire and more equal music history books exist? Despite Anna Rogstad's (1854–1938) predictions that the 20th century would become "the women's century," the concert scene, and the chamber music environment in particular, was characterized by gender-related prejudices. Still, Laura Netzel received recognition for her great originality and captivating musicality when she stayed in Paris at the turn of the century. In contrast to her male Nordic colleagues, she received glowing reviews where the works are described as bold and permeated with a Nordic tone. The article focuses on two chamber music works from one of her stays in Paris: Cello Sonata, opus 66 and Piano Trio in D minor, opus 78. In the Sonata for Cello and Piano, we encounter a very expressive and mature, but also bold, forward rushing and adventurous Netzel. The style is late Romantic, but also clearly influenced by contemporary French music and in constant development. The harmonics are exploratory, but never proved too demanding for the audience and critics of the time. The Trio for Violin, Cello and Piano in D minor was premiered in 1903 at La société Musique Nouvelle with Netzel herself at the piano. Enthusiastic Scandinavians in the audience were seated together with several famous music authorities of the French capital. Le Monde musical praised it for being written with such great confidence.