Photo: Nick Rutter
In celebration of International Women’s Day, Juliette Barber speaks with pianist Alexandra Dariescu about her mission to bring women composers into the classical canon—and why true change requires more than one-off diversity initiatives. Dariescu reflects on her journey, the challenges of reshaping the classical music landscape, and her vision for a future where women composers are no longer overlooked
You’ve championed gender equality in your concerto programming for three seasons now. Was there a specific moment or experience that made you realise this was something you needed to actively pursue?
There was no singular moment, but rather a gradual realisation that the imbalance in programming wasn’t just an unfortunate oversight—it was systemic. Early in my career, I found myself frequently performing standard repertoire, which I absolutely treasure and respect, but I became increasingly aware of how rarely women composers were featured, not just in concert halls but in our musical education as well. I remember discovering piano concertos by Clara Schumann, Nadia Boulanger, Amy Beach, Leokadiya Kashperova, Germaine Tailleferre, Dora Pejacevic and Doreen Carwithen and being astounded. Why were these concertos so rarely performed, if at all? That was a turning point for me. I realised that if I had a platform, I could use it to advocate for change, to ensure that young pianists today grow up knowing they have a broader, richer history of music to draw from.
Clara Schumann’s music features prominently in this season’s programming. What does performing her work mean to you personally, and do you feel a sense of responsibility to give her the platform she wasn’t afforded in her time?
Clara Schumann has been a guiding force in my artistic journey. She was a pianist of extraordinary talent, a composer with a distinct and compelling voice, and a trailblazer who defied the expectations of her time. Performing her music isn’t just about shining a light on an overlooked composer; it’s about reclaiming space for a voice that was silenced by history.
I do feel a deep sense of responsibility, but also a profound joy. Every time I play her concerto, I imagine how she might have felt premiering it at just 16 years old, with all the brilliance and fire of youth. Her work is not a curiosity or a ‘special project’—it belongs on the main stage, alongside the greats. It’s heartening to see how audiences and orchestra musicians respond when they hear her music in that context.
Have you ever faced pushback from orchestras or promoters when you’ve wanted to programme lesser-known works by women composers? If so, how do you approach those conversations?
Yes, of course, though I’ve learned to see pushback not as a barrier, but as an opportunity for dialogue. Sometimes the resistance comes from unfamiliarity—there’s a perception that audiences won’t buy tickets to hear a name they don’t recognise. My approach is always to demonstrate how these works belong in the repertoire, not as token gestures but because they are exceptional pieces of music. I liaise with the marketing departments and create interesting pieces of content for social media, which bring familiarity to the audiences we’re targeting. When I performed Dora Pejačević’s Phantasie Concertante with the BBC Symphony Orchestra, it was the first time many had encountered her name. But once the orchestra played it, there was a sense of discovery, of excitement. And the audience, as well as the reviewers’ response, was overwhelming. So, I go into these conversations with conviction, backed by music that speaks for itself. Change happens one performance at a time. And as we all know, the change in mentalities takes the longest.
You’ve performed with major orchestras around the world. Have you noticed any shifts in attitudes toward programming music by women composers, or is it still an uphill battle?
There’s definitely been a shift. And of course, some parts of the world work more towards equality than others. A few years ago, having a woman composer on a programme was seen as a huge novelty. Now, I sense a growing awareness that this is an essential part of our collective musical heritage. But we’re not there yet.
What gives me hope is seeing young musicians embracing this change organically. When conservatoire students play works by women composers as part of their regular repertoire—not just as a special initiative—that’s when we know we are truly shifting the landscape. The key is consistency. This isn’t about one-off performances or “diversity concerts”; it’s about making sure these works are programmed as naturally as a Beethoven or Rachmaninoff concerto, not in “all female programmes” but next to the greats we’ve all learnt to love.
From your perspective, what’s been the most rewarding moment so far in your efforts to bring gender balance to concerto programming?
There have been many, but one of the most important ones is the opportunity to create meaningful connections—musical conversations that transcend time, geography and historical biases. It’s not just about performing lesser-known works by women composers; it’s about placing them in dialogue with their more famous counterparts, revealing the artistic relationships, shared influences, and, at times, the glaring disparities in recognition.
Take Enescu and Nadia Boulanger, for example, who were classmates at the Paris Conservatoire. Enescu went on to become a celebrated composer, conductor and violinist, while Boulanger, despite her extraordinary compositional talent, is primarily remembered as a teacher. When I programme his Concerto and her Phantaisie together, I invite the audience to listen differently, to consider what might have been, had history unfolded another way.
Then there’s the pairing of Florence Price’s Piano Concerto and Rachmaninoff’s Rhapsody on a Theme of Paganini, both written in 1934. One became a staple of the repertoire, performed in concert halls worldwide; the other was nearly forgotten. And yet, when performed side by side, the brilliance of Price’s writing, the boldness of her harmonies and the sheer pianistic virtuosity shine through just as vividly.
Or Grieg and Clara Schumann—so often, Grieg’s Concerto is framed in relation to Robert Schumann’s, but when you explore Grieg’s writing, you find echoes of Clara’s influence, not just her husband’s. By programming their concertos together, I challenge the narrative, to highlight how deeply Clara shaped the musical world around her but was never given the credit.
Then there’s Ravel’s G major Concerto alongside Tailleferre’s Ballade—his student. How often do we celebrate a student’s work next to their teacher’s? When we do, we gain a richer, more nuanced understanding of how musical traditions evolve.
For me, it’s about showcasing these discoveries, these connections. When we place these composers side by side, we don’t just fill gaps in the repertoire; we reshape the very way we listen. We invite audiences to engage with history in a more complete and truthful way, one where all voices—regardless of gender—are heard. That, to me, is the greatest reward.
The Alexandra Dariescu Award at the Leeds International Piano Competition is a historic first. What inspired you to create this award, and how do you hope it will influence future generations of pianists?
This award is deeply personal to me. I wanted to create change, not just talk about it. It felt incredible creating something that would have a lasting impact, beyond my own performances. One of the most persistent challenges in achieving gender balance is that competitions—where young pianists shape their careers—rarely include works by women composers. By introducing this award, young musicians get inspiration to engage with a broader repertoire from the very start of their careers. There was an incentive—both financial and in terms of concert opportunities—which made them discover the other side of history, totally neglected in piano competitions until now.
The fact that the Clara Schumann Piano Concerto was included in the final repertoire for the first time in 60 years speaks volumes. My dream is that, in the future, this won’t be seen as an “initiative” but simply as a given—that pianists will approach the concerto repertoire with a sense of limitless possibility. Sadly, there still hasn’t been one single competition in the world where a musician chose a concerto by a female composer. The road ahead of us is still very long so I hope my award will bring more curiosity and hope.
Beyond programming, what are some of the biggest challenges still facing women in the classical music industry today, and what changes would you like to see?
Representation in leadership positions remains a major challenge. We need more women conducting major orchestras, on international juries, at leading conservatoires and shaping artistic policy. The decisions about what gets performed, who gets commissioned, and who gets signed to artist management and record labels does not favour women sadly.
Another challenge is the perception of women’s artistry. Female composers and performers are often framed in terms of their gender first, rather than their musical excellence. I long for a time when we don’t have to label someone a “female composer” or a “woman pianist”—just a great musician.
The change I’d like to see? More role models. When young girls see women composing, conducting, programming and leading, they internalise that possibility for themselves. We need that visibility at every level. Also, the opportunity to fail, learn and rise again.
If you could give one piece of advice to a young female artist or composer who wants to break barriers in classical music, what would it be?
Be fearless. Your voice is valuable, your perspective is needed, and your artistry deserves to be heard. Don’t wait for permission—create your own opportunities, seek out mentors who support your vision, and never let anyone make you feel that your work is a “niche” or a “special project”.
And above all, stay true to yourself. Authenticity is the most powerful thing you can bring to your music. The world needs more voices, more stories, more perspectives—so don’t be afraid to take up space. Enjoy the ride and never forget when a door is shut in front of your eyes, there’s a little window somewhere, waiting to be opened.
Alexandra Dariescu performs Clara Schumann, Nadia Boulanger and Mozart with the Academy of St Martin in the Fields on 21 March 2025 at the orchestra’s historical home, St Martin-in-the-Fields. She will perform the Doreen Carwithen Piano Concerto with the BBC Symphony Orchestra on 11 April 2025 at the Barbican Centre.