Name: Women Composers of the Romantic era
Start: 2023-06-23T00:00:00.000Z
End: 2023-06-23T00:00:00.000Z
Location: Théâtre des Champs-Elysées

Organization

Festival Palazzetto Bru Zane à Paris

Conductor

Hervé Niquet

Pianist

David Kadouch

Others

Orchestre de Chambre de Paris

Palazzetto Bru Zane

Women Composers of the Romantic era

Paris

France

Théâtre des Champs-Elysées

Women Composers of the Romantic era: Concert

Public

Private

Concert

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Bass

Singer

Mezzo-soprano

Contralto

Countertenor

Bass-baritone

Soprano

Tenor

Baritone

Alto

Child vocalist

Continuo

Silent

Spoken

Apart from the legacy of Louise Farrenc, few symphonies written by French women in the nineteenth century have come down to us. To discover their orchestral compositions, we have to turn to excerpts – overtures or dance scenes – from operatic works (and they themselves are extremely rare) or else resort to arrangements of genre pieces, originally written for the piano. Nevertheless, women composers who also had a career as concert artists were able to produce concertante works in which their chosen instrument converses with a large ensemble. The virtuoso pianist and teacher Marie Jaëll, for instance, premièred her Second Piano Concerto in 1884 at the Société Nationale de Musique with Édouard Colonne conducting. Although Franz Liszt described the work as “a brilliant masterpiece”, it went almost unnoticed in France, but it did enjoy great popularity in Germany.

English

A parte il corpus di opere lasciato da Louise Farrenc, sono poche le sinfonie scritte da compositrici francesi nell’Ottocento. La loro scrittura per orchestra va cercata in pezzi di genere originariamente per pianoforte e successivamente arrangiati, o in estratti di opere liriche (anche queste molto rare): ouvertures o scene di danza. Tuttavia, le compositrici che ebbero anche una carriera di concertiste hanno spesso scritto opere concertanti che fanno dialogare il loro strumento d’elezione con un insieme orchestrale. È il caso di Marie Jaëll, virtuosa e pedagoga, che interpreta lei stessa, nel 1884, la prima esecuzione del suo Secondo Concerto alla Société nationale de musique, sotto la direzione di Édouard Colonne. “Opera magistrale e geniale” secondo Franz Liszt, la partitura passa tuttavia inosservata in Francia, mentre la Germania se ne appropria volentieri facendone un successo.

italiano

À part le corpus que Louise Farrenc nous a légué, il existe peu de symphonies écrites par des Françaises au XIXe siècle. Pour accéder à leur écriture pour orchestre, il faut avoir recours à des pièces de genre – initialement pour piano – qui ont été arrangées ou des extraits d’œuvres lyriques (elles-mêmes d’une grande rareté) : ouvertures ou scènes de danse. Néanmoins, les compositrices ayant eu également une carrière de concertiste ont pu livrer des œuvres concertantes faisant dialoguer leur instrument de prédilection avec un grand ensemble. C’est le cas de Marie Jaëll, virtuose et pédagogue, qui crée elle-même, en 1884, son Second Concerto à la Société nationale de musique (sous la direction d’Édouard Colonne). "Œuvre maîtresse et géniale" pour Franz Liszt, la partition passe pourtant inaperçue en France, mais l’Allemagne s’en empare avec bonheur pour en faire un succès.

français

Women Composers of the Romantic era by Various, Minn (2023/2023), Surmast Direttur Hervé Niquet, Théâtre des Champs-Elysées, Paris, France

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