Music 301/501

France in 17^th and 18^th Centuries

The situation of French women was similar to that of women in Italy, with some differences

·        Performance:

·        Upper classes considered music an accomplishment

·        Demand grew for teachers, instruments, printed music

·        Most upper class women couldn’t consider becoming professionals, but there were a few exceptions

·        Women instrumentalists were slightly more tolerated than in Italy

·        The Concert Spirituel  was a public concert institution established in 1725 that provided performing opportunities

·        Harp and harpsichord replace Lute as the favorite instrument of upper-class amateur instrumentalists.  A few played bowed string instruments such as the pardessus, a higher viol with 5 strings

·        Composition:

·        MANY examples of works by women published

·        Women rarely had positions with patrons (like Italy)

·        Elisabeth-Claude Jacquet de la Guerre (1666-1729) Bourgeois family (Father was instrument maker, organist)

·        Grew up in court of Louis XIV

·        Child prodigy in singing, playing harpsichord, composing

·        Best known for harpsichord pieces, sonatas and cantatas, but also composed an opera (tragedie-lyrique), and ballet (possibly more than one)

·        Amélie-Julie Candeille (1767-1834): singer, pianist, harpist, composer.  Also from bourgeois family.  Sang at Opéra, acted at Comedie Française, performed as pianoforte soloist

·        She wrote both words and music for successful comedy Catherine; ou, La Belle fermière (The Beautiful or Young Farmer's Wife)

·        Teaching by French Women:

·        Many turned to teaching music, especially after being widowed

·        One woman appointed to Paris Conservatoire faculty after it was established in 1795