FRANCE
Famous among women composers of all nations is Cécile-Louise-Stephanie
Chaminade. She was born at Paris in 1861, of a family that was well
endowed with musical taste. In childhood, she made the piano her
favourite companion, and while other girls were devoted to their dolls,
she would try to express in tones the simple emotions that moved her.
There are some gifted mortals who can think in music, whose joys and
sorrows translate themselves naturally into melody. Cécile Chaminade was
one of these.
[Illustration: CÉCILE-LOUISE-STEPHANIE CHAMINADE]
So earnestly did she devote her childish days to music that before the
age of eight she was already able to show some attempts of her own at
composition. These juvenile works, which consisted of sacred pieces,
were of such interest to the composer Bizet that when he heard them he
advised her parents to give her a complete musical training, and
predicted a brilliant future for her. In spite of their fondness for the
art, the parents had no inclination to see their child upon the thorny
and toilsome path of a musical career. Meanwhile the young girl devoted
herself to the piano with utmost ardour, and continued her efforts at
composing. When at last some of her pieces were judged worthy of
performance in the church at Vesinet, her parents were persuaded to let
her follow her inclinations. Her father insisted, however, that her
general education should not be sacrificed, and the result was several
years of hard work.
Her teachers were LeCouppey in piano, Savard in harmony, counterpoint,
and fugue, Marsick in violin, and Benjamin Godard in composition. Under
these she made rapid progress, and, in fact, the latter part of her
education consisted in playing chamber music with Marsick and Delsarte.
Her own début as pianist took place when she was eighteen, and gave a
chance for the performance of a few of her compositions. These were so
effective that they occasioned the often-quoted remark of Ambroise
Thomas,--"This is not a woman who composes, but a composer who happens
to be a woman."
Her career has been one of constant progress and constant triumph. Her
talents as a pianist have won public hearings for her in London,
Berlin, Leipsic, and many other cities besides her native Paris. She has
been especially in demand for the performance of her own concerto, which
has been given in the Gewandhaus and London Philharmonic concerts, as
well as those of Lamoureux and Colonne in Paris. Her works have become
widely known, and her name is now a familiar one, not only in France,
but in England, Continental Europe, and America.
Her most ambitious compositions are "Les Amazones," a lyric symphony
with choruses; a one-act ballet, "La Sevillane," still in manuscript;
and the grand ballet and symphonic _scena_ entitled "Callirrhoe,"
successfully given at Marseilles and Lyons, and now published in many
different arrangements. Her concerto for piano and orchestra has
received high praise from the critics, who seem always ready to laud its
refined melodic charm and graceful delicacy of sentiment. The one defect
seems to be an excess of vigour and virility in certain of the later
movements. Her other orchestral works consist of two suites, one of them
being arranged from "Callirrhoe."
Of lesser instrumental music, she has written two successful trios. Her
piano pieces are many in number, and excellent in quality. Among them
is a group of four and eight-hand works for two pianos, as well as duets
for a single instrument. Among her most important solo works are a
sonata, an _Étude Symphonique_, a Valse Caprice, a Guitarre, an
Arabesque, six Études de Concert, five Airs de Ballet, containing the
well-known Scarf Dance, six Romances Sans Paroles, and six humourous
pieces. She has also written a few selections for violin and piano.
It is undoubtedly her songs that have made her fame so widespread. She
has published over sixty in all, nearly every one endowed with the
delightful charm that is associated with her name. These songs are full
of the rarest and most piquant melodic beauty, and the accompaniments
are rich in colour and originality. A well-known critic writes: "Her
music breathes the true spirit of romance shown in the poems that
inspire it. Her themes are never commonplace or affected, and are
gracefully supported by fluent, appropriate, and finely blended
harmonies." Among her most recent compositions are some choral works,
three of these, for orchestra in old style, being of especial interest.
Her "Pardon Breton," "Noel des Marins," and "Angelus," for orchestra,
are also worthy of mention, as well as her set of six "Poemes
Evangeliques." She is now at work upon a three-act lyric drama.
Augusta Mary Ann Holmes was born at Paris in 1847. Of Irish parentage,
she afterward became naturalized as a Frenchwoman. Her family were much
opposed to a musical career, and insisted on her giving it up. They did
not approve of any artistic pursuit for her, but allowed her to take up
painting as the lesser evil. Her love for music overcame all obstacles,
and she soon began to appear as a child-prodigy in public and private
concerts. Her early compositions took the form of songs, but when only
eleven she conducted a quickstep of her own, played at Versailles by an
artillery band. Her really great works, however, did not appear until
many years later.
[Illustration: AUGUSTA MARY ANN HOLMES]
Her first opera, "Hero et Leandre," was successfully produced in 1874,
and the psalm, "In Exitu," appeared at about the same time. In the next
year she became a pupil of Franck, whom she considers her real master,
and after that great works came thick and fast. An Andante Pastorale
from an unpublished symphony met with a favourable reception. Then came
the symphony "Lutece," which was second only to works of Dubois and
Godard in a Paris competition. This was followed by the symphonic poem,
"Pologne." Meanwhile she made another effort to win a prize with her
lyric drama "Les Argonautes." Out of twenty-four votes, she received
nine, her partisans being the best-known musicians on the jury. Next
came the symphonic poem, "Irlande," the "Vision de Sainte Therese," for
voice and orchestra, the symphonic ode, "Pro Patria Ludus," inspired by
a painting of Puvis de Chavannes, and the great "Ode Triomphale," given
at the Exposition in honour of the centenary of 1789.
The success of the Triumphal Ode was so marked that the composer's fame
reached foreign lands, and the city of Florence ordered from her the
cantata, "Hymne à la Paix," in celebration of the Dante festival. Her
impressions of Italy are recorded in her next suite, "Au Pays Bleu,"
which charmed all hearers by its expressive interest. Her other choral
works include the "Hymne à Apollo," and the allegorical cantata, "La
Vision de la Reine." Her latest symphonic poem, "Andromede," produced a
marked effect. Her last opera, "La Montagne Noire," was not especially
successful, though given with Alvarez, Breval, and other great artists
in the cast. The operas, "Astarte" and "Lancelot du Lac," are in
manuscript.
Mlle. Holmes has composed a number of songs, all endowed with an unusual
share of beauty. She writes her own words in almost all cases, as she is
able while doing this to hear in a vague way the music which she
afterward sets to them. Hers is a virile genius. "These women seem
preoccupied, first of all," says one critic, "to make people forget that
they are women.... Whatever Mlle. Holmes may do, or whatever she may
wish, she belongs to the French school by the vigour of her harmony, her
clearness, and the logic of her conception and exposition." Imbert, who
has written a biographical sketch of her, says: "The talent of Augusta
Holmes is absolutely virile, and nowhere in her works do you find the
little affectations which too often disfigure the works of women. With
her, nobility of thought and sentiment take first place. She worships
the beautiful, and her Muse has sung only subjects that are worthy of
being sung. She is masterly in her ease, and all the resources of
orchestration are known to her."
Maria Felice Clemence de Reiset, Vicomtesse de Grandval, is another name
as famous as it is extensive. Born in 1830, she showed innate taste for
music, and her career was devoted to it. She received instruction from
Flotow at first, doing more valuable work afterward with Saint-Saëns.
For a time she was able to take lessons of Chopin. Her works include
practically all forms of composition, but she has shown especial
aptitude for dramatic work and church compositions.
Of her many dramatic works that have been successfully produced, "Le Sou
de Lise" appeared first, in 1859. Among the operas brought out at a
later date are "Les Fiancés de Rosa," "La Comtesse Eva," "La Penitente,"
"Piccolino," and "Mazeppa." A lyric scene, "La Forêt," for soloists,
chorus, and orchestra, met with a successful production in 1875. Among
her vocal compositions are many songs, some with violin and organ
accompaniments.
Her sacred music takes rank with the very best that modern writers can
show. Her two masses have been frequently given at Paris. Her two
oratorios, "Sainte Agnes" and "La Fille de Jaire," met with a similar
favourable reception. Her Stabat Mater contains an effective "March to
Calvary" and a beautiful "Juxta Crucem," and received the enthusiastic
homage of the critics when first brought out. Several smaller works, for
voices, organ, and piano, are no whit behind the larger compositions in
musical worth. She has also written a grand overture, "Esquisses
Symphoniques," a piano trio, a violin sonata, a suite for flute and
piano, and many other violin and piano pieces. She deserves to rank
among the foremost women composers of our time.
Jeanne Louise Farrenc was another Parisian woman who won fame by
composing. Born in 1804, her career falls in the earlier part of the
nineteenth century. Pursuing the usual studies, harmony with Reicha, and
piano with Hummel and Moscheles, she began to write ambitious works at
an early age. Such merit did some of these works show that Schumann, who
reviewed them, was at first inclined to doubt her ability to write them
unaided. She deserves credit for making a remarkable collection of old
clavichord and piano music, and writing a clear summary of the terms and
abbreviations employed by the early musicians.
Her own compositions have been often performed, even the larger
orchestral numbers. Chief among them are two symphonies and three
overtures. Her chamber music includes a nonette and sextette for
strings, two quintettes, several piano trios, in two of which clarinet
and flute replace the usual violin, a number of sonatas and other pieces
for violin and piano, several 'cello sonatas, some flute and piano
pieces, and numerous piano works and songs. Her daughter, Victorine
Louise, was another gifted musician, but died after a brief career,
leaving a heritage of piano works and songs.
Louise Angelique Bertin, born in 1805, was one of those impatient
creatures who are eager to read books before learning the alphabet. In
taking up painting, she wished to start in at once with canvas and
brush, regardless of preliminary training. In her musical studies the
same tendency showed itself, and immediately on beginning her work in
composition with Fétis, she commenced writing operatic airs and scenes.
Apparently she was able to estimate her own talents justly, for success
crowned her efforts. Her first opera, "Guy Mannering," was performed in
private, but "Le Loup Garou" made a marked public success. Her "Faust,"
a later work, met with a like favourable reception, although
"Masaniello" and "William Tell" had already taught the Paris public to
be exacting. "Esmeralda" was another successful work, but "Notre Dame,"
written to a libretto of Victor Hugo's own arrangement, proved a
failure. Mlle. Bertin won further musical fame by her string quartettes
and trios, as well as her choruses and songs. She was also a poetess of
some renown, and her collection of verse won a prize from the French
Academy.
Pauline Viardot-Garcia was one of a remarkable musical family. Her
father, Manuel Garcia, was a singer and teacher of note, and, like her
elder sister, Mme. Malibran, she received the benefit of his tuition.
One of her earliest memories of his singing was connected with an
unexpected appearance in America, when a band of Mexican robbers, not
content with relieving them of the proceeds of their tour in this
hemisphere, added insult to injury by insisting upon hearing the great
tenor sing. Pauline became renowned in opera, and, after the early death
of her sister, held the foremost place on the European stage. She was
able to impersonate and create rôles of the most diverse nature, ranging
from the lightest of Italian heroines to the most dramatic characters of
Meyerbeer. After a career of fame and honour, she left the stage and
devoted herself to teaching, and it is in that period of her life that
her compositions appear. Her house in Baden-Baden was the centre of
attraction for a circle including not only musicians, but artists,
poets, and nobility of the highest rank. There she produced her
operettas, "Le Dernier Sorcier," "L'Ogre," and "Trop de Femme." At first
arranged for private performance, they succeeded so well that they were
given to the public. Of her other works, twelve romances for piano,
twelve Russian melodies, and six pieces for violin and piano are the
most important. She numbered many famous names among her pupils, and her
singing exercises are of unusual value.
Her sister, Marie Felicitas, at first wife of M. Malibran, and afterward
married to the violinist De Beriot, was one of the world's greatest
singers, and her career is too well known to need description. Her fame
as a composer rests on a number of attractive romances and chansonettes,
of which an extensive collection was published in Paris. Louise Pauline
Marie Viardot, afterward Mme. Heritte, was a daughter of Pauline
Viardot, and possessed all her mother's talent for composition if not
for singing. After a sojourn at the Cape of Good Hope, where her husband
was consul, and a four-years' term as professor in the St. Petersburg
Conservatory, she settled down to teaching and writing in Paris. Among
her many works are the operas, "Lindoro" and "Bacchus Fest," and the
cantatas, "Wonne des Himmels" and "Die Bayadere." Her chamber music
includes four string quartettes and two trios. In the lesser forms she
produced a number of songs, vocal duets, and piano pieces. Another
member of this famous family, Manuel Garcia, is still living. He is a
brother of Malibran and Pauline Viardot.
Gabriella Ferrari is another gifted French composer of orchestral works.
She is a pupil of such men as Dubois and Gounod, and has done much in
the larger forms. Among her works are a number of orchestral suites,
many piano pieces and songs, and the comic opera, "Le Dernier Amour."
Mme. Renaud Maury is another composer who is able to handle large
masses of instruments. She drew attention to herself by carrying off the
prize for fugal work at the Conservatoire, at a time when women were
expected to take a more modest place in composition. Her "Fantasie
Symphonique" and "Jeanne D'Arc" are often given before French audiences.
The Marquise Haenel de Cronenthal, one of the older generation, has
produced several symphonies, a number of sonatas, a string quartette,
numerous piano works, and the opera, "La Nuit d'Epreuve," which won a
gold medal at the Exposition of 1867. Célanie Carissan has produced the
operetta, "La Jeunesse d'Haydn," and the oratorio, "Rebecca," besides
other choral works and many songs and piano pieces.
The roll of operatic composers in France is long and honourable. Just as
England seems the home of cantatas, and Germany of orchestral work, so
France is especially devoted to opera, and her women have held their own
well in this field. As far back as the seventeenth century, Elizabeth
Claude de la Guerre upheld the glory of her sex by playing and
improvising in a masterly fashion. One of her greatest admirers was the
king, Louis XIV., himself. Besides a number of sonatas, she wrote a "Te
Deum" to honour the king's recovery from illness, and a number of
cantatas. Her opera, "Cephale et Procris," was successfully given at
the Academic Royale in 1694. Another composer of the same century was
Mme. Louis, whose operetta, "Fleur d'Epine," met with a good reception.
In the eighteenth century, Henriette de Beaumesnil was one of the
foremost musical women in France. Endowed by nature with a fine voice,
she became one of the leading artists in the Paris Grand Opera Company.
When her voice failed, she took up composition, and succeeded in that
also. Most popular among her many operas were "Anacreon," "Les
Legislatrices," and "Les Saturnales." Emilie Candeille was the daughter
of a dramatic composer, from whom she received a solid musical
education. Her works include piano trios, sonatas, and songs with piano
and harp, besides the operetta, "La Belle Fermière," and the comic
opera, "Ida." Mlle. Duval was another grand opera singer, and author of
the ballet, "Les Genies." Mlle. Kercado, of later date, produced the
operetta, "La Méprise Volontaire." Lucille Grétry, daughter of the
famous composer of that name, produced "Le Mariage d'Antonio" when only
sixteen years, and followed it up with "Toinette et Louis." Her career
was cut short in her twenty-fourth year by an untimely death.
Edme Sophie Gail-Garre, who flourished at the beginning of the
nineteenth century, won some renown by her very popular songs and piano
pieces, but was known chiefly by her successful operas. Among these were
"Les Deux Jaloux," "Mlle. de Launay," "La Méprise," and "La Serenade."
Mlle. Guenin, another youthful aspirant for fame, produced "Daphnis et
Amanthée" in her seventeenth year. Louise Puget wrote romances and
chansons that were remarkably pretty and popular, if not very ambitious,
and produced the operettas, "Le Mauvais Oeil" and "La Veilleuse,"
besides the opera, "Beaucoup de Bruit pour Rien." Helene Santa
Colona-Sourget, author of some beautiful songs and a string trio,
produced a one-act opera, "L'Image," in 1864.
Pauline Thys is a writer who has won considerable dramatic fame. She has
published some songs, but has devoted herself almost wholly to the
stage. Among her successful operettas are "La Pomme de Turquie" and "La
Perruque du Bailli." Her comic operas have been very well received, and
include such favourites in their time as "Le Pays de Cosagne," "Le
Cabaret du Pot-Cassé," "Le Fruit Vert," and "Le Mariage de Tabarin." She
has also composed the lyric drama, "Judith." Comtesse Anais de
Perrière-Pilte (Anais Marcelli) produced several successful operas and
operettas, among them "Le Sorcier" and "Les Vacances de l'Amour." The
Baroness de Maistre wrote a number of worthy religious works, among them
an excellent "Stabat Mater." Of her operas, "Les Roussalkas" met with a
success when produced in Brussels. Marguerite Olagnier is a composer
whose productions show real worth. Her "Sais," performed in 1881,
contained many beautiful numbers. She has written another opera, "Le
Persan."
Marie de Pierpont was a talented writer for the organ, as well as an
excellent performer on that instrument. She entered the operatic field
with a work entitled "Le Triomphe du C[oe]ur," which is reckoned her
best production. The Baroness Durand de Fortmague was successful as an
amateur, and her "Bianco Torello" and "Folies d'Amour" have been
frequently given. Mlle. de Sainte-Croix has written a number of
successful one-act operettas, which have been well received in the Paris
theatres. Mme. Amélie Perronet has won laurels in the same field, and
has written some popular chansonettes. Charlotte Jacques rests her fame
on a single work, "La Veille." Mlle. Gignoux has directed her talents to
the lyric drama, "La Vision de Jeanne d'Arc" being her most notable
work. Hermine Dejazet is another operetta composer. Mme. Gallois is
responsible for several ballets, besides songs and piano works, while
Hedwige Chrétien-Genaro, a professor at the Conservatoire and a musician
of real worth, won much success with her "Ballet Oriental."
In the domain of choral music, Mme. Delaval, a famous harpist of the
eighteenth century, produced a cantata depicting the farewell of the
unfortunate Louis XVI. to his people, which met with much success, but
was naturally not a favourite in revolutionary France. She was also the
author of much good harp music and many songs. Marie Sophie Gay, born at
Paris in 1776, is credited with several cantatas, besides a good deal of
piano music. Marie Anne Quinault was another eighteenth century composer
who devoted her talents to the writing of motets and other church music.
The Comtesse de Saint-Didier, born in 1790, was an amateur whose
cantata, "Il Est Rendu," met with some success at Paris. In later times,
Mme. Helene Robert-Mazel, an excellent pianist, produced the cantata,
"Le Jugement Dernier," besides a number of interesting songs and a
valuable collection of children's vocal music. Cécile Derheimer was
another gifted composer who wrote a number of masses and other religious
music, while Mme. Alphonse de Neuville, widow of the well-known painter,
has composed a worthy mass, besides violin works and songs. These names
are enough to prove that French women could equal their English sisters
in this field, if the national taste demanded it of them.
With those who have written concertos should be classed Rosa La Roche,
who lived in the latter half of the eighteenth century, and published a
number of sonatas besides a successful piece for piano and orchestra.
Mlle. Lechantre, of the same period, composed a work that was only a
concerto by courtesy, for her orchestra consisted of two violins, two
oboes, viola, and double-bass. In the nineteenth century, Mme. Marie
Jaell, born Trautermann in 1846, took a position of some importance. She
became a successful pianist, winning prizes at the Conservatoire, and
publishing a new method of piano teaching that roused widespread
attention and comment. Her compositions include a piano concerto, a
piano quartette, and a number of excellent smaller works, such as an
impromptu, two meditations, six petits morceaux, and some valses for two
pianos.
Among violin writers, Mlle. Brisson, who flourished in the early part of
the last century, produced a number of pieces for that instrument with
piano, as well as some harp and piano music. Virginie du Verger was the
author of three duets for violin and piano, besides a piano sonata and
some études. In the field of piano music, the earliest name is that of
the Marquise de la Misangere, who was born in 1693. Her ability as a
performer on the clavichord was something remarkable, and she left
behind her a number of works for her instrument. At the end of the
eighteenth century, Mme. Helene Montgeroult held a prominent position as
teacher in the conservatory and publisher of sonatas and other piano
pieces.
In the early years of the nineteenth century, Mme. Marie Bigot won a
great reputation by her playing. Her ability to read at sight was
unusually marked, and she played the Sonata Appasionata of Beethoven
from his manuscript in a way that astonished and delighted the composer.
She did much to introduce Beethoven's piano works to Parisian audiences.
Among her own compositions are many excellent piano pieces. Camille
Marie Pleyel was another fine Parisian pianist, and a pupil of Moscheles
and other great masters. Schumann gave high praise to her performances.
She, too, published a number of piano works. Louise Massart, who
succeeded Mme. Farrenc as a Conservatoire professor, was another piano
composer of note. Among contemporary pianist-composers, Berthe Marx
takes high rank. She won prizes and medals at an early age, and became
famous through many concert tours, partly alone and partly in company
with the violinist Sarasate. Her works include a number of excellent
display pieces. She is now Mme. Otto Goldschmidt. Two other brilliant
performers and writers for the piano are Charlotte Tardieu de Malleville
and Helene Collin.
Louise la Hye deserves mention with the organ writers. She was a
grandniece of the great Jean Jacques Rousseau, and flourished in the
first part of last century. She won her laurels early, being cut off by
an untimely death when only twenty-eight. She had already attained a
professorship of harmony in the Conservatoire, and published many
valuable organ works, besides pieces for piano and other instruments.
Several masses by her remained in manuscript.
Among the song composers of the eighteenth century belongs Mme. de
Travenet, whose romances and chansons, with piano or harp, became very
popular. Pauline Duchambge, of later date, won great success in a
similar manner. Hortense, Queen of Holland (1783-1837), published an
album of her own songs at Paris. Mlle. Molinos-Lafitte is credited with
a number of songs, which form another Parisian collection. In connection
with singing, the excellent teaching work of Mme. Marchesi has been
supplemented by the publication of numerous sets of admirable vocalises
from her pen. In the realm of harp playing, the Comtesse de Genlis
became noted in the eighteenth century, and published many compositions
for the instrument. Marie Pollet, somewhat later in point of time, wrote
a number of harp pieces, and played them in her many concert tours.
Theresa Demar was another celebrated harpist and harp composer.