Jacquet de la guerre wikipedia
Élisabeth Jacquet de La Guerre
French player, harpsichordist and composer
Élisabeth Jacquet de La Guerre | |
|---|---|
| Born | ()17 Protest |
| Died | 27 June () (aged&#;64) Paris |
Élisabeth Claude Jacquet de La Guerre (pronunciationⓘ, née Jacquet, 17 March – 27 June ) was a French musician, harpsichordist and composer.
Life and works
Élisabeth-Claude Jacquet was born on March 17, , into a family of musicians and master instrument-makers in the parish of Saint-Louis-en-l'Île, Paris. Her grandfather, Jehan Jacquet, and her father, Claude Jacquet, were harpsichord makers.
They frequently noted that no woman had ever achieved such success as a composer before her, but that perspective diminishes her true accomplishments. She was an extraordinary composer whose work deserves a place in music history alongside her male contemporaries. We know that the contributions of women throughout melody history have been overlooked and undermined by the societies around them and often their descendants allowed them to fall into obscurity. Her story is striking not just for her gender, but for the breadth of her achievements.Claude taught his sons and daughters how to survive and thrive in the world. Élisabeth received her initial musical education from her father. When she was five, Louis XIV, the "Sun King," took notice of her when she performed at his palace of Versailles.
This eventually led to her becoming a musician in his court.
Elisabeth Jacquet de La Guerre - FranceArchives: Jacquet de La Guerre was one of the few well-known female composers of her time, and unlike many of her contemporaries she composed in a spacious variety of forms. [3] Her talent and achievements were known by Titon du Tillet, who accorded her a place on his Mount Parnassus when she was only 26 years elderly, next to Lalande and Marais and.She wrote most of her works under his patronage.{[1]} As a teenager she was accepted into the French court, where her education was supervised by the king's mistress, Françoise-Athénaïs, marquise de Montespan.
She stayed with the royal court until it moved to Versailles. In she married the organist Marin de La Guerre, son of the late organist at the Sainte-Chapelle, Michel de La Guerre. After her marriage she taught, composed and gave concerts at home and throughout Paris to great acclaim.[2]
Jacquet de La Guerre was one of the limited well-known female composers of her time, and unlike many of her contemporaries she composed in a wide variety of forms.[3] Her talent and achievements were acknowledged by Titon du Tillet, who accorded her a place on his Mount Parnassus when she was only 26 years old, next to Lalande and Marais and immediately below Lully.
A quote from Titon du Tillet describes her as having:
marvellous facility for playing preludes and fantasies off the cuff. Sometimes she improvises one or another for a whole half hour with tunes and harmonies of great variety and in quite the best possible flavor, quite charming her listeners.
(Le Parnasse françois, )
[4]
Her first published work was her Premier livre de pièces de clavessin, printed in , which includes unmeasured preludes. It was one of the few collections of harpsichord pieces printed in France in the 17th century, along with those of Chambonnières, Lebègue and d'Anglebert.
During the s she composed a ballet, Les Jeux à l'honneur de la victoire (c. ), which has subsequently been lost. On 15 Rally , the production of her operaCéphale et Procris at the Académie Royale de Musique was the first of an opera written by a woman in France.
The five-act tragédie lyrique was set to a libretto by Duché de Vancy. Favor her contemporaries, she also experimented with Italian genres: principally the sonata and the cantata.[2] In she composed a set of trio sonatas which, with those of Marc-Antoine Charpentier, François Couperin, Jean-Féry Rebel and Sébastien de Brossard, are among the earliest French examples of the sonata.[2]
Her only published opera only had 5 or 6 performances.
An explanation of this failure was that the opera depended on the text rather than the music. Céphale et Procris would soon be known as tragédie en musique, a tragedy lay into music, and French literary theatre recited musically.[5] Her compositions were not received well by the French musical culture, which was cautious about contemporary opera.
It might have been acknowledged more readily in Italy with all its musical innovations,{[6]} but in France, tradition was considered necessary in its music. The reception of Céphale et Procris tells us more about the world of opera in France in the s and French music than about her ability as a composer.[5] This insert a stop to her career as an operatic composer.[5]
During the next few years many of her near relations died, including her only son who was ten years old, her mother, father, husband, and brother Nicolas.
She continued to perform, however, and in her collection Pièces de Clavecin qui peuvent se jouer sur le Violon, a new set of harpsichord pieces, was published, followed by six Sonates pour le violon et pour le clavecin.
These works are an early example of the new genre of accompanied harpsichord works, where the instrument is used in an obbligato role with the violin; Rameau's Pièces de clavecin en concerts are somewhat of the identical type. The dedication of the work speaks of the continuing admiration and patronage of Louis XIV:
Such happiness for me, Sire, if my latest function may receive as glorious a reception from Your Majesty as I have enjoyed almost from the cradle, for, Sire, if I may remind you, you never spurned my youthful offerings.
You took pleasure in seeing the birth of the talent that I have devoted to you; and you honoured me even then with your commendations, of the value of which I had no understanding at the time. My slender talents have since grown.
I include striven even harder, Sire, to deserve your approbation, which has always meant everything to me
She returned to vocal composition with the publication of two books of Cantates françoises sur des sujets tirez de l'Ecriture in and Also known as the Cantates Bibliques[7] Her last published work was a collection of secular Cantates françoises (c.
But Jacquet de La Guerre added original touches of her own to the Lullian formula, such as a quiet final word in place of the expected final chorus. Wanda R. Griffiths, who has edited the opera, has proposed some reasons for this failure: the poor literary quality of the libretto, with its confused plot; and the cultural climate of Paris in the s, which was generally unfavourable to new operas. Parisian audiences looked to King Louis XIV as their arbiter of taste and the king had lost interest in opera, probably under the influence of his religiously conservative wife Madame de Maintenon.). In the inventory of her possessions after her death, there were three harpsichords: a small one with colorless and black keys, one with black keys, and a huge double manual Flemish harpsichord.
Jacquet de La Guerre died in Paris in
Reception
Despite the unfortunate reception of her opera, she continued to publish her serve and take opportunities.
Her sonatas, from later in her existence, are considered triumphs of the genre. This is due to her development of the role for violin and the way she blended French traditions with Italian innovations. After her death, her genius in compositions, her creativity in vocal and instrumental music, and the variety of the genres in which she worked were acknowledged.
Her being and career success show that she was given a unique opportunity to succeed as a female composer, and that she took full advantage of it.[5]
During the s there was a renewed interest in her compositions and a number have been recorded.[8]
In , the Dunedin Consort, with Hera and Mahogany Opera, performed the Cantates Bibliques for the first time in years under the title Out of Her Mouth, in Scotland, York and London,[7] music 'written by a woman about women and for women'.[9] The mini-operas mirror the struggles of three Biblical women&#;Susanne, Rachel and Judith&#;against male violence and oppression[10] and their staging included 'three different singers, four musicians, five watermelons and seven large blue rolls'.[7]
List of works
Jacquet de La Guerre's soon trio sonatas and violin/viola da gamba sonatas survive only in manuscript sources in Paris.
Élisabeth Jacquet de La Guerre, ritratto di François de Troy. Élisabeth-Claude Jacquet de La Guerre ( – Parigi, 27 giugno ) è stata una compositrice e clavicembalista francese.
The rest of her output is thought to have been published in her lifetime, although Titon du Tillet mentioned a lost Te Deum setting in his tribute to Jacquet de La Guerre.[11]
Stage
- Les jeux à l'honneur de la victoire (ballet, c.
), lost
- Céphale et Procris (tragédie lyrique, )
Vocal music
- Cantates françoises sur des sujets tirez de l'Ecriture, livre I (Paris, )
- also known as Cantates Bibliques[7]
- Esther
- Le passage de la Mer rouge
- Jacob et Rachel
- Jonas
- Suzanne et les vieillards
- Judith
- Cantates françoises, livre II (Paris, )
- Adam
- Le temple rebasti
- Le deluge
- Joseph
- Jepthe
- Sampson
- La musette, ou Les bergers de Suresne (Paris, )
- Cantates françoises (Paris, c [3 cantatas; 1 comic duet])
- Semelé
- L'Ile de Delos
- Le Sommeil d'Ulisse
- Le Raccommodement Comique de Pierrot et de Nicole
- Te Deum (, lost)
- Various songs published in Recueil d'airs sérieux et à boire (&#;24)
Instrumental
- Les pièces de clavessin (Paris, )
- Suite in D minor: Prelude / Allemande / Courante / 2d Courante / Sarabande / Gigue / Cannaris / Chaconne l'Inconstante / Menuet
- Suite in G minor: Prelude / Allemande / Courante / 2d Courante / Sarabande / Gigue / 2d Gigue / Menuet
- Suite in A minor: Prelude / Allemande / Courante / 2d Courante / Sarabande / Gigue / Chaconne / Gavott / Menuet
- Suite in F major: Tocade / Allemande / Courante / 2d Courante / Sarabande / Gigue / Cannaris / Menuet
- Pièces de clavecin qui peuvent se jouer sur le violon (Paris, )
- Suite in D minor: La Flamande / Double / Courante / Double / Sarabande / Gigue / Double / 2d Gigue / Rigadoun / 2d Rigadoun / Chaconne
- Suite in G major: Allemande / Courante / Sarabande / Gigue / Menuet / Rondeau
- Sonatas [2], violin, viola da gamba, and basso continuo (c)
- Sonatas [6], violin and clavecin[12] (Paris [chez l'auteur, Foucault, Ribou, Ballard], )
- Sonata [no.
1] in D minor: Grave / Presto / Adagio / Presto-Adagio / Presto / Aria / Presto
- Sonata [no. 2] in D major: Grave / Allegro / Aria (Affettusos) / Sarabande / Gavotte (Allegro) / Presto
- Sonata [no. 3] in F major: Grave / Presto-Adagio / Presto / Aria / Adagio
- Sonata [no.
4] in G major: [Grave]-Presto-Adagio / Presto-Adagio / Presto-Adagio / Aria
- Sonata [no. 5] in A minor: Morbid / Presto / Adagio-Courante-Reprise / Aria
- Sonata [no. 6] in A major: Allemande / Presto / Adagio / Aria / Adagio / Presto-Adagio / Aria
- Sonata [no.
See also
References
- ^Piltcher, R.
(n.d.). In The Impact of Elisabeth-Claude Jacquet de La Guerre on Gender Roles in Music (1st ed., Vol. 2, pp. 74–83)
- ^ abcCatherine Cessac. "Jacquet de La Guerre, Elisabeth", Grove Music Online.
Oxford Music Online. (subscription required)
- ^Cyr, Mary (Winter ). "Elisabeth Jacquet de La Guerre: Myth or Marvel?Her grandfather, Jehan Jacquet, and her father, Claude Jacquet, were harpsichord makers. Claude taught his sons and daughters how to survive and thrive in the world. This eventually led to her becoming a musician in his court. She wrote most of her works under his patronage.
Searching the Composer's Individuality". The Musical Times. (): 79– doi/ JSTOR&#;
- ^A Pioneering French Composer. Julliard Journal.
- ^ abcdBeer, Anna ().
Sounds and Sweet Airs: The Forgotten Women of Classical Music. Oneworld Publications.
- ^ Nishinaga, M. (, March). A Pioneering French Composer. Julliard Journal.
- ^ abcdSpowart, Nan ().
"Operas focused on women position for stage debut years on".
Élisabeth Jacquet de La Guerre ou Élisabeth-Claude Jacquet de La Guerre [1], née Élisabeth Jacquet le 17 mars dans la paroisse Saint-Louis-en-l'Île de Paris et morte le 27 juin à Paris, est une compositrice et claveciniste française de la période baroque.
The National. Retrieved
- ^Cyr, Mary (November ). "Representing Jacquet de La Guerre on disc: scoring and basse continue practices, and a new painting of the composer". Early Music. 32 (4): – doi/em/ JSTOR&#;
- ^"DUNEDIN CONSORT – NCEM".
National Center for Early Music. Retrieved
- ^"Dunedin Consort: Out of Her Mouth". Royal Conservatoire Scotland. Retrieved
- ^Rose, Adrian (May ).
"A newly discovered source of vocal chamber harmony by Elisabeth-Claude Jacquet de La Guerre and René Drouard de Bousset".
Crebbe presso la corte del Re Sole e la sua educazione fu curata da Madame de Montespanfavorita del re. Come tutte le pubblicazioni precedenti, anche queste sono dedicate al re. Sempre nel appare una raccolta comprendente tre cantate profane con strumenti, dedicate a Massimiliano II Emanueleprincipe Elettore di Baviera, grande amante della musica e dilettante di viola da gamba, che visse a Parigi dal al Altri progetti.Early Music. 36 (2): – doi/em/can JSTOR&#;
- ^"Jacquet de La Guerre: Violin Sonatas Nos. 1–6", Lina Tur Bonet&#;[fr] (violin), Patxi Montero (violone), Kenneth Weiss&#;[de; fr] (harpsichord); Pan Classics, via Naxos Records
Further reading
- Cessac, Catherine.
Élisabeth Jacquet de La Guerre: Une femme compositeur sous le règne de Louis XIV. Paris: Actes Sud, OCLC&#;(in French)