Who Was A Major Female Figure For French Music During The Period Of Salons?
Who was a major female figure for French music during the period of salons, in particular, Boulevard Saint – Germain and Baden Baden? Discuss in detail their background and its impact on composers of that time
Traditionally, the idea of a ‘salon’ is a gathering of people in a place hosted by an iconic member of society, comprising of conversation to engage and educate the keen attendees. This later reflected in music salons; a place where not only conversation but also music was held, showcasing the new compositions of talented upcoming composers in the late 1800’s and early 1900’s. One of the most influential women in music and in society at that time to many great composers was Pauline Viardot.
Pauline Viardot – Garcia, born July 1821 was …show more content…
the daughter of famous tenor Manuel Garcia and sister of the Prima Donna Maria Malibran. Pauline had been exposed to music from a very young age. Her father was her devoted teacher who trained her as a pianist and encouraged her singing. Furthermore, Manuel was her rock throughout her years of training, and although her sister was a successful singer, Pauline was Manuel’s main focus. Her father’s death took a dramatic toll on her life. They were extremely close, mainly through the music they created together. Her mother eventually took over her tuition but shied away from her piano studies and focused more on her singing. One could only assume that this was to encourage her extraordinary talent rather than replacing that of her late sister, Malibran. It has been written by poet Musset in Pauline’s first public performance after the death of the Prima Donna that an English girl had fainted due to thinking that Malibran’s ghost had come back through the voice of the young Garcia. He too supported this by saying “...the likeness...more in the voice than the features...it is so striking that it appears to be supernatural...She does not listen to her voice, but her heart.” (Emmerson, p. 170) Pauline and Malibran had extremely similar voices, but after further research this is clearly due to the fact that they lived and breathed with the same teacher, of course, their father Manuel Garcia.
By the age of 6 Viardot could speak many European languages fluently which often had her mistaken for a native.
After her first performance in Brussels the critic of the Allgemeine Musikalische Zeitung wrote: "Mademoiselle Pauline Garcia obtained in her first concert a remarkable success and was greeted with acclaim on her second appearance. Her ability is already very obvious (she is 17 years old), and her intonation is true and pure. We have not heard her sing any of her own songs yet but we believe that she is a talented composer." (Davies, p. 25)
Viardot had pursued her training to become a concert pianist before making a career out of her voice. She studied under Franz Liszt for many years. Viardot had met Clara Schumann (Wieck at the time) through Robert Schumann, and throughout their friendship they had performed many times together, including duets and vocal and piano pieces. Pauline valued Clara as a talented pianist, and Clara called Pauline "the most gifted woman I have ever known." (Fitzlyon, p.380)
Pauline’s family came into money from her success in Russia, which enabled the Garcia’s to buy a castle near Paris. The top of the building was converted into a theatre known as ‘Théatre des Pommes de Terre’ (theatre of potatoes) because they accepted one potato as entry into the theatre. (Fitzlyon, p.306) This became a second home to many of the well known composers that were later associated with Pauline’s Salon, Boulevard Saint – …show more content…
Germain.
After moving to Baden – Baden, her salon became the venue that attracted composers such as Liszt, Berloiz, Chopin, Gounod, Saint-Saëns and many more to perform their new compositions. Viardot always managed to outdo herself and began helping the extremely talented composers gain contracted concerts of their pieces and works, including operas such as her dear friend Gounod’s work of Sapho which she managed to get commissioned by the Paris Opéra.
She worked with Wagner who she never really admired, however she set up a performance of Tristan und Isolde in her salon as a favour to him as he had extreme money issues. Later his reaction to the character Isolde was "it is a very difficult role . . . Mme. Viardot surprised me by reading everything from the sheet, so it proved it could be sung." (Davies, p. 415) Wagner was rather dismayed by her rendition of the opera. When he visited her house Berlioz was also awaiting Wagner’s appearance, during the run through there was some kind of an unsettled atmosphere, most probably because of the rivalry between Wagner and Berlioz. Wagner only assumed that Viardot was put off by this; however sources show that it is possible that she wasn’t a talented sight – reader. Viardot had recieved a letter from Mayerbeer introducing Wagner as a young composer. It read “...who is an enthusiastic admirer of your talent, and who would count himself fortunate if you with your glorious voice could now and then produce one of his romances and songs at salon – concerts.” (The Musical Times, 1927) Viardot had turned down his offer with sincere regret and Wagner never understood as he had turned to her first for help. It is difficult to analyze why this had occurred, however there is much to suggest that Viardot had not been keen on Wagner from other sources and composers.
Pauline was not only a talented pianist and singer but also an intellectual composer. Her ability to transcribe put her on the composers wanted list. She was extremely talented and went as far as altering compositions of great composers such as Berlioz, who was her composition tutor for many years. He had to oversee the later version of Gluck’s Orphée and instantly fell for Viardot. It has been said that Charles Dickens had been to see the performance and was moved to tears by Viardot’s rendition (Dunn, p 143). When Berlioz became bankrupt he had turned to her in his hour of need. He had her perform his Cantata La captive and was taken aback by her interpretation. (Tunley, p. 48) Viardot had helped Berlioz to revise the piano score of Les Troyens and give him valuable advice on the writing. A letter had been written from Berlioz to Viardot concerning the finale of this opera, “I had to attack the finale, which you were so cool about, with fire and hatchet. I think it will work better now. What a lot I owe you for having drawn my attention to so many faults! But it will be right in the end, we shall see!” (Kemp, p. 63) Viardot thought the world of Berlioz and he was considered as one of her “closest four true friends” (p. 633)
Chopin is probably the most important composer that Viardot had contact with. Chopin met Viardot in late 1839, and they were introduced to one another through his lover, Sand, who was also Viardot’s closest female companion at that time. The two had built up such a friendship throughout their career. Before the two had met, Viardot had already transcribed and added vocal line to 6 of his Mazurkas. She had written the ornamentation to her own taste; more than one octave’s worth of whirlwind chromatic runs and trills and arpeggios that he was so impressed with her transcriptions. Liszt had heard her sing one of the Mazurka transcriptions and had written “...where she reveals the unimaginable richness of her coloratura and soulful expression...in Chopin’s famous mazurka.” (Emerson, p.180) Her most popular concert included her performance of 2 Chopin Mazurkas that she had transcribed for voice and piano. They were both virtuosic with a large range of 3 octaves including legato lines and singing chromatic coloratura (Jesensky, 2011) The most popular vocal transcription of a Mazurka today would be no.
2 “Aime – Moi” (op. 33 no. 2 for the Chopin Mazurka). As a vocalist this was of great interest to me. After researching and comparing, the uncanny resemblance of the transcription to the original piano score was immense. Her use of the rubato was that of Chopin’s intentions, and she of course portrayed her two strongest elements in the vocal line; her ability to sing almost anything and her extreme advanced compositional techniques. Listening to many versions of this transcription one stood out immediately. Katarzyna Dondalska is a Polish born Soprano whose range is tremendously large. From the opening 50 seconds of the recording after all the research on Viardot, you could close your eyes and imagine her there, singing. Dondalska’s extraordinary talent is similar of that of Viardot. Her lightness and depth moves into one and her soaring high notes are a delightful surprise after hearing her smooth lower register. During this example of the music her talent is portrayed in her ascending runs and the way in which she displays the trills. This is advanced technical skill that would have been shown through Viardot. Although one can only imagine Viardot’s performance of this Mazurka, from reading about her vocal abilities one can only compare this to the example of Dondalska’s
interpretation.
Chopin and Viardot spent many years as great friends, with Sand stating “Pauline and Chopin read whole scores together at the piano.” (Rink, Samson p. 121) They spent much of their time together in her salon, performing together in duets or Chopin accompanying her singing. She even advised Chopin on his compositions and later he went onto helping her with her own compositions. Chopin’s death was devastating news for Viardot. He had requested that at his funeral she was to sing all the alto solos, and she did just that. “Some of Chopin’s happiest moments were spent making music with her at Nohant.” (Fitzlyon, p. 37)
Another example of friendship and publicity was that of Camille Saint-Saëns. After they had met in May 1849, their friendship developed and he began accompanying her on the soirée evenings she held on a Thursday in her salon theatre. Later he had written his only successful opera, Samson et Delilah with Pauline in mind to play Delilah, ‘tailoring it to her individual voice and dramatic abilities’ (Davies, p. 435) Unfortunately by the time Camille had finally produced the score Viardot had retired and refused to perform this role.
Viardot’s life not only included performances and friendships. She was an extremely talented composer and although she never liked to think this, her pieces are now considered part of the vocal technique and should not be ignored. She composed in a variety of languages including French, German and Italian. Her pieces for mezzo and soprano require the talent of a skilled singer to perform them, and are often used as technical exercises based on their challenging ornamentation and phrasing.
Pauline Viardot has proved to be more than just a talented and inspiring Mezzo – Soprano. She has recently been rediscovered not only as a vocalist but as an influential female figure of the 19th and 20th centuries for her talent, her ability to compose, although this was not the forefront of her career many would say that her compositions are of great importance. One cannot deny that she was a muse to many composers and inspired them not only on a musical level, but emotionally and spiritually. She was a truly extraordinary woman and deserves to be recognized as one by future musicians. ‘Mme. Viardot is a great musician . . . she unites an irrepressibly impetuous and imperious verve with a profound sensibility and with an almost deplorable faculty for expressing immense grief . . . she is one of the greatest artists in the history of music’ (Davies, p.366)
Bibliography
Cairns, D (2003). Servitude and Greatness, 1832 – 1869 (volume 2). University California Press
Craig, M. (1927). Letters from Wagner to Madame Pauline Viardot. The Musical Times. 68 (1008), 137-139. (JStor)
Davies, K (2003)The Life and Work of Pauline Viardot Garcia: The Years of Fame 1836 – 1863. Cambridge Scholars Press
Dondalska, K (2011) Chopin-Viardot: Aime Moi (Arreglo vocal Mazurca Op 33 Nº 2), Katarzyna Dondalska (Soprano), Holger Berndsen. Video clip. http://www.youtube.com/watch?v=aWAZYiKQEC0 [Accessed 17.08.14]
Fitzlyon, A (1964). The Price of Genius: A Life of Pauline Viardot. New York, Appleton Century
Jesensky, K (2011). The Life of Pauline Viardot: Her Influence on the Music and Musicians of Nineteenth Century Europe. Journal of Singing. vol. 67 (3), 267 +
Kemp, I (1988). Hector Berlioz: Les Troyens: CUP Archive
Tunley, D (2002). Salons, Singers and songs: A Background to Romantic French Song. Ashgate: Burlington VT.
Traditionally, the idea of a ‘salon’ is a gathering of people in a place hosted by an iconic member of society, comprising of conversation to engage and educate the keen attendees. This later reflected in music salons; a place where not only conversation but also music was held, showcasing the new compositions of talented upcoming composers in the late 1800’s and early 1900’s. One of the most influential women in music and in society at that time to many great composers was Pauline Viardot.
Pauline Viardot – Garcia, born July 1821 was …show more content…
the daughter of famous tenor Manuel Garcia and sister of the Prima Donna Maria Malibran. Pauline had been exposed to music from a very young age. Her father was her devoted teacher who trained her as a pianist and encouraged her singing. Furthermore, Manuel was her rock throughout her years of training, and although her sister was a successful singer, Pauline was Manuel’s main focus. Her father’s death took a dramatic toll on her life. They were extremely close, mainly through the music they created together. Her mother eventually took over her tuition but shied away from her piano studies and focused more on her singing. One could only assume that this was to encourage her extraordinary talent rather than replacing that of her late sister, Malibran. It has been written by poet Musset in Pauline’s first public performance after the death of the Prima Donna that an English girl had fainted due to thinking that Malibran’s ghost had come back through the voice of the young Garcia. He too supported this by saying “...the likeness...more in the voice than the features...it is so striking that it appears to be supernatural...She does not listen to her voice, but her heart.” (Emmerson, p. 170) Pauline and Malibran had extremely similar voices, but after further research this is clearly due to the fact that they lived and breathed with the same teacher, of course, their father Manuel Garcia.
By the age of 6 Viardot could speak many European languages fluently which often had her mistaken for a native.
After her first performance in Brussels the critic of the Allgemeine Musikalische Zeitung wrote: "Mademoiselle Pauline Garcia obtained in her first concert a remarkable success and was greeted with acclaim on her second appearance. Her ability is already very obvious (she is 17 years old), and her intonation is true and pure. We have not heard her sing any of her own songs yet but we believe that she is a talented composer." (Davies, p. 25)
Viardot had pursued her training to become a concert pianist before making a career out of her voice. She studied under Franz Liszt for many years. Viardot had met Clara Schumann (Wieck at the time) through Robert Schumann, and throughout their friendship they had performed many times together, including duets and vocal and piano pieces. Pauline valued Clara as a talented pianist, and Clara called Pauline "the most gifted woman I have ever known." (Fitzlyon, p.380)
Pauline’s family came into money from her success in Russia, which enabled the Garcia’s to buy a castle near Paris. The top of the building was converted into a theatre known as ‘Théatre des Pommes de Terre’ (theatre of potatoes) because they accepted one potato as entry into the theatre. (Fitzlyon, p.306) This became a second home to many of the well known composers that were later associated with Pauline’s Salon, Boulevard Saint – …show more content…
Germain.
After moving to Baden – Baden, her salon became the venue that attracted composers such as Liszt, Berloiz, Chopin, Gounod, Saint-Saëns and many more to perform their new compositions. Viardot always managed to outdo herself and began helping the extremely talented composers gain contracted concerts of their pieces and works, including operas such as her dear friend Gounod’s work of Sapho which she managed to get commissioned by the Paris Opéra.
She worked with Wagner who she never really admired, however she set up a performance of Tristan und Isolde in her salon as a favour to him as he had extreme money issues. Later his reaction to the character Isolde was "it is a very difficult role . . . Mme. Viardot surprised me by reading everything from the sheet, so it proved it could be sung." (Davies, p. 415) Wagner was rather dismayed by her rendition of the opera. When he visited her house Berlioz was also awaiting Wagner’s appearance, during the run through there was some kind of an unsettled atmosphere, most probably because of the rivalry between Wagner and Berlioz. Wagner only assumed that Viardot was put off by this; however sources show that it is possible that she wasn’t a talented sight – reader. Viardot had recieved a letter from Mayerbeer introducing Wagner as a young composer. It read “...who is an enthusiastic admirer of your talent, and who would count himself fortunate if you with your glorious voice could now and then produce one of his romances and songs at salon – concerts.” (The Musical Times, 1927) Viardot had turned down his offer with sincere regret and Wagner never understood as he had turned to her first for help. It is difficult to analyze why this had occurred, however there is much to suggest that Viardot had not been keen on Wagner from other sources and composers.
Pauline was not only a talented pianist and singer but also an intellectual composer. Her ability to transcribe put her on the composers wanted list. She was extremely talented and went as far as altering compositions of great composers such as Berlioz, who was her composition tutor for many years. He had to oversee the later version of Gluck’s Orphée and instantly fell for Viardot. It has been said that Charles Dickens had been to see the performance and was moved to tears by Viardot’s rendition (Dunn, p 143). When Berlioz became bankrupt he had turned to her in his hour of need. He had her perform his Cantata La captive and was taken aback by her interpretation. (Tunley, p. 48) Viardot had helped Berlioz to revise the piano score of Les Troyens and give him valuable advice on the writing. A letter had been written from Berlioz to Viardot concerning the finale of this opera, “I had to attack the finale, which you were so cool about, with fire and hatchet. I think it will work better now. What a lot I owe you for having drawn my attention to so many faults! But it will be right in the end, we shall see!” (Kemp, p. 63) Viardot thought the world of Berlioz and he was considered as one of her “closest four true friends” (p. 633)
Chopin is probably the most important composer that Viardot had contact with. Chopin met Viardot in late 1839, and they were introduced to one another through his lover, Sand, who was also Viardot’s closest female companion at that time. The two had built up such a friendship throughout their career. Before the two had met, Viardot had already transcribed and added vocal line to 6 of his Mazurkas. She had written the ornamentation to her own taste; more than one octave’s worth of whirlwind chromatic runs and trills and arpeggios that he was so impressed with her transcriptions. Liszt had heard her sing one of the Mazurka transcriptions and had written “...where she reveals the unimaginable richness of her coloratura and soulful expression...in Chopin’s famous mazurka.” (Emerson, p.180) Her most popular concert included her performance of 2 Chopin Mazurkas that she had transcribed for voice and piano. They were both virtuosic with a large range of 3 octaves including legato lines and singing chromatic coloratura (Jesensky, 2011) The most popular vocal transcription of a Mazurka today would be no.
2 “Aime – Moi” (op. 33 no. 2 for the Chopin Mazurka). As a vocalist this was of great interest to me. After researching and comparing, the uncanny resemblance of the transcription to the original piano score was immense. Her use of the rubato was that of Chopin’s intentions, and she of course portrayed her two strongest elements in the vocal line; her ability to sing almost anything and her extreme advanced compositional techniques. Listening to many versions of this transcription one stood out immediately. Katarzyna Dondalska is a Polish born Soprano whose range is tremendously large. From the opening 50 seconds of the recording after all the research on Viardot, you could close your eyes and imagine her there, singing. Dondalska’s extraordinary talent is similar of that of Viardot. Her lightness and depth moves into one and her soaring high notes are a delightful surprise after hearing her smooth lower register. During this example of the music her talent is portrayed in her ascending runs and the way in which she displays the trills. This is advanced technical skill that would have been shown through Viardot. Although one can only imagine Viardot’s performance of this Mazurka, from reading about her vocal abilities one can only compare this to the example of Dondalska’s
interpretation.
Chopin and Viardot spent many years as great friends, with Sand stating “Pauline and Chopin read whole scores together at the piano.” (Rink, Samson p. 121) They spent much of their time together in her salon, performing together in duets or Chopin accompanying her singing. She even advised Chopin on his compositions and later he went onto helping her with her own compositions. Chopin’s death was devastating news for Viardot. He had requested that at his funeral she was to sing all the alto solos, and she did just that. “Some of Chopin’s happiest moments were spent making music with her at Nohant.” (Fitzlyon, p. 37)
Another example of friendship and publicity was that of Camille Saint-Saëns. After they had met in May 1849, their friendship developed and he began accompanying her on the soirée evenings she held on a Thursday in her salon theatre. Later he had written his only successful opera, Samson et Delilah with Pauline in mind to play Delilah, ‘tailoring it to her individual voice and dramatic abilities’ (Davies, p. 435) Unfortunately by the time Camille had finally produced the score Viardot had retired and refused to perform this role.
Viardot’s life not only included performances and friendships. She was an extremely talented composer and although she never liked to think this, her pieces are now considered part of the vocal technique and should not be ignored. She composed in a variety of languages including French, German and Italian. Her pieces for mezzo and soprano require the talent of a skilled singer to perform them, and are often used as technical exercises based on their challenging ornamentation and phrasing.
Pauline Viardot has proved to be more than just a talented and inspiring Mezzo – Soprano. She has recently been rediscovered not only as a vocalist but as an influential female figure of the 19th and 20th centuries for her talent, her ability to compose, although this was not the forefront of her career many would say that her compositions are of great importance. One cannot deny that she was a muse to many composers and inspired them not only on a musical level, but emotionally and spiritually. She was a truly extraordinary woman and deserves to be recognized as one by future musicians. ‘Mme. Viardot is a great musician . . . she unites an irrepressibly impetuous and imperious verve with a profound sensibility and with an almost deplorable faculty for expressing immense grief . . . she is one of the greatest artists in the history of music’ (Davies, p.366)
Bibliography
Cairns, D (2003). Servitude and Greatness, 1832 – 1869 (volume 2). University California Press
Craig, M. (1927). Letters from Wagner to Madame Pauline Viardot. The Musical Times. 68 (1008), 137-139. (JStor)
Davies, K (2003)The Life and Work of Pauline Viardot Garcia: The Years of Fame 1836 – 1863. Cambridge Scholars Press
Dondalska, K (2011) Chopin-Viardot: Aime Moi (Arreglo vocal Mazurca Op 33 Nº 2), Katarzyna Dondalska (Soprano), Holger Berndsen. Video clip. http://www.youtube.com/watch?v=aWAZYiKQEC0 [Accessed 17.08.14]
Fitzlyon, A (1964). The Price of Genius: A Life of Pauline Viardot. New York, Appleton Century
Jesensky, K (2011). The Life of Pauline Viardot: Her Influence on the Music and Musicians of Nineteenth Century Europe. Journal of Singing. vol. 67 (3), 267 +
Kemp, I (1988). Hector Berlioz: Les Troyens: CUP Archive
Tunley, D (2002). Salons, Singers and songs: A Background to Romantic French Song. Ashgate: Burlington VT.