[프랑스 여성 음악가]Louise Farrenc

Louise Farrenc

 

 

 Louise Farrenc (31 May 1804 – 15 September 1875) was a French composer,   virtuosa 

 

 pianist and teacher. Born Jeanne-Louise Dumont in Paris, she was the daughter of

 

Jacques-Edme Dumont, a successful sculptor, and sister to Auguste Dumont

 

Louise Farrenc(1804-1875),  프랑스 작곡가, 피아노거장 , 교사. 파리에서 Jeanne-Louise Dumont 이란 이름으로 태어남,  아버지 Jacques-Edme Dumont는 성공한 조각가이고 , 역시 유명한 조각가인 Auguste Dumont의 동생임.

 

 

[교향곡 1, 2,3번 외]

 

 

Music

At first, during the 1820s and 1830s, she composed exclusively for the piano. Several of these pieces drew high praise from critics, including Schumann. In the 1830s, she tried her hand at larger compositions for both chamber ensemble and orchestra. It was during the 1840s that much of her chamber music was written. While the great bulk of Farrenc’s compositions were for the piano alone, her chamber music is generally regarded as her best work. The claim can be made that Farrenc’s chamber music works are on a par with most of her well-known male contemporaries.

 

Throughout her life, chamber music remained of great interest. She wrote works for various combinations of winds and or strings and piano. These include two piano quintets Opp.30 & 31, a sextet for piano and winds Op.40, which later appeared in an arrangement for piano quintet, two piano trios Opp.33 & 34,

 

 The nonet for winds and strings Op.38

 

a trio for clarinet (or violin), cello and piano Op.44, a trio for flute (or violin), cello and piano Op.45, and several instrumental sonatas (a string quartet sometimes attributed to her is regarded by specialists as the work of another composer, not yet identified).

 

In addition to chamber music and works for solo piano, she wrote two overtures and

 three symphonies.

 

She had the great honour to hear her third symphony Op.36 performed at the Société des concerts du Conservatoire in 1849. The one area which is conspicuously missing from her output is opera, an important lacuna as opera was at the time the central musical form in France. Several sources, however, indicate that she was also ambitious in that field, but did not succeed in being given a libretto to set to music by the Théâtre de l'Opéra or the Théâtre de l'Opéra-Comique, for reasons still to be discovered.

 

Louise Farrenc enjoyed a considerable reputation during her own lifetime, as a composer, a performer and a teacher. She began piano studies at an early age with Cecile Soria,^[1] a former student of Muzio Clementi. When it became clear she had the ability to become a professional pianist she was given lessons by such masters as Ignaz Moscheles and Johann Nepomuk Hummel, and, given the talent she showed as a composer, her parents decided to let her, in 1819 at the age of fifteen, study composition with Anton Reicha, the composition teacher at the Conservatoire, although it is unclear if the young Louise Dumont followed his classes there, since at that time the composition class was open only to men. In 1821 she married Aristide Farrenc, a flute student ten years her senior, who performed at some of the concerts regularly given at the artists' colony of the Sorbonne, where Louise's family lived. Following her marriage, she interrupted her studies to concertize throughout France with her husband. He, however, soon grew tired of the concert life and, with her help, opened a publishing house in Paris, which, as Éditions Farrenc, became one of France’s leading music publishers for nearly 40 years.

 

 In Paris, Farrenc returned to her studies with Reicha, after which she reembarked on a concert career, briefly interrupted in 1826 when she gave birth to a daughter, Victorine, who also became a concert pianist but who died in 1859 aged thirty-three. In the 1830s Farrenc gained considerable fame as a performer and her reputation was such that in 1842 she was appointed to the permanent position of Professor of Piano at the Paris Conservatory, a position she held for thirty years and one which was among the most prestigious in Europe. Accounts of the time record that she was an excellent instructor with many of her students graduating with Premier Prix and becoming professional musicians.^[2] Despite this, Farrenc was paid less than her male counterparts for nearly a decade. only after the triumphant premiere of her nonet, at which the famous violinist Joseph Joachim took part, did she demand and receive equal pay. Beside her teaching and performing career, she also produced and edited an influential book, Le Trésor des Pianistes, about early music performance style,^[3] and was twice awarded the Prix Chartier of the Académie des Beaux-Arts, in 1861 and 1869.

 

 Farrenc died in Paris. For several decades after her death, her reputation as a performer survived and her name continued to appear in such books as Antoine François Marmontel’s Pianistes célèbres. Her nonet had achieved around 1850 some popularity, as did her two piano quintets and her trios. But, despite some new editions of her chamber music after her death, her works were largely forgotten until, in the late 20th century, an interest in women composers ^[3][4] led to the rediscovery - and thence to the performance and recording - of many her works.^[5][6] In December 2013, Farrenc was the subject of the long-running BBC Radio Three programme Composer of the Week.^[7]

 

[생애에 작곡가, 연주자, 그리고 교사로서 상당한 명성을 누렸다. 어린시절에는 Muzio Clementi의 제자였던 Senora Soria로부터 피아노를 배웠으며, 그녀가  피아니스트로서 탁월한 재능을 갖고 있음이 알려지자  Ignaz Moscheles 와 Johann Nepomuk Hummel 같은 대가에게 렛슨을 받을 수 있었다..

 

 한편으로 작곡가로서도 가능성을 크게 드러내기 시작했을 때, 그녀의 부모는 당시 음악원의 작곡과 교수로있던  Anton Reicha에게 배울 수 있도록 하였다..당시 작곡 클래스가 오직 남성들에게만 허용된 것이었으므로 Louise Farrenc 이 라이하의 작곡 클래스에서 수업을 받을 수 있었는지에 대하여는 분명치가 않다..

 

 

그녀는  풀룻 전공 학생이었던  자신보다 10년 연상의 Aristide Farrenc을 만났으며, Aristide Farrenc은 당시 자신의 가족들이 거주하고있던  Sorbonne의 예술가촌에서 정규적으로 열리고있던 콘서트의  연주에 참여하곤 하였다..1821년  Louise Farrenc은 그와 결혼하였으며, 이후 그녀의 음악 공부는 단속적으로 이어졌고 남편과 함께 프랑스 각지역을 대상으로  연주여행을 하곤 하였다.. Aristide Farrenc은 곧 이러한 연주여행에 지쳤으며, 파리에 출판사를 내기로 결심하였다.. 이는 Editions Farrenc으로 결과되었으며, 이후 약 40여년동안 프랑스의 주요한 음악 출판사 가운데 하나가 되었다..
 그녀는 중단했던 공부를  Reicha를 통해 다시 시작했다.. 공부를 온전하게 마친 후에 콘서트 연주자로서 경력을 다시 시작하였으며, 1830년대 동안 연주자로서의 상당한 명성을 얻을 수 있었다..1840년대 초반 그녀의 명성은 파리 음악원 피아노 교수에 영구 지명될 정도로 높아지게되었으며, 이 직위는 지명으로부터 30년간 유지되었다.  당시의  음악가에게 이런 직위는 전 유럽에 있어서 음악가로서 오를 수 있는 가장 저명한 것 가운데 하나였다..이러한 정황에도 불구하고 십여년동안 그녀가 연주자로서 받았던 급료는 상대편 남자 연주자에 훨씬 못미치는 것이었다..Joseph Joachim 이 바이올리니스트로서 참여한 그녀의 9중주의 초연이 압도적인 성공을 거둔 이후에야  그녀의 연주자로서의  급료는  Joseph Joachim 과 동등한 것이되었다고한다...교사로서 그리고 연주자로서 이력 이외에 그녀는 초기음악 연주 스타일에 대한 영향력있는 책을 출판하거나 저술하였다..그녀가 사망한 후 수 십년이 지났을 때 까지 연주자로서 그녀의 명성이 살아 남았으며, 그녀의 9중주는 두 곡의 피아노 오중주와 트리오와 더불어 1850년 대 까지 다소간의 인기를 누렸다..그러나 그녀의 몇몇 실내악을 수록한 새로운 에디션들은 그녀가 사망한 이후 곧 망각속에 잊혀져갔다.[2015. 1. 16. 1차 수집]

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