French chamber music? In the first half of the 19th century, that was practically an oxymoron. French audiences, especially in Paris, were interested in one thing, musically speaking, and that was music for the stage – namely, opera and ballet. In fact, opera even had to have ballet in it (it was called Grand Opera after all). Not only that, it had to be in the correct act (the second). Many Parisians who were more attracted to ballet would arrive at the Opera late, just in time for the second act ballet. Misunderstanding this habit caused quite a kerfuffle when the German composer, Richard Wagner, was asked to present his Tannhäuser there. Wagner understood that he would have to add a ballet scene for his Paris audience (he knew enough to know that this was de rigueur). However, he mistakenly put it in the first act. Moreover, it was a Bacchanale, and it followed directly after the overture. The audience that was there on time was scandalized by the bawdy content, and those that arrived customarily late were offended that they had missed it.
While the opera audiences of Paris were debating such scandalous things at their Opera, small groups of musicians were surreptitiously starting to meet for evenings of chamber music. It was so clandestine that you almost had to have a password to be admitted to these small, intimate venues where the dark art of chamber music was being incanted. Two of the early instigators in this subversive musical impulse are featured on our next program, “The French Chamber Music Mystique”, which opens this Thursday (June 25th) and can be heard four different times through July 1.
By the late 19th century, the French had finally developed an interest in chamber music. But in the mid part of the century, it was only showing itself ever so slowly and furtively. St. Saëns was among those leading the way but so was Louise Farrenc, a remarkable figure in French 19th century music. Madame Farrenc and Messeur St. Saëns were joined by other figures like Adolphe Blanc, George Onslow, and eventually, César Franck. They not only paved the way but actually made chamber music desirable and fashionable for the next generation which included Fauré, Chausson, Lalo, Debussy, and Ravel. It was only toward the end of the 19th century that France got on the chamber music bandwagon that Germany had been enjoying for more than a century.
It is not surprising that St. Saëns would be a leader in this movement. He was highly successful, both as a composer and pianist, but was also a brilliant mathematician and gifted in languages. But Louise Farrenc? A woman? Well, Farrenc (née Dumont) was not just any woman. She came from a highly artistic family of painters, sculptors, and writers who saw women differently than was the norm at the time. Several of her family were employed by French Royalty, and her home was a part of the Sorbonne University complex. And, she also married a man of the same artistic inclination, Aristide Farrenc. She excelled at piano, but also started studying composition with Anton Reicha at the Paris Conservatory, although this had to be done privately because women could not attend classes at this time. It was at the Conservatory that she met Aristide, a very talented flute player, who was ten years older than she. He eventually started a music publishing firm, Éditions Farrenc, which was highly successful for 40 years. Having a publisher husband pretty much insured that most all of her music would find its way into print – a not inconsequential advantage that was particularly rare for a woman.
Louise became well connected and highly esteemed in the musical world. Among her friends, who would premiere some of her works, was the great 19th century violin virtuoso, Joseph Joachim, for whom Brahms wrote his concerto. Soon, Louise was appointed to the Paris Conservatory and became the first female professor there. Being the first in an all-male environment couldn’t have been easy, but she successfully negotiated a highly respected tenure of 38 years. The Flute Trio on our program was obviously written for her husband when they were touring with a small ensemble. It is brilliant writing and one of her very best works. We recorded it on our very first recording on the Centaur Label in 1994 after first performing it in 1992. We have performed five of Farrenc’s works over the years in eight different seasons.
If Louise Farrenc had a smoother path (for a woman) artistically speaking, Mélanie Bonis was the opposite. Women have always experienced considerable resistance as musicians, especially as professionals. Being able to play an instrument or sing well was usually a desirable quality, especially in finding a mate especially among the upper class, but this only applied to amateur status. Most women experienced serious resistance if they tried to pursue music professionally. This is certainly the case with Mélanie Bonis, and her problems started right at home – with her parents. She showed enormous talent – so much so that the great composer and teacher, César Franck, took her on as a private student because he wasn’t allowed, at first anyway, to admit her to his class at the Paris Conservatory. Eventually she was admitted to the Conservatory and attended for a time, until her parents saw how serious this was getting and made her withdraw. They thought music was not a reliable source of income. They wanted her to become a seamstress. They were also quite alarmed by a relationship that was developing between Mélanie and a fellow student. Instead, they arranged a marriage for her to a wealthy older man.
If you think you see a tragedy unfolding, you are right. I don’t have the room to relate the entire story, but what I have told is only the beginning of a story that really should be made into a series on PBS. The story is detailed in our program book that you will receive at our concerts, but if you can’t wait, take a look at this link. It is utterly engrossing. Suffice it to say, the student she was attracted to at the Conservatory comes back into the picture. And, by the way, if you come across works by Bonis where her first name is “Mel” on the title page, that was her choice in order to keep her gender hidden for sales purposes. Despite the drama surrounding her music, it is a particularly lovely work, and, as with the Farrenc Trio, it provides a delicious vehicle for the gossamer sound of Heather Zinninger’s Flute.
Our French program ends with a great piano trio by Camille St. Saëns. Although he was highly successful with his operas and symphonic works, he also devoted himself to the field of chamber music and was a significant force in making this corner of music much more desirable to French audiences in the second half of the 19th century. St. Saëns was also a leader in the French revolt against the growing dominance of German music, especially that of Wagner. He is reported to have said, somewhat sarcastically and tongue in cheek, “Wagner [has] invented everything; no music at all existed before him and none could exist after.” This Second Trio of St. Saëns’ is the perfect French antidote. It is full of joie de vivre, variety, color, passion, and is one of the masterpieces of chamber music, and you won’t hear it played any better than in the hands of Jeannie Yu, Piano; David Perry, Violin; and Mara McLain, Cello. Performances are:
Thursday, June 25, 7:00 pm., Scattergood Residence, Sister Bay
Friday, June 26, 7:00 pm., Shepherd of the Bay Lutheran Church, Ellison Bay
Saturday, June 27, 7:00 pm., St. Luke’s Episcopal Church, Sister Bay
Wednesday, July 1, 7:00 pm., Bjorklunden, Baileys Harbor
You will note that one of these performances is at the Scattergood home in Sister Bay. This is a beautiful home for chamber music and affords a wonderful opportunity to experience chamber music in the most perfect atmosphere. This year, for the first time in many years, we are offering four concerts in unique and beautiful homes throughout the summer. We are also offering a special package of all four so please take note. This is music that helps put life in perspective. I look forward to seeing you there!
Jim Berkenstock
Artistic Director