Opera Arias by Female Composers in 19th Century France - Volume 1
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- Instrumentation: Piano, Violin
- ISMN:
Description
The 19th century was marked by an unprecedented surge in female composition. Musical education for women from the expanding bourgeoisie developed throughout Europe. This pool of musicians was added to the two other social groups which had enabled some women to become composers in previous periods: families of musicians and the aristocracy. The conservatories established during the century were co-educational, admitting young women initially to piano classes, then to those for other instruments and composition. Many more female composers than before thus succeeded in establishing themselves in musical life.
However, the genre of opera, like the symphony, remained very difficult for them to access. It is estimated that only about 1% of all operas, from the beginning of the genre around 1600 until the 1920s, was composed by women. Having operas performed required gaining entry to the institutions capable of staging them. Only Francesca Caccini, the first female opera composer, found herself in the position of court composer, at the Medici court in Florence, and was able to compose and have performed more than fifteen works. Apart from aristocrats writing for their court theatre, the other female opera composers who succeeded her had only sporadic access to the stage.
Nineteenth-century France, however, enjoys a unique position, as the three Major Parisian opera houses admitted several female composers: the Opéra welcomed Louise Bertin and Augusta Holmès; the Opéra-Comique, Mademoiselle Le Sénéchal de Kercado, Julie Candeille, Sophie Gail, Louise Bertin, Loïsa Puget and Clémence de Grandval; and the Théâtre-Italien, Louise Bertin and Clémence de Grandval. Five of these composers are featured in this anthology.
Also in Paris, the Théâtre de la Renaissance, and in the provinces the Grand-Théâtre de Lille and the Grand-Théâtre de Bordeaux, respectively welcomed Marguerite Olagnier, Juliette Folville and Clémence de Grandval for premieres from which we give excerpts. We added Pauline Viardot for a work created in a Parisian society theatre.
Finally, we have included works akin to the genre of opera: lyrical scenes by Louise Farrenc and Pauline Viardot, a romance by Laure Cinti-Damoreau and two arias from a dramatic symphony by Cécile Chaminade.
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Digital Download
Digital, PDF version of the score.
Opera Arias by Female Composers in 19th Century France - Volume 1
