Louise Farrenc: 1804-1875 Ryan Jacobsen Research Lecture March 23, 2020
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Louise Farrenc: 1804-1875
Ryan Jacobsen Research Lecture March 23, 2020
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Louise Farrenc: 1804-1875
Ryan Jacobsen●
Violin Performance
Charles Wetherbee
Carlo Caballero
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Introduction and Biographical Context
Louise Farrenc (1804-1875) was an influential nineteenth-century French pianist,
composer, and pedagogue. Though famous in her day, her compositional and scholarly
contributions to the music world have since fallen into obscurity. With the increased interest in
the subject of women composers in the last fifty years, musicologists have begun to rediscover,
publish, and perform the works of women composers. This holds true for Farrenc; however, the
slight notoriety she claims in the twenty-first century pales in comparison to her nineteenth-
century popularity. The existing published research on Farrenc’s life and music remains
woefully insufficient. After an overview of Farrenc’s life and accomplishments, it is necessary
to put her chamber music, specifically her third piano quintet, into historical context. This will
include a discussion of the development of the piano quintet and the state of chamber music in
France during the first part of the nineteenth century, as well as a note about how perceptions of
early nineteenth-century French chamber music have suffered in the last century. Next, it is
important to discuss her quintet, incorporating both a brief historical background and an analysis
of the first movement. Finally, an evaluation of the current state of research on Farrenc will help
indicate which future projects might help bring her music out of obscurity and into the public
sphere.
Born in 1804 into a family with a rich artistic tradition, Louise Farrenc was immediately
thrust into the cultural and artistic center of nineteenth-century Paris. Residing in the Sorbonne
annex specifically for artists, Farrenc’s childhood was spent living in an artistic community
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amongst sculptors, painters, engravers, and many other well-known artists.1 During her early
years, Farrenc considered the possibility of becoming a visual artist.
However, after developing a close relationship with her music teacher and godmother,
Anne-Elisabeth Cecile Soria, Farrenc’s innate musical talents flourished. Soria noted that her
pupil’s musical abilities were not confined to piano, as she also demonstrated an acumen for
solfege and composition. Instead of turning to vocal performance, a more typical route for
nineteenth-century female musicians, or limiting herself to the composition of vocal genres
(romances or operetta), Farrenc continued her study of piano and composition (Friedland 1974,
11). By age 15, Farrenc was taking counterpoint lessons with Antonin Reicha at the Paris
Conservatory (Friedland 1974, 10).
It was during these formative years that Louise met a close friend and future husband,
Aristide Farrenc. A flautist and composer himself, the two immediately became close
collaborators, performing many of their compositions together. They eventually married in
1821, and the union brought each of them numerous benefits. Friedland observes, “A stable and
mutually supportive relationship, the Farrenc union seems to have achieved a blend of
communality and independence rarely seen in the nineteenth century” (Friedland 1974, 12). One
of these strengths included Aristide’s publishing house. As Aristide’s compositional and
performance career lacked the popularity and prestige quickly surrounding the young Louise, he
turned to the profession of editor and publisher. He later helped Louise publish much of her
music, while simultaneously bringing many talented and highly-regarded composers in Paris
closer to the Farrencs. Particularly significant to Louise was the acquisition of publishing rights
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!1 Bea Friedland, Louise Farrenc, 1804-1875: Composer, Performer, Scholar (Ann Arbor,
MI: UMI Research Press, 1975), 9. All further references to Friedland’s book will be parenthetical.
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for the music of Johann Hummel. This lucrative business relationship between Hummel and the
Farrencs ultimately became a longstanding friendship and mentorship. “Expertly trained as she
was, she still sought Hummel’s comments on her keyboard technique; she also studied his
chamber music with special interest, using aspects of his style as models for her own subsequent
works in that medium” (Friedland 1974, 13).
Farrenc’s immense popularity was an anomaly amongst her female contemporaries.
Katharine Ellis speaks to the misogynistic disparity in her 1997 article about nineteenth-century
female pianists. “Until the mid-1840s, the most conspicuous kind of pianist in Paris was the
male composer-virtuoso, whose reputation was built largely around performances of his own
virtuoso pieces.”2 In many instances, women were barred from entry into the more prestigious
performance societies and competitions. However, Farrenc was able to gain prestige and
popularity within her particular niche. Friedland writes, “What place was there for women in
such a system? At first sight, the answer appears stark: few women were able to conform to the
virtuoso-composer paradigm because few composed… Farrenc, who worked almost exclusively
in large-scale forms, was unique in carving out a reputation as a fine, if conservative, symphonist
and chamber music composer” (Friedland 1974, 357-358)
While most of her early works (both published and unpublished) were written exclusively
for piano, Farrenc began experimenting with these larger and less typical mediums of
composition in the 1830s and 40s. In 1834, she composed her first orchestral works, both
overtures. Although neither was published, both were performed within the decade. Despite this
moderate success, Farrenc was still known primarily for her abilities composing for and
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 2 Katharine Ellis, “Female Pianists and Their Male Critics in Nineteenth-Century Paris” Journal of the American Musicological Society vol. 50, issue 2 (1997): 356
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performing on piano. She was thoroughly praised both within and outside of France, garnering
positive reviews in publications such as Robert Schumann’s Neue Zeitschrift fur Musik
(Friedland 1974, 19). With her popularity growing and her performances drawing larger and
more prominent audiences, Farrenc saw a great number of her works published. A particularly
successful series of concerts brought Farrenc into contact with the French royal family, after
which she was appointed to teach music to the household of the Duke of Orleans for several
years. This was shortly followed by a professorship at the Paris Conservatory (Friedland 1974,
29). Unfortunately, this position came with a markedly smaller salary when compared with her
male counterparts. Her years at the conservatory were filled with private teaching, composition
(she finished several trios and her third symphony during this time), and concertizing, and only
came to an unexpected halt after the illness and death of her daughter, Victorine (Friedland 1974,
40)
Despite the grief and sadness within the Farrenc household, Louise’s achievements and
accolades continued in the 1850s and 60s. In 1861, Farrenc became the second composer
awarded the prestigious Prix Chartier (Friedland 1974, 53). This was one of several annual
prizes awarded by the Beaux-Arts Academy of the Institut de France (another being the highly
coveted Prix de Rome), and was funded through chamber music enthusiast Charles-Jean
Chartier’s private endowment. Notable winners of the Chartier prize have included Edouard
Lalo, César Franck, and Gabriel Faure. The purpose of the award was to acknowledge “long and
consistent excellence in a particular art” (Friedland 1974, 52). While the composers’ section of
the Academie recommended that the award be divided amongst the three finalists, (Louise
Farrenc, Adolphe Blanc, and Eugene Sauzay), the vote of the entire academy awarded the full
sum (700 francs) to Farrenc (Friedland 1974, 53). Awarding the prestigious Prix Chartier to a
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woman was exceptional in the nineteenth century, and indicative of both her longstanding
excellence in composition and her popularity amongst her male peers. From the formation of the
five academies of the Institut in 1832, women had been categorically denied entry. It is only in
the twentieth century that women have gradually gained admittance (Friedland 1974, 53-54). For
such an exclusionary society to vote to award a prize to a woman over her two male competitors
was remarkable and unprecedented. Farrenc would go on to win the Prix Chartier once more in
1869 (Friedland 1974, 55).
Farrenc composed very little after the death of her daughter, Victorine, in 1859. “It is
even likely that her last five numbered works after the op. 46 cello sonata (composed 1858,
published 1861) were earlier pieces retrieved for publication” (Friedland 1974, 57). After a
period of mourning, her career turned away from composition and towards the completion of Le
Trésor des pianistes. A joint project with her husband, Aristide, this multi-volume anthology
compiled centuries of notable keyboard literature. Aristide had since developed a fine reputation
as a music publisher and had a “scrupulous respect for original materials and a questioning
approach to secondary sources rarely noted in nineteenth-century amateur, not to mention
professional, scholarship” (Friedland 1974, 57). Louise contributed by offering editorial
comments and providing performance practice suggestions. While Aristide died shortly before
the anthology was completed, Louise was able to complete the multi-volume work in the
following years. Aristide’s meticulous archival work combined with Louise’s editorial
contributions made the anthology an exemplary work in its time. “Le Trésor des pianistes
remained one of the few reliable sources in its field through the early decades of the twentieth
century” (Friedland 1974, 68). Musicologist Carolyn Raney weighs the importance of this great
achievement. “In addition her work alone on the monumental anthology of piano literature, Le
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Trésor des pianistes, would guarantee her a place in music history along that with that of her
husband Aristide Farrenc, music publisher par excellence.”3
At age 71, Louise Farrenc died in Paris in September of 1875. Her impact and influence
on nineteenth-century musical society was widespread and diverse. As a teacher at the Paris
Conservatory for three decades, she taught many prize-winning pianists such as Louise Salomon,
Marie Colin, and Marie Mongin (Friedland 1974, 77). While she did not teach composition at
the conservatory, her nephew, Ernest Reyer, spent several years studying composition with
her. Reyer, known primarily for his operatic compositions, enjoyed a great level of popularity in
the second half of the nineteenth century despite never enrolling in conservatory. He
consistently cited his years of study with Farrenc as the cause of his success (Friedland 1974, 77-
78). As an editor, she helped to compile one of the most comprehensive and well-researched
piano anthologies of the century. And as a composer, she produced a wealth of music well
beyond the realm of a traditional female composer in the nineteenth century, including numerous
piano, chamber, and orchestral works. While her popularity and reputation declined sharply after
her death, her place in nineteenth-century French music history is undisputed.
Brief History of the Piano Quintet
It is important to understand both the history of the piano quintet and the rich tradition of
chamber music in nineteenth-century France before examining Farrenc’s quintet itself. Unlike
the development of the string quartet, which was steady and continuous throughout the second
half of the eighteenth century and beyond, the development of chamber music with the inclusion
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!3 Carolyn Raney, “Review: Louise Farrenc,” College Music Symposium vol. 21, issue 2
(1981): 154.
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of piano was relatively irregular.4 While there are accompanied keyboard sonatas (harpsichord
with accompanimental violin) as early as the 1730s, it was not until the compositions for
keyboard quartet and quintet as early as the 1760s where the string instruments play anything
more than an accompanimental role.5 Still a relatively unpopular genre, it wasn’t until Mozart’s
two piano quartets in 1785 that the genre gained some lasting significance.6 These two works
helped to establish the genre’s traditional instrumentation (violin, viola, cello, and piano),
expanding the role of the string instruments through a more equal distribution of melodic
material, and varied the textural possibilities.7
While there were few piano quartets composed in the years after Mozart, three full works
by Mendelssohn, two immature works by a 15 year-old Beethoven, and two movements of a
piano quartet by Hummel being the notable exceptions, the first half of the nineteenth century
saw a blossoming of popularity of the piano quintet.8 Quintets by Boccherini, Spohr, Hummel,
Cramer, and Ries established the genre throughout Europe.9 Several of these works (quintets by
Spohr and Hummel) were arrangements of previous chamber works for piano and winds.10 And
it was Hummel’s Piano Quintet, Op. 74 that was likely the model for Schubert’s “Trout” Quintet
(1819), which is now considered to be the most important piano quintet of the early Romantic
period.11 Each of these quintets utilized an instrumentation of piano, violin, viola, cello, and
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!4 Basil Smallman, The Piano Quartet and Quintet: Style, Structure, and Scoring (Oxford,
NY: Clarendon Press, 1994), 1. 5 Ibid., 2-6. 6 John Herschel Baron, Intimate Music: A History of the Idea of Chamber Music
(Stuyvesant, NY: Pendragon, 1998), 167. 7 Ibid., 171. 8 Ibid., 262. 9 Ibid., 262-263. 10 Ibid., 263. 11 Ibid., 263.
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bass. Farrenc wrote two piano quintets (Op. 30 and 31) with this instrumentation during the
1840s. It wasn’t until Robert Schumann’s piano quintet (1842) that the instrumentation of piano,
two violins, viola, and cello became popular.
The State of French Chamber Music in the Early Nineteenth Century
George Onslow (1784-1853), another student of both Reicha and Hummel, was one of
the most celebrated composers of chamber music in the first half of the nineteenth century and
was at the center of musical activity in France. While he is known for his large volume of string
quartets and quintets (34 and 37, respectively), he did compose a sextet for piano and winds in
1825 and two piano quintets (both with instrumentations involving bass) in the 1840s.12 As
Onslow lived and composed in the decades immediately before Farrenc wrote the bulk of her
chamber music, understanding the style and function of his music helps elucidate the state of
chamber music in France during the first half of the nineteenth century. Furthermore, his
compositional style provides a musical context through which we can examine and compare
Farrenc’s chamber music.
A member of the upper-middle class, Onslow didn’t need to compose commissioned
works. Rather, he spent his time at his estate outside of Paris, composing for pleasure.13 He
regularly hosted evenings of chamber music at his estate, during which he and his friends would
play his own compositions alongside those of Handel, Mozart, and Boccherini. The
collaborative spirit of these evenings of communal music and shared ideas are evident in
Onslow’s compositions. In a discussion of Onslow’s quintets, Marie Sumner Lott writes
“Onslow’s works in this genre share melodic materials freely around the ensemble and
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!12 Marie Sumner Lott, The Social Worlds of Nineteenth-Century Chamber Music:
Composers, Consumers, Communities (Urbana, IL, IL: University of Illinois Press, 2015), 84. 13 Ibid., 80.
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emphasize euphony and brilliance in a style that aims to bring pleasure to musicians playing in
the home with or without an audience to hear them.”14
When compared to their Austro-German contemporaries, the early-Romantic French
composers of chamber music have since largely fallen into obscurity. While composers such as
George Onslow and Anton Reicha may have been incredibly popular during their time, their
names do not carry the same weight as those of Beethoven, Mendelssohn, Schubert, or
Schumann do today. Michael Ward discusses the cause of this decline in popularity. “Austro-
German writers in these decades advocated counterpoint and sophisticated part-writing as
musical manifestations of the German ideal of Bildung.”15 He goes on to suggest that these
writers “often deemed quartets that did not embody such lofty musical ideals as inferior.”16 He
explains how the Austro-German critiques of French chamber music were rooted in nationalistic
motivations and that the classical ‘canon’ comprised almost solely of Austro-German composers
influenced the criteria by which later chamber music was judged. Lott, who refrains from
making qualitative comparisons between the French and Austro-German chamber music,
identifies Onslow’s effort “to ensure that as many players as possible have the opportunity to
expose or repeat a structurally important theme. Rather than reduce the ensemble to one
homogeneous unit or a solo with accompanying voices, these works privilege a texture that
emphasizes the group’s makeup as a collection of individual voices interacting with one another
and retaining their unique personalities.”17 English musicologist Basil Smallman tends to focus
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!14 Ibid., 85.
15 Michael Ward, “Texture as structure: concerto elements in string quartets by Rodolphe Kreutzer, Pierre Rode and Anton Reicha” (unpublished manuscript, 2020), typescript.
16!Ibid.,!1!17!Marie Sumner Lott, The Social Worlds of Nineteenth-Century Chamber Music:
Composers, Consumers, Communities (Urbana, IL, IL: University of Illinois Press, 2015), 94. !
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primarily on Austro-German music in his book, The Piano Quartet and Quintet; however he
does speak to the efficacy of different compositional styles. “In the case of music of a different
nature—more homophonic, perhaps, or more theatrical—quite another manner of scoring may be
appropriate, one concerned more with drama and rhetoric than balanced discourse, and thus
involving more extended solo writing, more antiphonal interplay, and even a larger amount of
straightforward doubling. It is reasonable to assume, therefore, that… scoring cannot
meaningfully be judged in isolation, but only in relation to the wider musical style which it
serves.”18 These more recent outlooks on nineteenth-century chamber music writing tend to be
more inclusive than those of writers and critics from a century ago.
While French composers of chamber music may have deviated texturally from their
Austro-German contemporaries, it is important to note that there were still numerous similarities,
all grounded in the traditions established in the Classic period. For example, works by Onslow
or Reicha almost always retained the four-movement structure, incorporating both a slow
movement and a minuet and trio movement between more serious outer movements.19
Comparing French and Austro-German Chamber Music
While works by early-Romantic French composers tend to fit the standard Hepokoski and
Darcy models of sonata form, they differ from their Austro-German equivalents in several
important ways. Perhaps the most apparent difference is the tendency for French chamber music
to include shorter developments. Composers as early as Beethoven began composing works with
a development section lasting as long (or longer) than the exposition. As with length, Austro-
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!18 Basil Smallman, The Piano Quartet and Quintet: Style, Structure, and Scoring
(Oxford, NY: Clarendon Press, 1994), 142. 19 Marie Sumner Lott, The Social Worlds of Nineteenth-Century Chamber Music:
Composers, Consumers, Communities (Urbana, IL, IL: University of Illinois Press, 2015), 95.
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German development sections tend to be more harmonically complex. These more involved
developments became the crux, or emotional climax, of the movement, and are often at the
center of analysis. Austro-German composers that followed Beethoven, Johannes Brahms in
particular, paid special attention to the development of motives and themes. Arnold Schoenberg,
another Austrian, coined the term “developing variation” and cited it as one of the most crucial
principles of composition. In his essay, “Brahms the Progressive,” Schoenberg elaborates on
how Brahms, following in the footsteps of other Austro-Germans, constantly, almost
imperceptibly developed his motives and themes. Schoenberg, alongside many other writers,
ascribed quality to the notion of motivic development, while simultaneously discrediting
compositions lacking such “refinement.”
With such a particular set of criteria written by and tailored to the music of Austro-
German composers, it is no small wonder, then, that French compositions in the 1820s, 30s, and
40s have not been viewed favorably since. So that we may endeavor to seek a more inclusive
outlook on French chamber music, it is Ward’s belief that we must consider altering our models
for examining and analyzing chamber music to reflect the aims and originality of these
works.20 In addition to the Hepokoski and Darcy model, which still proves helpful in identifying
and classifying large-scale sections, it is necessary to examine the ways Farrenc uses texture to
vary her presentation of thematic material. To assist in this task, it will be helpful to use
terminology less often associated with sonata allegro analysis, such as homophonic,
homorhythmic, and contrapuntal, or tutti and solo.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!20!Michael Ward, “Texture as structure: concerto elements in string quartets by Rodolphe
Kreutzer, Pierre Rode and Anton Reicha” (unpublished manuscript, 2020), typescript.
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About the Quintet- History and Speculation
There is not much available information on the sextet. Composed between 1851 and
1852, its premiere and subsequent performances were successful. In 1856, the sextet received a
place of prominence in one of La France musicale’s subscription concerts (Friedland,
45). Despite the piece's initial reception, it wasn’t published in her lifetime. There is even less
information on the unpublished quintet. Since there aren’t any written records of the quintet’s
performance, it is yet unknown when Farrenc completed the arrangement. It is clear that after
the death of her daughter Victorine in 1859, Farrenc composed nothing aside from a few minor
piano works and focused instead on her anthology, Le Trésor des pianistes (Friedland 57). Is it
then reasonable to assume that she must have arranged the piano quintet between 1851 and
1859?
Again, there is no available information regarding the motive or occasion behind the
arrangement, other than speculation. Perhaps the difficulty in securing wind players for
performances caused her to rearrange the piece for string players (Friedland 153). It is possible
that the increase in popularity of the piano quintet genre in France and the promise of revenue
from potential publication was encouragement enough for Farrenc.
If the piano quintet’s manuscript is any indication, she arranged the piece quickly. The
manuscript is noticeably sloppy when compared to that of the sextet. There are mistakes
throughout, with glaring issues in legibility. She does not include the piano part in the
manuscript, instead leaving a simple instruction for the piano part to remain the same. These
difficulties are rendered insignificant, since the quintet is almost identical to the sextet; however,
the haste with which Farrenc seems to have arranged the piece could be an indication of her
intentions. Considering the sextet was eagerly received over the course of multiple performances
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in Paris, it is possible she rearranged it quickly for an additional performance. Conversely, the
poor quality of the score could suggest that she had no intentions for the arrangement, simply
wanting to have it in case the string version was later requested.
Analysis of the Piano Quintet, Mvt. 1
The motivic elements of the first movement are few and concise, and while they aren’t
given the Beethovenian treatment of continuous development and transformation, they are
presented in a variety of ways throughout the movement. The first motive, identified as motive
a, consists of a dotted eighth note figure (see figure 1). This motive begins the piece and tends to
emerge during climactic moments in the movement, though augmentations of this motive
(featuring a dotted quarter note followed by an eighth note) appear throughout the first theme.
The second motive, x, is the individual gesture that, when sequenced, comprises the
primary theme (see figure 2). Consisting of a simple passage of eighth notes, usually slurred, the
motive features a scalar descent, a brief upward turn involving a minor second, a descending
arpeggio, and two quarter notes. Farrenc freely manipulates this motive, either through inversion
or by combining it with motive a. Motive x, far lengthier and more melodically driven than
motive a, often spans the range of an octave and a half. Since the first theme often passes these
gestures between instruments, numerous successions of motive x create a wave-like effect
wherein the range of the melody constantly oscillates between the upper and lower register of
each voice.
The third and most seldom-used motive, motive b, is more articulative than it is rhythmic
or melodic, consisting of a series of four eighth notes and four quarter notes, with staccato
markings over each (see figure 3). Seemingly innocuous, this motive stands out from the rest of
the piece since the bulk of the first movement uses connected, slurred figures.
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The fourth and final motive of the first movement, motive y, is melodically driven and is
a subset of the secondary theme group much as motive x operates within the primary theme
group (see figure 4). Consisting of a broken arpeggio (and usually descending), Farrenc uses
diminutions to sequence this motive frequently in the secondary theme group. I have chosen the
letters a, b, x, and y, in order to denote both location and function. Motives a and b are shorter,
serve a structural purpose, and are found throughout the piece. Conversely, motives x and y are
melodic and more specifically associated with the primary and secondary theme groups,
respectively. Understanding the functions of each motive is particularly important when
studying three excerpts taken from the introduction, the closing group, and the development
section.
The first 10 measures of Farrenc’s piano quintet are indicative of the ways she uses
textural variation to facilitate the development of ideas and the building or release of
energy. The movement begins by firmly establishing C minor through the use of the motive a.
The texture of the quartet in the opening two measures is homorhythmic, with the piano further
establishing the key through an ascending arpeggio. In measures 3 and 4, the piano joins the
quartet with motive a. The quartet’s homorhythm, assisted by the figuration in the piano, brings
about a focused energy that lacks any contrapuntal distraction. The rhythmic stability here also
prevents the accelerated harmonic rhythm in measure 3 from obscuring the listener’s sense of
harmonic trajectory. The texture of this “tutti” introductory statement, though brief, serves as a
norm from which Farrenc deviates throughout the rest of the movement.
The texture begins to break down slightly in measure 5; the first and second violins pass
around an augmented version of the motive a, the lower two voices complete the chord, and the
piano returns to the ascending arpeggios. With the melodic lines played by single voices
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(starting with the first violin in measure 5 and passing to the second violin in measure 6), the
driving homorhythmic energy of the preceding measures dissipates somewhat. Measure 7
reclaims energy as it reverts back to the homorhythmic motive a, and measure 8 releases energy
as the lower three voices drop and leave the first violin to take over the arpeggios, now
broken. In measures 9 and 10, the piano takes the arpeggiation from the first violin while the
quartet sounds accompanimental homorhythmic chords. While there is a virtuosic energy in the
rapid figuration, the textural sparsity causes a dissipation of energy that persists into the
following section.
Only in measure 11 does the texture become somewhat regular. The remainder of section
P features the voices in the quartet passing the melodic line from instrument to instrument while
the piano plays sixteenth notes underneath. The texture thickens slightly in measure 15, as
multiple voices (no more than two) accompany the melodic line. However, the melodic line is
far more active than the accompaniment, so the denser texture does not obscure the melody. The
texture in this opening section is diverse. While her motivic transformation here is limited, the
way Farrenc alternates sections of tutti homorhythm with more conversational moments of
melodic exchange constantly shifts the focus of the music and keeps the listener engaged.
Farrenc makes a number of textural decisions that contribute to the mounting energy that
culminates at the end of the closing group. Starting in measure 87, the four voices of the quartet
return to a homorhythmic texture with a harmonic rhythm of two events per bar, made evident by
the chords in the pianist’s left hand. This contrasts with the constant sixteenth note arpeggiated
passage work in the pianist’s right hand. The harmonic rhythm increases from two to four events
per bar in measure 89. The arpeggios in the right hand, rather than opposing the quartet, now
emphasize the homorhythmic beats in the quartet. This serves to increase the energy as the end
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of the exposition approaches. The next four bars feature a stark textural change during which the
piano and quartet alternate between solo measures in the piano and tutti measures in the quartet.
The contrast between the forte dynamic in measures 89 and 90 and the piano dynamic in measure
91 contribute to the abrupt change.
The last six bars of the exposition feature even more competing elements. The upper
three voices drop out, leaving the piano and cello in contrary motion. This line passes to the two
violins in the next measure, in descending triplets. In measure 96, we see chords on beats one
and three in two violins, an exchange of triplets between viola and cello, and a continuation of
the descending triplets in the piano. Again, Farrenc incorporates contrary motion between the
viola and piano lines.
The dramatic textural variety comes to a climax in the final three measures of this
excerpt. The two violins, in homorhythm, keep the melodic line with entrances on beat four as
the viola and cello enter decisively on the third beat of each measure. The piano moves from its
previous octave triplets to sixteenth notes, with the arpeggios in the right hand moving both
toward and away from the cello entrances on beats one and three. This dense textural activity
drives the piece forward, creating an almost aurally overwhelming effect. This is dispelled in
measure 100 as the texture becomes homorhythmic and the exposition concludes.
The quintet’s development section is 83 measures long, constituting just under a third of
the movement’s length. Farrenc’s longer development coincides more with the compositional
trends in music by Austro-Germanic composers such as Beethoven, rather than the shorter
development sections in the music of Reicha or Onslow (where developments often constitute
less than one quarter of the entire movement). In tonal scheme and textural variety however,
Farrenc’s development section aligns far more with the stylistic traits of her French predecessors
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and contemporaries. Generally speaking, the development section serves as the emotional and
intellectual climax of the music of German and Austrian composers. This section often includes
the most harmonic instability and motivic development. This does not seem to be a trend in
French music, Farrenc’s quintet in particular. While the focus of French music seems to be
different (emphasizing textural variety over motivic development), one might expect the
development to be the section during which the textural variety culminates. This is not the case
however; the texture of the development section is far more static, instead featuring extended
conversational sections where the melodies and motives are passed from instrument to
instrument.
Farrenc modulates frequently and readily throughout the development section,
particularly in the first half. Until measure 149, she tends to establish new keys through V-I (or
V-i) motion, usually resting on the dominant of the new key for a measure before
resolving. Each new key lasts for anywhere from four to eight measures before she moves to the
next. If it weren’t for such clearly established V-I (or V-i) harmonic motion, it would be almost
difficult to track the key through each modulation. Despite the constant rotation of keys, the
regular modulatory junctures in the first 49 measures of the development seem to provide an
organizational template for the tonal trajectory of the section. In measure 133, Farrenc
modulates yet again; however, this time she changes the key signature. While this seems
unusual and certainly wasn’t common practice across Europe until later in the nineteenth
century, delineating a new key with a changed key signature is something Farrenc did regularly.
“This penchant for wide-ranging harmonic movement and for reinforcing a temporary tonic-area
with its own signature can be detected in all Louise Farrenc’s chamber-music productions;
indeed, her freedom in designing long- and short-range tonal relationships is a distinguishing
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trait of her compositional style generally” (Friedland, 122). Despite the new key signature (A
minor), Farrenc continues the highly modulatory harmonic motion. She quickly cycles through
A minor, A major, D minor, and F major, again taking no more than a few bars per key.
Only in measure 149 does Farrenc finally settle and remain in a key (A-flat major). She
sets this up by again holding the dominant (E-flat major) for a full four bars; her delayed
resolution in measure 149 consequently brings about a sense of finality that the preceding 48
measures lacked. The remainder of the development is rooted in A-flat major until the
retransition in measure 166 establishes and expands on a G major chord that lasts until the
recapitulation begins in measure 183.
This section begins with a reprisal of the second theme in the piano with sparse
accompaniment in the strings. The piano’s melodic line eventually gets harmonized in thirds by
the first violin. This motive, now diminuted and sequenced, eventually alternates between first
violin and viola, a conversation between the two voices. Four measures later, the viola resumes
an accompanimental role and the piano continues to exchange measures of melody with the first
violin. The texture here is fairly static, with the only notable change being the rolled piano
chords between measure 157 and 160. The purpose here is not harmonic upheaval, nor is it any
complex motivic development, nor is it even textural variety. This section instead gives the
performers another chance to play the secondary theme, and more importantly, it allows them to
trade the melodic material back and forth even more than during the exposition. This attention to
the social aspect of playing chamber music is particularly indicative of the French style.
Evaluation of Research
The research published about Farrenc can be divided into several categories. First and
most important is the work of musicologist Bea Friedland, author of an article, dissertation, and
!
biography on Louise Farrenc. Not only is her biography the only published book about Farrenc
in english, it is also the basis for many of the other articles written about her. Divided into two
sections, the biography’s first seven chapters cover Farrenc’s life and accomplishments. The
second portion covers her musical style and is complete with examples taken from myriad
compositions paired with Friedland’s analysis. As Farrenc was virtually unknown in the
twentieth century before the biography, Friedland’s research is essential to further progress.
The second and broadest category includes the many articles that review or discuss
Farrenc and her music. Some articles focus specifically on Farrenc and her accomplishments,
while others include her in part of a larger section on women composers. As previously
mentioned, many of these articles include brief biographical information taken directly from
Friedland’s book. However, in the case of recording or performance reviews, they often provide
a description and analysis of one of Farrenc’s compositions.
The third category includes just one text: a thematic catalogue published in 2005 by
Christin Heitmann. Though relatively scant on biographical information, the catalogue compiles
entries for each of Farrenc’s compositions, including many of the composer’s arrangements and
editions of works by other composers. With each work, Heitmann presents incipits, historical
information pertaining to both the composition and premiere of the work, as well as reviews.
Particularly helpful are Heitmann’s notes of the incorrectly attributed works that do not belong to
Farrenc. As with Friedland’s research, most of the source material comes directly from Paris’s
Bibliotheque Nationale.
The fourth category of research includes the many published and unpublished
compositions by Farrenc. A thorough understanding of Farrenc’s music is critical when
examining the woman herself. Most of her music has been published, whether through her
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husband’s publishing house or through various publishing companies after her death. Although
critical editions of her works are rare, it is possible to find editions of almost all her major
compositions (including symphonic, chamber, solo piano, and pedagogic music). Equally
important is the piano anthology Le Trésor des pianistes, completed in tandem by Louise and
Aristide. This work compiles many of the important keyboard works spanning several centuries
before Farrenc’s time. Though the anthology doesn’t include any of Farrenc’s own compositions,
each page is covered with her comments that range from historically relevant stylistic
clarifications to technical suggestions for the performer. In his review of the anthology, Kenneth
Cooper praises it beyond any other anthology of its age. “Probably the largest and most
important keyboard collection of its era, the glory of it was its scope, its conscientious selection
of works, and, surprisingly to us today, its musicological and historical integrity.”21 Due to the
efforts of Farrenc scholar Bea Friedland, a more recent and updated 1980 edition is available to
the public.22
Perhaps the most publicly accessible category of research includes a week-long series of
BBC radio lectures featuring the life and music of Louise Farrenc.23 Since Donald Macleod
borrows extensively from Friedland’s research during the broadcast, the lectures ultimately
reflect and resemble the biography. However, due to the inherent advantages of the radio
medium, Macleod is able to advance Friedland’s research one step further. Rather than
incorporating a discussion of her music in a separate section, Macleod includes musical
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!21 Kenneth Cooper, “Le Tresor des Pianistes by Artistide Farrenc, Louise Farrenc,” The
Musical Quarterly vol. 66, issue 1 (1980): 141. 22 Ibid., 141. 23 Composer of the Week (BBC, November 6, 2015).
https://www.bbc.co.uk/programmes/b06np1wg.
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examples throughout each episode. The ubiquity of audio clips of Farrenc’s compositions
throughout each different episode helps the listener understand and reconcile the biographical
information as it is presented. This particular source by itself is insufficient for an academic
understanding of Louise Farrenc; however, the convenient pacing of the show combined with the
inclusion of actual music lends itself to a casual audience. The radio broadcast’s accessibility is
particularly significant since both Friedland and Macleod claim to desire a raised awareness of
Farrenc and her music outside the elite, yet small academic community.
The final category of research about Louise Farrenc includes a book, an expose, several
catalogues, and numerous articles on Farrenc, all of which are in French and most of which are
only available in Paris. While these resources are diverse and offer additional perspectives on
Farrenc and her music, they are of limited value to anyone without a fluency in French.
Publishing translations of these resources online will be helpful in increasing public access.
Future Research
The lack of solid research on Louise Farrenc is obvious to anyone looking beyond
Farrenc’s biography. While Friedland’s research is extensive and her musical analysis is valid,
one must be careful not to take the thoughts and opinions of a single academic as indisputable
fact. This seems to be an issue in many of the articles published since the biography. It is
certainly the case that with many of history’s renowned composers, historians will dispute or
contest each other’s work. This lengthy process of peer review often takes years of research and
discussion amongst numerous scholars, but the result is a holistic understanding of the composer,
freed from the biases often found in the writings of single authors.
Though almost all of Farrenc’s compositions have been published, there is a surprising
lack of critical editions available for even her most prominent works. As a teacher and
!
performer, Farrenc was very specific in her notational style. However, many of the existing
editions created in the last century contain significant errors, such as misplaced articulations or
incorrect notes. With a greatly limited market for her music, there is little pressure on publishers
to correct these errors with updated editions.
Recordings of many of Farrenc’s more popular compositions are publicly available for
purchase. However, these are greatly limited; there are several recordings of her three
symphonies and two overtures and a small number of CDs featuring her chamber music. Her
piano music remains largely unrecorded, as do most of her vocal works. Furthermore, the few
recordings that do exist often feature amateur ensembles lacking professional recording
equipment, resulting in recordings of inferior quality. If more professional musicians
collaborating with prominent recording labels begin working with Farrenc’s music, her creations
will rapidly gain the popularity necessary to reenter the public sphere.
In addition to an increase of in-depth scholarly research and publication, there are several
less cumbersome means for escalating the forgotten composer’s public exposure. A
comprehensive website complete with sound recordings and biographical information will
increase the musical community’s interest in her music. The inclusion of public domain scores
on this website will ensure that her music receives more performances. Furthermore, such a
website could include video performances of her music. YouTube or other popular video
streaming websites linking phrases such as “nineteenth-century music,” “Romantic music,”
“French composer,” or “woman composer” directly to videos of her music will help people
previously unfamiliar with her work discover Louise Farrenc. Additional radio specials, such as
the week-long BBC program, will also inform the public about Farrenc and her music.
Rearranging Farrenc’s scores for various combinations of musicians will create additional
!
possibilities for the performances of her music. Finally, incorporating a wider array of her music
at the college level (both in music history textbooks and in performance regimens) will ensure
that the next generation of musical academics and performers give a higher value to Farrenc and
her music. A comprehensive course of women composers with a specific unit dedicated to
Louise Farrenc will go far to provide an education for music students on the life of this
significant but overlooked artist.
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Appendix
Figure 1. Motive x
Figure 2. Motive a
Figure 3. Motive y
Figure 4. Motive b
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