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|caption = Portrait of Cécile Chaminade |
|caption = Portrait of Cécile Chaminade |
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|birth_date = {{birth date|1857|8|8|df=y}} |
|birth_date = {{birth date|1857|8|8|df=y}} |
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|birth_place = |
|birth_place = Paris, France |
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|death_date = {{death date and age|1944|4|13|1857|08|08|df=y}} |
|death_date = {{death date and age|1944|4|13|1857|08|08|df=y}} |
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|death_place = [[Monte Carlo]] |
|death_place = [[Monte Carlo]] |
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==Biography== |
==Biography== |
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Born in [[Paris]], Chaminade was raised in a musical family. She received her first piano lessons from her mother.<ref name=Britannica/> Around age 10, Chaminade was assessed by [[Félix Le Couppey]] of the [[Conservatoire de Paris]], who recommended that she study music at the Conservatoire.<ref name="Citron 1988">{{cite book |last1=Citron |first1=Marcia |title=Cécile Chaminade: A Bio-Bibliography |date=1988 |publisher=Greenwood Press |location=Westport, Connecticut |page=4}}</ref> Her father forbade it because he believed it was improper for a girl of Chaminade's class.<ref name="Citron 1988"/> Her father did, however, allow Chaminade to study privately with teachers from the Conservatoire: piano with Le Couppey,<ref name="Citron 1988"/> violin with |
Born in [[Batignolles]]<ref>Paris, France, Births, Marriages, and Deaths, 1555-1929</ref> (a village then outside [[Paris]]), Chaminade was raised in a musical family. She received her first piano lessons from her mother.<ref name=Britannica/> Around age 10, Chaminade was assessed by [[Félix Le Couppey]] of the [[Conservatoire de Paris]], who recommended that she study music at the Conservatoire.<ref name="Citron 1988">{{cite book |last1=Citron |first1=Marcia |title=Cécile Chaminade: A Bio-Bibliography |date=1988 |publisher=Greenwood Press |location=Westport, Connecticut |page=4}}</ref> Her father forbade it because he believed it was improper for a girl of Chaminade's class.<ref name="Citron 1988"/> Her father did, however, allow Chaminade to study privately with teachers from the Conservatoire: piano with Le Couppey,<ref name="Citron 1988"/> violin with [[Martin Pierre Marsick]],<ref>{{cite news |date=11 March 1898 |title= News Notes |work= Teignmouth Post and Gazette |page=2}}</ref> and [[music composition]] with [[Marie Gabriel Augustin Savard]]<ref>{{cite news |date=1 January 1902 |title= Women Song Writers |work= The Tatler |page=42}}</ref> and [[Benjamin Godard]].<ref name=Britannica>{{cite encyclopedia|title=Cécile Chaminade|url=http://www.britannica.com/EBchecked/topic/105071/Cecile-Chaminade|encyclopedia=[[Encyclopædia Britannica]]|access-date=26 February 2014}}</ref><ref name=NAXOS>{{cite web|last=Summers|first=Jonathan|title=Cécile Chaminade|url=http://www.naxos.com/person/Cecile_Chaminade_25943/25943.htm|publisher=[[Naxos (company)|Naxos Records]]|access-date=15 July 2022}}</ref> |
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[[File:Cecile_Chaminade_as_sketched_by_Marguerite_Martyn_in_St._Louis,_November_1908.jpg|thumb|left|Chaminade as sketched in St. Louis by [[Marguerite Martyn]], November 1908]] |
[[File:Cecile_Chaminade_as_sketched_by_Marguerite_Martyn_in_St._Louis,_November_1908.jpg|thumb|left|Chaminade as sketched in St. Louis by [[Marguerite Martyn]], November 1908]] |
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Chaminade experimented in composition as a young child, composing pieces for her cats, dogs and dolls.<ref name="Chaminade 1911">{{cite journal |last1=Chaminade |first1=Cecile |title=Recollections of My Musical Childhood |journal=The Etude |date=1911 |volume=29 |issue=12 |pages=805–806}}</ref> In 1869, she performed some of her music for [[Georges Bizet]], who was impressed with her talents.<ref name="Chaminade 1911"/><ref name="Citron 1988"/>{{rp|4}} In 1878, Chaminade gave a salon performance under the auspices of her professor, Le Couppey, consisting entirely of her compositions. This performance marked the beginning of her emergence as a composer and became the archetype for the concerts she gave for the rest of her career in which she only performed her own works.<ref name="Citron 1988"/>{{rp|4 |
Chaminade experimented in composition as a young child, composing pieces for her cats, dogs and dolls.<ref name="Chaminade 1911">{{cite journal |last1=Chaminade |first1=Cecile |title=Recollections of My Musical Childhood |journal=The Etude |date=1911 |volume=29 |issue=12 |pages=805–806}}</ref> In 1869, she performed some of her music for [[Georges Bizet]], who was impressed with her talents.<ref name="Chaminade 1911"/><ref name="Citron 1988"/>{{rp|4}} In 1878, Chaminade gave a salon performance under the auspices of her professor, Le Couppey, consisting entirely of her compositions. This performance marked the beginning of her emergence as a composer and became the archetype for the concerts she gave for the rest of her career in which she only performed her own works.<ref name="Citron 1988"/>{{rp|4}} |
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During the 1870s and 1880s several of her works were programmed by the prestigious [[Société nationale de musique]]<ref>{{Cite book |last=Strasser |first=Michael |url=https://www.jstor.org/stable/j.ctv1mjqv95.16 |title=Camille Saint-Saëns and His World |publisher=Princeton University Press |year=2012 |editor-last=Pasler |editor-first=Jann |pages=109–117 |chapter=Providing Direction for French Music: Saint-Saëns and the Société Nationale|volume=32 |doi=10.2307/j.ctv1mjqv95.16 |jstor=j.ctv1mjqv95.16 |isbn=9780691155555 |s2cid=237823965 }}</ref>'''.''' In her early years, she gave recitals throughout France, Switzerland, Belgium and Holland.<ref>{{cite web |url=https://histoire-vesinet.org/chaminade-conde.htm |title=Cécile Chaminade |website=histoire-vesinet.org}}</ref> In 1892, she debuted in England, where her work was popular.<ref name=Britannica/> [[Isidor Philipp]], head of the piano department at the Conservatoire de Paris, championed her works.{{Citation needed|date=July 2022}} She repeatedly returned to England in the 1890s, premiering her compositions with such singers as [[Blanche Marchesi]] and [[Pol Plançon]].<ref>{{cite news |date=15 June 1895 |title= Musical Doings |work= The Queen |page=72}}</ref> She visited England again in 1907 and performed at the [[Aeolian Hall (London)|Aeolian Hall]] in London,<ref>{{cite news |date=3 June 1907 |title= Music and Musicians |work= Morning Post |page=5}}</ref> and in [[Bath, Somerset|Bath]].<ref>{{cite news |date=13 September 1907 |title= Madame Chaminade's Recital |work= Torquay Times, and South Devon Advertiser |page=5}}</ref> Queen Victoria was known to enjoy Chaminade's music<ref>{{cite news |date=16 July 1894 |title= Court Circular: Windsor Castle |work= London Evening Standard |page=3}}</ref> and in 1901 at her funeral, the Prélude for organ, Op.78, by Chaminade was played.<ref>{{cite news |last= Higgins |first=Charlotte |date=26 January 2002 |title= ''I am Music’s Nun''|work=The Guardian |page=56}}</ref> |
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Chaminade married a music publisher from Marseille, Louis-Mathieu Carbonel, in 1901.<ref name="Citron 1988"/>{{rp|13}} |
Chaminade married a music publisher from Marseille, Louis-Mathieu Carbonel, in 1901.<ref>{{cite news |date=4 September 1901 |title= Rank and Fashion |work= St James's Gazette |page=13}}</ref><ref name="Citron 1988"/>{{rp|13}} Given his advanced age, it was rumored to be a [[marriage of convenience|convenience]] and Chaminade prescribed strict marriage conditions: they were to live separately (he in Marseille and she near Paris) and their marriage was to remain platonic.<ref name="Citron 1988"/>{{rp|13–14}} Carbonel died in 1907 from a lung disease.<ref name="Citron 1988"/>{{rp|14}} Chaminade never remarried.<ref>{{cite book |last1=Glickman |first1=Sylvia |title=Women composers: music through the ages (Volume 6) |date=1996 |publisher=New York: G.K. Hall |isbn= 978-0783881928 |page=515}}</ref> |
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In 1908, she performed concerts in twelve cities in the United States.<ref name=WomenofNote /> Her compositions were tremendous favorites with the American public,{{ |
In 1908, she performed concerts in twelve cities in the United States.<ref name=WomenofNote /> Her compositions were tremendous favorites with the American public,<ref>{{cite news |last= Eichhorn |first= Mrs George C. |date=5 June 1939 |title= Music Notes |work= Greensboro Daily News, N. Carolina |page=9}}</ref> and such pieces as the ''Scarf Dance'' or the ''Ballet No. 1'' were to be found in the music libraries of many lovers of piano music of the time. She composed a [[Konzertstück]] for piano and orchestra, the [[ballet (music)|ballet music]] to ''[[Callirhoé]]'' and other orchestral works. Her songs, such as ''The Silver Ring'' and ''Ritournelle'', were also great favorites. [[Ambroise Thomas]] once said of Chaminade: "This is not a woman who composes, but a composer who is a woman."<ref name = "Etude 1910-10">{{Cite journal | url = http://etudemagazine.com/etude/mobi/1910/10/etude-gallery-of-musical-celebrities-1.html | title = Cécile Chaminade | journal = [[The Etude]] | location = Philadelphia |publisher = Theodore Presser | date = October 1910 | url-status = live | archive-url = https://web.archive.org/web/20131021042729/http://etudemagazine.com/etude/mobi/1910/10/etude-gallery-of-musical-celebrities-1.html | archive-date = 21 October 2013 | access-date = 15 July 2022}}</ref> |
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Chaminade was the recipient of numerous honours, both in France and abroad. In 1888 and 1892, she was honoured by the [[Académie Française]]. In 1897, she was honoured by Queen Victoria and given the [[Queen Victoria Diamond Jubilee Medal|Jubilee Medal]]. She received the Laurel Wreath from the Athens Conservatory and the [[Order of Charity|Order of the Chefakat]] by Sultan [[Abdul Hamid II]] of the Ottoman Empire.<ref>{{cite book |last1=Glickman |first1=Sylvia |title=Women composers: music through the ages (Volume 6) |date=1996 |publisher=New York: G.K. Hall |isbn= 978-0783881928 |page=515}}</ref> In 1913, she was elected a ''Chevalier'' of the [[Legion of Honour|National Order of the Legion of Honour]] (French: ''Ordre national de la Légion d'honneur''), a first for a female composer.<ref name=Britannica /><ref name=NAXOS /> |
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In London in November 1901, she made gramophone recordings of seven of her compositions for the Gramophone and Typewriter Company; these are among the most sought-after piano recordings by collectors, though they have been reissued on compact disk.<ref name=NAXOS /> Before and after [[World War I]], Chaminade recorded many [[piano roll]]s, but as she grew older, she composed less and less, dying in [[Monte Carlo]] on 13 April 1944, where she was first buried. Chaminade is now buried in [[Passy Cemetery]] in Paris.<ref name="SOCIETE D'HISTOIRE DU VESINET">{{cite web|title=Les habitants célèbres du Vésinet (A-D)|url=http://histoire-vesinet.org/celebres-2.htm|access-date=22 November 2021}}</ref> |
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Chaminade was relegated to obscurity for the second half of the 20th century, her piano pieces and songs mostly forgotten, with the exception being the Flute Concertino in D major, Op. 107, composed for the 1902 [[Paris Conservatory Flute Concours|Paris Conservatoire Concours]]; it is her most popular piece today.<ref name=WomenofNote /> |
Chaminade was relegated to obscurity for the second half of the 20th century, her piano pieces and songs mostly forgotten, with the exception being the Flute Concertino in D major, Op. 107, composed for the 1902 [[Paris Conservatory Flute Concours|Paris Conservatoire Concours]]; it is her most popular piece today.<ref name=WomenofNote /> |
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==Critical reception== |
==Critical reception== |
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Many of Chaminade's piano compositions received good reviews from critics, |
Many of Chaminade's piano compositions received good reviews from critics, some of her other endeavors and more serious works were less favourably evaluated, perhaps on account of gender prejudices.<ref name=Britannica /> Most of her compositions were published during her lifetime and were financially successful.<ref name=WomenofNote /><ref name=Britannica /> |
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==Compositional style== |
==Compositional style== |
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*Op. 35 Six Études de Concert (Enoch) (1886) |
*Op. 35 Six Études de Concert (Enoch) (1886) |
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*Op. 54 Lolita. Caprice espagnol (Enoch) 1890 |
*Op. 54 Lolita. Caprice espagnol (Enoch) 1890 |
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*Op. 60 Les Sylvains (Enoch) (1892) |
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*Op. 89 Thème varié (1898) |
*Op. 89 Thème varié (1898) |
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*Op. 120 Variations sur un thème original (1906) |
*Op. 120 Variations sur un thème original (1906) |
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[[Category:19th-century classical composers]] |
[[Category:19th-century classical composers]] |
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[[Category:19th-century French women classical pianists]] |
[[Category:19th-century French women classical pianists]] |
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[[Category:19th-century French composers]] |
[[Category:19th-century French composers]] |
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[[Category:20th-century classical composers]] |
[[Category:20th-century classical composers]] |
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[[Category:20th-century French composers]] |
[[Category:20th-century French composers]] |
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[[Category:Conservatoire de Paris alumni]] |
[[Category:Conservatoire de Paris alumni]] |
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[[Category:French women classical composers]] |
[[Category:French women classical composers]] |
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[[Category:French Romantic composers]] |
[[Category:French Romantic composers]] |
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[[Category:Musicians from Paris]] |
[[Category:Musicians from Paris]] |
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[[Category:20th-century women composers]] |
[[Category:20th-century French women composers]] |
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[[Category:19th-century women composers]] |
[[Category:19th-century French women composers]] |
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[[Category:20th-century women pianists]] |
[[Category:20th-century women pianists]] |
Cécile Chaminade
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Born | (1857-08-08)8 August 1857
Paris, France
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Died | 13 April 1944(1944-04-13) (aged 86) |
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Cécile Louise Stéphanie Chaminade (8 August 1857 – 13 April 1944) was a French composer and pianist.[1] In 1913, she was awarded the Légion d'Honneur, a first for a female composer. Ambroise Thomas said, "This is not a woman who composes, but a composer who is a woman."[2]
Born in Batignolles[3] (a village then outside Paris), Chaminade was raised in a musical family. She received her first piano lessons from her mother.[4] Around age 10, Chaminade was assessed by Félix Le Couppey of the Conservatoire de Paris, who recommended that she study music at the Conservatoire.[5] Her father forbade it because he believed it was improper for a girl of Chaminade's class.[5] Her father did, however, allow Chaminade to study privately with teachers from the Conservatoire: piano with Le Couppey,[5] violin with Martin Pierre Marsick,[6] and music composition with Marie Gabriel Augustin Savard[7] and Benjamin Godard.[4][8]
Chaminade experimented in composition as a young child, composing pieces for her cats, dogs and dolls.[9] In 1869, she performed some of her music for Georges Bizet, who was impressed with her talents.[9][5]: 4 In 1878, Chaminade gave a salon performance under the auspices of her professor, Le Couppey, consisting entirely of her compositions. This performance marked the beginning of her emergence as a composer and became the archetype for the concerts she gave for the rest of her career in which she only performed her own works.[5]: 4
During the 1870s and 1880s several of her works were programmed by the prestigious Société nationale de musique[10]. In her early years, she gave recitals throughout France, Switzerland, Belgium and Holland.[11] In 1892, she debuted in England, where her work was popular.[4] Isidor Philipp, head of the piano department at the Conservatoire de Paris, championed her works.[citation needed] She repeatedly returned to England in the 1890s, premiering her compositions with such singers as Blanche Marchesi and Pol Plançon.[12] She visited England again in 1907 and performed at the Aeolian Hall in London,[13] and in Bath.[14] Queen Victoria was known to enjoy Chaminade's music[15] and in 1901 at her funeral, the Prélude for organ, Op.78, by Chaminade was played.[16]
Chaminade married a music publisher from Marseille, Louis-Mathieu Carbonel, in 1901.[17][5]: 13 Given his advanced age, it was rumored to be a convenience and Chaminade prescribed strict marriage conditions: they were to live separately (he in Marseille and she near Paris) and their marriage was to remain platonic.[5]: 13–14 Carbonel died in 1907 from a lung disease.[5]: 14 Chaminade never remarried.[18]
In 1908, she performed concerts in twelve cities in the United States.[1] Her compositions were tremendous favorites with the American public,[19] and such pieces as the Scarf Dance or the Ballet No. 1 were to be found in the music libraries of many lovers of piano music of the time. She composed a Konzertstück for piano and orchestra, the ballet musictoCallirhoé and other orchestral works. Her songs, such as The Silver Ring and Ritournelle, were also great favorites. Ambroise Thomas once said of Chaminade: "This is not a woman who composes, but a composer who is a woman."[20]
Chaminade was the recipient of numerous honours, both in France and abroad. In 1888 and 1892, she was honoured by the Académie Française. In 1897, she was honoured by Queen Victoria and given the Jubilee Medal. She received the Laurel Wreath from the Athens Conservatory and the Order of the Chefakat by Sultan Abdul Hamid II of the Ottoman Empire.[21] In 1913, she was elected a Chevalier of the National Order of the Legion of Honour (French: Ordre national de la Légion d'honneur), a first for a female composer.[4][8]
In London in November 1901, she made gramophone recordings of seven of her compositions for the Gramophone and Typewriter Company; these are among the most sought-after piano recordings by collectors, though they have been reissued on compact disk.[8] Before and after World War I, Chaminade recorded many piano rolls, but as she grew older, she composed less and less, dying in Monte Carlo on 13 April 1944, where she was first buried. Chaminade is now buried in Passy Cemetery in Paris.[22]
Chaminade was relegated to obscurity for the second half of the 20th century, her piano pieces and songs mostly forgotten, with the exception being the Flute Concertino in D major, Op. 107, composed for the 1902 Paris Conservatoire Concours; it is her most popular piece today.[1]
Chaminade's sister married Moritz Moszkowski, also a well-known composer and pianist like Cécile.
Many of Chaminade's piano compositions received good reviews from critics, some of her other endeavors and more serious works were less favourably evaluated, perhaps on account of gender prejudices.[4] Most of her compositions were published during her lifetime and were financially successful.[1][4]
Chaminade affiliated herself with nationalist composers such as Camille Saint-Saëns and Charles Gounod. Her musical style was rooted in both Romantic and French tradition throughout her career and her music has been described as tuneful, highly accessible and mildly chromatic.[1] In describing her own style, Chaminade wrote, "I am essentially of the Romantic school, as all my work shows."[23]
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