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Louise Farrenc
"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"--Introduction.
Louise Farrenc's Trio for Flute, Cello and Piano
Many flutists believe that the romantic period saw a decline in music for their instrument. One purpose of this document is to republish Louise Farrenc's Trio in E minor for Flute, Cello and Piano, Op. 45 in an attempt to add quality literature to the repertoire of nineteenth century flute music. In the most recent edition, the score has been reproduced more legibly, corrections have been made to inconsistencies harmonically, articulations and phrasing has been more idiomatically constructed, and the notation made more contemporary. Prior to the completion of this treatise, the composition has been republished with an introduction by the author of this document. Additionally, in recent years...
Etudes of Louise Farrenc
Louise Farrenc (1804-1875) was a distinguished and powerful professor and piano teacher at the prestigious Paris Conservatoire, standing out because she was a woman in a world controlled by men. Her etudes were heralded by critics of her day and are still worthy of study. This edition of Farrenc's Etudes Op. 42 and 25 Progressive Etudes Op. 50 offers us today an opportunity to reacquaint ourselves with the work of this remarkable musician and provides a new body of music that is not only useful for technical development but also offers fascinating insight into the spirit of the nineteenth-century teaching studio. These etudes are charming, intermediate-level works which show the influences of Cramer, Hummel, Beethoven and Bach, and are representative of styles of the day. Each musical gem works on one particular problem. The integrity and character of each work has been retained as carefully as possible in this edition, and editorial suggestions are clearly indicated as such.
The Symphonies of Louise Farrenc (1804-1875): A Comparative Examination
This study examines the three symphonies of Louise Farrenc. The entirety of Symphony No. 2 in D major, op. 35 is discussed, with the finale movements of symphonies 1 and 3 being provided to compare form, tonality, and orchestration. Each analysis is supplemented by formal charts and an appendix of relevant musical examples. The first section supplies biographical information on Louise Farrenc, followed by a list of her compositions. The second section discusses scholarship available on Farrenc, including contemporaneous primary sources and recent dissertations, books, and articles. The third section presents an overview of the three symphonies and the historical context surrounding each. The fourth section provides analyses for the first three movements of Symphony No. 2, which is followed by analyses of each symphony0́9s finale movements in section five. This thesis aims to account for current scholarship available of Louise Farrenc and her music, assimilate relevant primary and secondary sources, and present a comprehensive study on her symphonies through analysis of representative movements.
Louise Farrenc letter
Letter to the director of the Paris Conservatory stating her wish to continue to be recognised as a professor, as she had been since 1842. Also, her portrait, cut from a French periodical.
