Babette Dorn

Caroline Boissier-Butini’s 6th concerto for piano and flûte obligée, which she herself entitled La Suisse, was inspired by folksongs; the sources do not allow us to date the concerto precisely, but we can assume that it was composed before 1818. A return to folk melodies was entirely in keeping with the times; Beethoven, for example, used such themes, as did Carl Maria von Weber, who was born in the same year as Boissier-Butini. Her innovation, however, is to quote the “ranz des vaches”, the musical themes that would have awakened in her contemporaries an archetypal sense of Switzerland.

Caroline Boissier-Butini’s 6th concerto for piano and flûte obligée, which she herself entitled La Suisse, was inspired by folksongs; the sources do not allow us to date the concerto precisely, but we can assume that it was composed before 1818. A return to folk melodies was entirely in keeping with the times; Beethoven, for example, used such themes, as did Carl Maria von Weber, who was born in the same year as Boissier-Butini. Her innovation, however, is to quote the “ranz des vaches”, the musical themes that would have awakened in her contemporaries an archetypal sense of Switzerland.

Caroline Boissier-Butini’s 6th concerto for piano and flûte obligée, which she herself entitled La Suisse, was inspired by folksongs; the sources do not allow us to date the concerto precisely, but we can assume that it was composed before 1818. A return to folk melodies was entirely in keeping with the times; Beethoven, for example, used such themes, as did Carl Maria von Weber, who was born in the same year as Boissier-Butini. Her innovation, however, is to quote the “ranz des vaches”, the musical themes that would have awakened in her contemporaries an archetypal sense of Switzerland.