Louise O'neill

Too few will have been able to live up to this statue during his lifetime, remaining only on the surface when this multi-faceted personality invites a much more complex reading. It is this Himalayas that Louise Jallu dared to climb. Far from sinking into the pale copy, Louise Jallu adds her comments, notably opening up spaces for improvisation, even if it means taking the side of a certain irreverence to show all the more deference towards the Argentinean. History to stick to the singular post-modernity that inhabited his work. As a matter of course.

Few will have heard of Louise Farrenc (1804-1875). She seems to have spent most of her life in Paris, receiving tuition from Antonin Reicha, Hummel and Moscheles. She wrote a considerable amount of piano and chamber music and was appointed professor of piano at the Paris Conservatoire in 1842. Whilst other female composers of the period, such as Fanny Mendelssohn and Clara Schumann, focused on songs and instrumental works, Farrenc progressed to writing three symphonies and two overtures.

Alone among Frenchwomen of her era, Louise Farrenc (née Dupont) (1804-1875) achieved real fame as a composer during her lifetime. She was also a brilliant pianist and was the only woman teacher of any instrument at the Paris Conservatoire in the whole of the 19th century. She had come to this rare acclaim as the result of a liberal upbringing amongst a family of noted painters and sculptors living in an enclave of similarly artistic and intellectual families at the Sorbonne. She studied with Reicha from her teens, but her lessons had to be private because women were not allowed to study as regular pupils at the Conservatoire. She wrote three symphonies; Nos. 1 & 3 are contained on an earlier issue from cpo featuring the same artists, the NDR Radiophilharmonie (Hannover) conducted by Johannes Goritzki, also available (and favorably reviewed) here at Amazon. This CD contains the middle symphony and two much earlier overtures, simply called 'No. 1' and 'No. 2.'

Louise Farrenc was a woman in a man’s world: 19th-century musical Paris. Clara Schumann had previously been the only woman to be praised for her compositions and performances; it was generally considered that to earn money from music was a masculine pursuit. Farrenc not only achieved the near impossible of getting her music published, leading to Robert Schumann’s praise of her work, but was awarded a piano professorship at the Paris Conservatoire. Compositions for piano formed a part of her oeuvre, alongside works for chamber ensemble and orchestra. These pieces gradually fell out of the repertoire and only began to be revisited towards the end of the 20th century.

This is not CPO’s first Farrenc recording. The company has already issued a disc of Farrenc symphonies and another of her large-scale chamber works. Those recordings were well received, and I have no doubt that this new solo piano disc will also garner fine reviews. I should also relate that being a pianist, Farrenc’s early compositions consisted primarily of piano music, and that the works on the new disc are from her early career.

Farrenc’s Piano Trios are full of dynamic energy. The Third Piano Trio interestingly replaces the violin with a clarinet and flute, and was praised by the contemporary music press for its “perfection of form, charm and elegance”.