by Caiti Beth McKinney
If you are looking for an inspiring tale of a woman who could do it all, look no further than 19th century composer Louise Farrenc. Originally trained as a pianist, by the age of fifteen she was also studying composition with renowned composer Anton Reicha. However, because female students were not allowed to study at the Paris Conservatoire during this time, she was required to acquire her instruction via private sessions.
After her marriage to flutist Aristide Farrenc, the couple traveled Europe performing concerts together, and they eventually opened a publishing house. Farrenc achieved great acclaim as a performer, earning such respect that she was eventually appointed Professor of Piano at the very same conservatory which had previously barred her entrance.
Although many of her compositions are for piano, Farrenc composed several symphonies and concert works, as well as two chamber works which include the horn, Nonet in E Flat, Op. 38 (1849) and Sextet in C Minor, Op. 40 (1852). The sextet is incredibly important to the history of horn repertoire because it is the first combination of piano and woodwind quintet, paving the way for Poulenc’s famous sextet eighty years later. The work itself is heavily influenced by the Classical style but incorporates harmonic and tonal characteristics of the Romantic era. The nonet is another showstopper, a substantial thirty-minute piece which combines the beautiful timbres of woodwind quintet and string quartet to great effect.
While Farrenc achieved substantial success and renown during her lifetime, her works were largely forgotten until recently; they are just now beginning to receive the attention they deserve.
To learn more about Louise Farrenc and other underrepresented composers, visit www.caitibethmckinney.com.
