Women and Musical Salons in the Enlightenment

388 Pages·2022·9.011 MB·English

by  Rebecca Cypess

women and musical salons
in the enlightenment

Women and
Musical Salons in
the Enlightenment
6
rebecca cypess
The University of Chicago Press Chicago & London
The University of Chicago Press, Chicago 60637
The University of Chicago Press, Ltd., London
© 2022 by The University of Chicago
All rights reserved. No part of this book may be used or reproduced in any manner
whatsoever without written permission, except in the case of brief quotations in critical
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Published 2022
Printed in the United States of America
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isbn- 13: 978- 0- 226- 81791- 0 (cloth)
isbn- 13: 978- 0- 226- 81792- 7 (e- book)
doi: https://​doi​.org/​10​.7208/​chicago/​9780226817927​.001​.0001
This book has been supported by the Margarita M. Hanson Fund and the General
Publications Fund of the American Musicological Society, funded in part by the National
Endowment for the Humanities and the Andrew W. Mellon Foundation.
Library of Congress Cataloging-in-Publication Data
Names: Cypess, Rebecca, author.
Title: Women and musical salons in the Enlightenment / Rebecca Cypess.
Description: Chicago : University of Chicago Press, 2022. | Includes bibliographical
references and index.
Identifiers: lccn 2021046151 | isbn 9780226817910 (cloth) | isbn 9780226817927 (e-book)
Subjects: lcsh: Women musicians—Europe—History—18th century. | Women
composers—Europe—History—18th century. | Women music patrons—Europe—
History—18th century. | Women music patrons—United States—History—18th
century. | Salons—Europe—History—18th century. | Salons—United States—
History—18th century. | Music—Europe—18th century—History and criticism. |
Music—United States—18th century—History and criticism.
Classification: lcc ml82.c96 2022 | ddc 780.82/09033—dc23
lc record available at https://lccn.loc.gov/2021046151
This paper meets the requirements of ansi/niso z39.48- 1992 (Permanence of Paper).
To Ellen Rosand,
who cultivates and encourages her students as if she were the
salonnière and we her habitués

6
Contents
List of Figures, Musical Examples, and Audio Examples ix
Acknowledgments xix
8
Introduction 1
1 * Musical Salons as Liminal Spaces:
Salonnières as Agents of Musical Culture 24
2 * Sensuality, Sociability, and Sympathy:
Musical Salon Practices as Enactments of Enlightenment 62
3 * Ephemerae and Authorship in the Salon of Madame Brillon 103
4 * Composition, Collaboration, and the Cultivation of
Skill in the Salon of Marianna Martines 150
5 * The Cultural Work of Collecting and Performing
in the Salon of Sara Levy 200
6 * Musical Improvisation and Poetic Painting
in the Salon of Angelica Kauffman 233
7 * Reading Musically in the Salon of Elizabeth Graeme 279
Conclusion 325
8
Bibliography 329
Index 355
6
Figures, Musical Examples,
and Audio Examples
Figures
Color Production of figures may be accessed at https://press.uchicago.edu/
sites/cypess/index.html
Figure 0.1 Michel Barthelemy Ollivier (or Olivier), Tea at the house of
the Princesse de Conti, Palais du Temple (1766)
Figure 1.1 Thomas Gainsborough, Portrait of Miss Ann Ford later
Mrs. Philip Thicknesse
Figure 1.2 Collection of Marie- Anne- Pierrette Paulze Lavoisier,
Countess of Rumford, excerpt from “Plans and architectural
drawings of the exterior and interior, and landscaping of
the residence erected by Madame Lavoisier (Countess
Rumford) in Paris, [18— ]”
Figure 1.3 Charles Willson Peale, Portrait of Julia Stockton Rush
(Mrs. Benjamin Rush) (1776)
Figure 2.1 Johann Sebastian Bach, Organ trio BWV 526 in C minor
in the arrangement for two keyboards, Österreichische
Nationalbibliothek, Mus.Hs.5008. First opening of the two
part books, side by side.
Figure 2.2 Two women at a vis- à- vis keyboard instrument. Drawing
from Recueil. Musique et musiciens, vol. 9, Instruments à
cordes, Bibliothèque Nationale de France, Kd- 3 (9)- Fol.
Figure 2.3 Johann Schobert, Ein sonderbares musicalisches Stuck;
welches auf dem Clavier, der Violin und dem Bass, und zwar
auf verschiedene Arten, kan gespielet werden (Nürnberg:
Winterschmidt, n.d.)
Figure 2.4 Daniel Chodowiecki, engraving of a chamber music scene,
in Johann Bernhard Basedow, Das Elementarwerk für die
x Figures, Musical Examples, and Audio Examples
Jugend und ihre Freunde (Berlin and Dessau: Basedow, 1774),
table VIIIa
Figure 2.5 Johann Christian Bach, Sonata no. 4 in C major, movement
1, Andante, from Six sonates pour le clavecin accompagnées
d’un violon ou flute traversière et d’un violoncello, op. 2
(London: Welcker, 1770)
Figure 3.1 Jean- Honoré Fragonard, L’Étude. Portrait of Anne- Louise
Boyvin d’Hardancourt Brillon de Jouy (late 1760s).
Figure 3.2 Anne- Louise Boyvin d’Hardancourt Brillon de Jouy, Duet
in C minor for harpsichord and pianoforte, movement 2,
detail of the harpsichord part book
Figure 3.3 Anne- Louise Boyvin d’Hardancourt Brillon de Jouy,
“Romance attribuée a Chibaut comte de Champagne,
accom.t avec la grande pédale et le plus doux possible,” from
Brillon’s manuscript Romances: 1er et 2d œuvres
Figure 3.4 Music for Moncrif’s “Viens m’aider o dieu d’amour” from
M. D. L. [Charles de Lusse], Recueil de romances. Tome
second (s.l.: Par de Lusse d’après Barbier, 1774), unpaginated
appendix
Figure 3.5 Title page of Luigi Boccherini, Sei sonate di cembalo e violino
obbligato dedicate, a Madama Brillon de Jouy . . . opera V
(Paris: Veuve Leclair, 1768)
Figure 4.1 Anton von Maron, Portrait of Marianna Martines (ca. 1773)
Figure 4.2 Giovanni Domenico Porta (?), Portrait of Maria Rosa Coccia
(ca. 1800)
Figure 4.3 Pietro Metastasio (text and music), “La libertà,” printed
in Charles Burney, Memoirs of the Life and Writings of the
Abate Metastasio. In which are Incorporated, Translations of
his Principal Letters (London: G. G. and J. Robinson, 1796),
1:128–29.
Figure 5.1 One of the Itzig daughters, probably Sara Levy, née Itzig.
Silverpoint engraving by Anton Graff (1786).
Figure 5.2 Cover page of Johann Schobert, “Sonatina a quatuor,”
op. 7 no. 1 in E- flat major in the manuscript owned by Sara
Levy
Figure 5.3 Carl Philipp Emanuel Bach, Quartet for flute, viola, and
keyboard in D major, Wq. 95. Autograph manuscript.
Figure 6.1 Angelica Kauffman, Self- Portrait of the Artist Hesitating
between the Arts of Music and Painting (1794)