Sujet
Léris (de), 1763, p. 607:
Objet
"La Guerre (Elisabeth-Claude Jacquet de), née à Paris en 1669, & morte dans la même ville le 27 Juin 1729, âgée d'environ soixante-dix ans, se distingua dès sa plus tendre jeunesse par son goût pour la musique, & par son art à toucher du clavecin. Elle avoit d'ailleurs un très-beau génie pour la composition, & nous a laissé l'opéra de Céphale & Procris; trois livres de Cantates; des pieces de clavecin; des Sonates, & un Te Deum. Elle avoit épousé Marin de La Guerre, Organiste de S. Severin & de Saint-Gervais, de qui elle eut un fils unique, qui à l'âge de huit ans surprenoit pas sa façon de jouer du clavecin; mais il mourut dans sa dixieme année."
Utilisateur
AS
Sujet
Grove Music Online
Objet
JULIE ANNE SADIE: 'Jacquet de la Guerre, Elisabeth-Claude', Grove Music Online ed. L. Macy (Accessed 28 May 2004), http://www.grovemusic.com :
"Jacquet de la Guerre, Elisabeth-Claude
(b 1666–7; d Paris, 27 June 1729). French composer. She was the daughter of the Parisian organ builder Claude Jacquet, and wife (from 1684) of the organist Marin de la Guerre. So exceptional was her talent as a harpsichordist that Louis XIV relaxed the convention restricting women instrumentalists from performing at court or in public. According to the Marquis of Dangeau, in the summer of 1685 the dauphin hosted a performance of a miniature opera by Mlle Jacquet. Two years later she became the first French woman to publish a collection of harpsichord pieces. She was one of several progressive composers (and the only woman) who experimented with Italian genres, notably the sonata and cantata, in the early 1690s. Simultaneously, she sought a place among the post-Lullian composers of large-scale music by writing first a ballet for the dauphin, Les jeux à l’honneur de la Victoire (1691, lost), then a five-act tragédie lyrique, Cephale et Procris, to a libretto by Duché de Vancy, first performed by the Académie Royale de Musique on 15 March 1694. The opera was dedicated to Louis XIV and engraved in a reduced score by the royal printer Christophe Ballard. Although it was not well received in Paris, its prologue was arranged by Sébastien de Brossard for a performance in 1696 by the music academy at Strasbourg. […] While deeply indebted to Lully, La Guerre infused her music with a new degree of virtuosity, and added violin accompaniment to many of the airs. Her achievements were acknowledged by Titon du Tillet, who accorded her a place on his ‘Mount Parnassus’, next to Lalande and Marais and just below Lully.
Her collection of Cantates françoises (1710) includes a duet known as Le raccommodement comique de Pierrot et de Nicole (for soprano, baritone and continuo), performed as part of the comédie La ceinture de Vénus at the Théâtre de la Foire in 1715. During the Regency she composed further music for the Théâtre de la Foire (excerpts were published in 1721)."
Utilisateur
AS