Music Monday: Sonata No. 2 in A Major by the Chevalier de Saint-Georges

Music Monday: a day for contemporary music, soundtracks and other tunes related to Marie Antoinette.

Joseph Bologne, or the chevalier de Saint-Georges (1745-1799) was an classical composer and champion fencer; he was the son of a plantation owner and a slave, Anne, known as "Nanon." His father took Joseph to France when he was a child in order to receive an education, then later brought Joseph's mother to France and set the pair up in an apartment so that Joseph could continue his studies in France. Despite the racist laws limiting the freedoms of non-white people living in France, the chevalier de Saint-Georges became beloved in various high circles for his champion fencing skills, musical compositions, and his charming wit, intelligence and personality.

He became acquainted with Marie Antoinette, who advocated for him when the position of director to the Paris Opera needed to be filled. Unfortunately, racism overcame his potential appointment: several actresses and others working for the Paris Opera signed a petition addressing the queen, saying that they would not accept orders from "a mulatto." The petition was publicly published and the chevalier de Saint-Georges withdrew his bid for director, noting that he did not want to cause the queen any scandal. Marie Antoinette continued to invite him to her private salon, where they would play together along with a small group of her favorites.

The chevalier de Saint-Georges composed several operas along with symphonic work and other pieces intended for private performance. Only one of his operas has survived in full, although a few vocal pieces survived from his other operas due to their popularity. 

The above is a performance of his Sonata no.2 in A major. II. Andantino - Allegro Minore, as performed by Quinton Morris on the violin and Li-Tan Hsu on the piano.

Women's History Month: Anastasia Robinson

Women's History Month: A month celebrating women of history! I will be posting media and book recommendations, highlighting women from (mostly) the 18th century, and otherwise sharing content with an emphasis on women in history.

[image: Engraving proof of Anastasia Robinson by John Faber the Younger, after a portrait bo John Vanderbgank. Circa 1727.]

Anastasia Robinson (c.1692-1755) was an English singer who became well-known for her work with the famous composer George Handel.

Robinson was the daughter of Thomas Robinson, a portrait painter. She received private musical tutoring from an early age and performed primarily at private concerts, where she would both play and sing. By the time she was in her early 20s, she was already associated with George Handel; in 1714, he wrote a solo soprano role in his composition 'Ode for the Birthday of Queen Anne' specifically for Robinson. She joined Handel's company in 1714 and made an official debut in 'Creso,' a pasticcio (a type of composite performance).

In 1719, an unknown factor caused Robinson's voice to change. It was during this year that she began singing contralto roles, rather than her former soprano music. It was also during this period that her father's eyesight began failing and she decided to turn her talent into a profession that would bring in an income for herself and her family. She was hired into Handel's Royal Academy of Music, founded in 1720, and began earning £1000 a year for her work. She originated numerous roles in Handel's most famous operas. In 1722 or 173, she secretly married Charles Mordaunt, 3rd Earl of Peterborough; although they were married, he did not acknowledge her publicly as his wife, and she was viewed as his mistress until 1735 when he finally acknowledged their marriage.

Her most famous role was that of Cornelia in Handel's dramatic Giulio Cesare, which would become his most well-regarded and today, most frequently performed work. Cornelia's arias and music for this work are some of the most moving in Handel's entire repertoire, and one must imagine the faith Handel had in Robinson to

Although it would be her most famous role, Robinson retired shortly after the premiere of Giulio Cesare. Although she retired from the professional stage, she was still involved in the world of music and theater; her home in Parsons Green, which she lived on with her retirement earnigs as well as money from her secret husband, became a hub for musicians to train and perform.

After the death of her husband in 1735, she began living at his family residence; she died in 1755.

One of the most moving moments in for Cornelia in Giulio Cesare is Priva son d'ogni conforto, her Act I aria. Cornelia was foiled in her attempted suicide, which she attempted after the murder of her husband, and in this aria expresses her sadness and grief.

Women's History Month (and!) Music Monday: Francesca Lebrun's Sonatas

Introducing Music Monday: a day for contemporary music, soundtracks and other tunes related to Marie Antoinette.

 

image: 'Madame Lebrun' by Thomas Gainsborough, 1780

Francesca Lebrun, née Francesca Danzi, was a German singer and composer born on March 24th, 1756. Lebrun's family legacy is inseparable with music: her mother was a dancer, her father was a cellist, her brother was the composer and cellist Franz Danzi; she married the musician and composer Ludwig August Lebrun, and both Francesa's daughters--and at least a few of her grandchildren--would also be singers or musicians in their own right.

Franesca made her first public singing debut at the age of 16; the performance was a success, and just one year later she was already working with the Mannheim Opera. Her roles over the next four years included a role composed specifically for her voice: that of Anna in Ignaz Holzbauer's Günther von Schwarzburg, an opera about the titular German king. After her marriage in 1778, she and her husband toured Europe, which included stops in Milan, Paris and London.

In addition to performing, Lebrun composed music. Twelve of the sonatas she composed have survived, and half of these were recorded by Solo Luminus studio. The recording is available for listening on YouTube.

 

Franscesa died on May 14th, 1791, just 5 months after the death of her husband; she was only 35 years old. 

Music Monday: 6 Hours of French Harpsichord Music

Music Monday: a day for contemporary music, soundtracks and other tunes related to Marie Antoinette.

Harpsichord music was once the staple of the French court, where it was especially popular in private salons and music performances held by courtiers of every rank. This truly extensive collection of French harpsichord music spans 6 hours--yes, 6 hours!--and will have you feeling as if you're a courtier lounging in your private chambers at Versailles.

Music Monday: Versailles by Nadia Bouluanger

Music Monday: a day for contemporary music, soundtracks and other tunes related to Marie Antoinette.

For this Music Monday, I'd like to share a piece from Nadia Boulanger, a notable composer, conductor and teacher who taught some of the most prominent composers of the 20th century. Her students included Louise Talma, Elaine Bearer, Virgil Thomson, Roy Harris, Philip Glass--just to name a few.

'Versailles' was composed by Boulanger in 1906. She set her composition the text 'O Versailles,' a poem by Albert Samain. The performer in this particular recording is Nicole Cabell, with Lucy Mauro on the piano.

The original French text for Albert Samain's O Versailles can be read here.

Music Monday: 'Marie Antoinette' by Curved Air

Introducing Music Monday: a day for contemporary music, soundtracks and other tunes related to Marie Antoinette.

Curved Air's 'Marie Antoinette' was one of the first modern songs about Marie Antoinette I ever stumbled across, and it was one of the lyrics in this unique 70s-era song that inspired my Tumblr blog title: "Marie Antoinette/Your name's a legend in this land/Treasure for your pleasure/bestowed on favorite gentlemen." 

It's still one of my favorite songs--so sit back, press play, and enjoy!