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Les Belles De Nuit: Women Publishing Keyboard Waltzes in Paris, C. 1800

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Les Belles De Nuit: Women Publishing Keyboard Waltzes in Paris, C. 1800 University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Humanities Music Les Belles de Nuit: Women publishing keyboard waltzes in Paris, c.1800-1914 by Diana Elizabeth Venegas Butt Thesis for the degree of Doctor of Philosophy January 2021 University of Southampton Abstract Faculty of Humanities Music Thesis for the degree of Doctor of Philosophy Les Belles de Nuit: Women publishing keyboard waltzes in Paris, 1800-1914 by Diana Elizabeth Venegas Butt The study of nineteenth-century social dancing and its music has been the subject of recent academic interest, and much of the attention is focussed on a particularly popular, yet controversial dance - the waltz. However, while research on the cultural, social, and musical implications of waltz music rests upon an analysis of works created by male authors, women as contributors to this influential genre, or indeed to dance music in general, are largely forgotten. For example, it is currently unclear if, how, and why women composed dance music at all, and yet the answers to these questions have the potential to dramatically rebalance and enrich our understanding of European social and musical culture within the period. By concentrating on keyboard waltzes produced in Paris between 1800-1910, this study will reveal how women navigated the contemporary attitudes towards both waltzing and female composers, and attempted to harness the dance’s popularity as a springboard to participating in music as a professional enterprise. Crucially, this thesis also provides the most comprehensive analysis of nineteenth-century French female composers and the music they produced to date, contextualising scores and their authors within wider cultural environments. In doing so, this research challenges long-held historical assumptions and narratives surrounding women and their contribution to musical life within the period, many of which still hold firm today. Table of Contents Table of Contents ............................................................................................................... i List of Tables ..................................................................................................................... v List of Figures .................................................................................................................. vii Research Thesis: Declaration of Authorship..................................................................... ix Acknowledgements .......................................................................................................... xi Definitions and Abbreviations ....................................................................................... xiii Introduction ...................................................................................................................... 1 Contextualising Female Composers in the Nineteenth Century ....................................... 1 Finding Women ............................................................................................................... 3 Analysing Women’s Waltzes ............................................................................................ 6 Presenting Women’s Waltzes ........................................................................................ 10 Chapter 1 Twists and Turns: The Social History of Waltzing in Europe, 1800-1914 ...... 13 1.1 Historical Contexts ............................................................................................... 13 1.1.1 Origins .......................................................................................................... 13 1.1.2 The Waltz Comes to Paris ............................................................................. 15 1.1.3 Social Dance in Paris - the Quadrille, Polka, Mazurka, and Galop .................. 18 1.1.4 Public Balls and Concert Halls ....................................................................... 24 1.1.5 Social Dance Etiquette .................................................................................. 28 1.2 Reception ............................................................................................................. 31 1.2.1 Condemning the Waltz ................................................................................. 31 1.2.2 Advocating the Waltz .................................................................................... 36 1.3 The Music of the Waltz ......................................................................................... 41 1.3.1 Cultural Considerations ................................................................................ 41 1.3.2 Music for the Piano....................................................................................... 44 1.3.3 The Woman’s ‘Voice’ .................................................................................... 48 Chapter 2 A Question of Class ...................................................................................... 53 2.1 Women Composers, Waltzes, and Class ............................................................... 53 i 2.1.1 “A Peculiar Princess:” Marie Rattazzi ............................................................ 54 2.1.2 “A Habitual Devotion:” Anna Karl ................................................................. 58 2.2 Family Matters ..................................................................................................... 62 2.2.1 “The Sister is Worthy of her Brothers:” Laure Dancla ................................... 64 2.2.2 “Femme du facteur de piano:” Madame Alexandre Bataille ......................... 67 Chapter 3 Female Waltz Composers and Music Professionalism ................................. 77 3.1 A Good Education: Waltz Composers and Conservatoires .................................... 77 3.1.1 Female Students at the Paris Conservatoire ................................................. 78 3.1.2 Female Professors at the Paris Conservatoire ............................................... 83 3.1.3 Hélène Kryzanowska: Paris and Rennes ........................................................ 84 3.2 Pianists and Pedagogues: Female Music School Owners in Paris .......................... 92 3.2.1 Hortense Parent and the École Préparatoire ................................................. 93 3.2.2 Marguerite Balutet and the Ecole Beethoven................................................ 96 3.3 The Glass Ceiling: Female Dance Music Conductors in the Nineteenth Century .. 102 3.3.1 Laure Micheli: Composing and Conducting Music for Dance ....................... 104 3.3.2 Micheli, Sax, and the Fanfare féminine ....................................................... 108 Chapter 4 Women, Waltzes, and Music Publishing .................................................... 117 4.1 Early Keyboard Waltzes ...................................................................................... 117 4.1.1 Parisian Publishing Houses and the Attraction of the Waltz ........................ 118 4.1.2 Printers and Engravers ............................................................................... 122 4.1.3 Self-Publishing ............................................................................................ 124 4.1.4 The Self-Published Waltzes of Marie-Louise Caussinus ............................... 126 4.2 Publishing Waltzes, 1840-1914........................................................................... 127 4.2.1 Music Editors, Women, and Compositional Freedom ................................. 129 4.2.2 Women Publisher-Composers .................................................................... 132 4.2.3 La Comtesse Cécile Marie d’Orni: Music Publisher...................................... 134 4.2.4 Publishing and Criticism.............................................................................. 136 4.2.5 Marguerite Casalonga: Composer and Critic ............................................... 139 Chapter 5 Score, Text and Iconography ..................................................................... 143 ii 5.1 Cover Text and Detail ......................................................................................... 143 5.1.1 Bibliographic Elements ............................................................................... 143 5.1.2 Dedicating Keyboard Waltzes ..................................................................... 145 5.1.3 Aristocratic Dedications .............................................................................. 147 5.1.4 Professional Dedications ............................................................................
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