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 articles and reviews. For more information, contact the University of Chicago Press, 1427 E. 60th St., Chicago, IL 60637. Published 2022 Printed in the United States of America 31 30 29 28 27 26 25 24 23 22 1 2 3 4 5 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)