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| - | == 2011: Belle de Zuylen, music and arts == | + | == Irène Minder-Jeanneret == |
| <br><br> | <br><br> | ||
| - | '''Table of contents '''<br><br><br> | + | '''"Il n’y a pas de mauvaise musique; il n’y a que de mauvais interprètes". <br> |
| + | A propos du qualificatif d’"enfantin" attribué à la musique d’Isabelle de Charrière par son biographe Philippe Godet.'''<br><br> | ||
| - | Editorial board: <br> | + | One approach to understanding why the biographies of Isabelle de Charrière for so long dismissed her musical activities is through examining the reception given to “early” music since its rediscovery shortly before 1900. It is appears that for a long time there was a general lack of interest in early music, and a notable neglect of the harpsichord. In the case of Isabelle de Charrière this was compounded by a denial of the creative abilities of women, and a lack of interest in hearing and/or playing it in favourable and constructive conditions. |
| - | *Presentation. Isabelle de Charrière et ses divers violons d’Ingres (p. 3)<br><br><br> | + | |
| - | + | ||
| - | '''BELLE DE ZUYLEN, MUSIC AND ARTS'''<br><br> | + | |
| - | + | ||
| - | Francine van der Heijden:<br> | + | |
| - | * [[Entre les bras d'Isabelle]] (p. 13)<br><br> | + | |
| - | + | ||
| - | Irène Minder-Jeanneret:<br> | + | |
| - | *« [[Il n’y a pas de mauvaise musique]] ; il n’y a que de mauvais interprètes ». A propos du qualificatif d’« enfantin » attribué à la musique d’Isabelle de Charrière par son biographe Philippe Godet (p. 15)<br><br> | + | |
| - | + | ||
| - | Helen Metzelaar:<br> | + | |
| - | *« [[Les basses ne sont pas de moi]] »: Belle de Zuylen and music education in upper-class Dutch circles (p. 29) <br><br> | + | |
| - | + | ||
| - | Claudia Gaggetta Dalaimo:<br> | + | |
| - | *[[Le portrait de Belle de Zuylen]] du Musée d’art et d’histoire de Genève: une œuvre emblématique de Maurice Quentin de La Tour (p. 48)<br><br> | + | |
| - | + | ||
| - | Paul van den Boogaard: <br> | + | |
| - | *[[Un unknown portrait of Isabelle de Charrière]] (1773) (p. 62)<br><br><br> | + | |
| - | + | ||
| - | '''RECENTLY DISCOVERED'''<br><br> | + | |
| - | + | ||
| - | Suzan van Dijk: <br> | + | |
| - | * Une lettre d’Isabelle de Charrière au Comte d’Athlone (1772) (p. 67)<br><br> | + | |
| - | + | ||
| - | Kees van Strien:<br> | + | |
| - | *An unpublished letter to Isabelle de Charrière (1800) (p. 73)<br><br><br> | + | |
| - | + | ||
| - | '''DISCUSSION'''<br><br> | + | |
| - | + | ||
| - | Suzan van Dijk et Pim van Oostrum:<br> | + | |
| - | * Sara Burgerhart et Marianne de La Prise. Réponse à Paul Pelckmans (p. 79)<br><br><br> | + | |
| - | + | ||
| - | '''RECENT PUBLICATIONS'''<br><br> | + | |
| - | + | ||
| - | Jürgen Siess:<br> | + | |
| - | * Philip Stewart et Michel Delon (éds.), ''Le second triomphe du roman du XVIIIe siècle'' (p. 88)<br><br> | + | |
| - | + | ||
| - | Monique Moser-Verrey:<br> | + | |
| - | *Joan H. Stewart, ''The Enlightenment of Age. Women, letters and growing old in eighteenth-century France'' (p. 91)<br><br> | + | |
| - | + | ||
| - | Suzan van Dijk: <br> | + | |
| - | * Heidi Bostic, ''The Fiction of Enlightenment. Women of Reason in the French Eighteenth Century'' (p. 94)<br><br> | + | |
| - | + | ||
| - | Madeleine van Strien-Chardonneau:<br> | + | |
| - | * Bibliographical notes (p. 97)<br><br><br> | + | |
| - | + | ||
| - | '''FIRST ESSAYS'''<br><br> | + | |
| - | + | ||
| - | Ineke Janse:<br> | + | |
| - | *Marie-Elisabeth de La Fite: une autre éducatrice et femme de lettres cosmopolite (p. 100)<br><br><br> | + | |
| - | + | ||
| - | '''NEWS'''<br><br> | + | |
| - | + | ||
| - | Editorial board:<br> | + | |
| - | *Le Prix Belle de Zuylen, et autres nouvelles (p. 108) | + | |
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| - | *Publications > [http://www.womenwriters.nl/index.php/Cahiers_Isabelle_de_Charriere_/_Belle_de_Zuylen_Papers Belle de Zuylen Papers] > 2011<br><br> | + | *Publications > [http://www.womenwriters.nl/index.php/Cahiers_Isabelle_de_Charriere_/_Belle_de_Zuylen_Papers Belle de Zuylen Papers] > [http://www.womenwriters.nl/index.php/Submission_of_proposals_is_possible%2C_before_31_December_2010 2011] > Minder<br><br> |
Current revision
Irène Minder-Jeanneret
"Il n’y a pas de mauvaise musique; il n’y a que de mauvais interprètes".
A propos du qualificatif d’"enfantin" attribué à la musique d’Isabelle de Charrière par son biographe Philippe Godet.
One approach to understanding why the biographies of Isabelle de Charrière for so long dismissed her musical activities is through examining the reception given to “early” music since its rediscovery shortly before 1900. It is appears that for a long time there was a general lack of interest in early music, and a notable neglect of the harpsichord. In the case of Isabelle de Charrière this was compounded by a denial of the creative abilities of women, and a lack of interest in hearing and/or playing it in favourable and constructive conditions.
SvD, November 2011
- Publications > Belle de Zuylen Papers > 2011 > Minder