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(New page: <br>__NOEDITSECTION__ == Irène Minder-Jeanneret == <br><br> '''Entre les bras d'Isabelle'''<br><br> <br><br><br> SvD, November 2011 <hr> <br> *Publications > [http://www.womenwrit...)
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-'''Entre les bras d'Isabelle'''<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>
 +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 com-pounded 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.
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Revision as of 23:51, 15 November 2011


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 com-pounded 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


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