Marie Jaëll

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Marie Jaëll

Marie Jaëll , née Trautmann (born August 17, 1846 in Steinseltz , † February 4, 1925 in Paris ) was a French pianist, composer and piano teacher.

Life

Birthplace in Steinseltz
Memorial plaque on the birthplace

Marie Jaëll was born in Steinseltz ( Département Bas-Rhin ). She first studied piano with Franz Hamma in Stuttgart before Henri Herz recognized her extraordinary talent and began teaching her privately in Paris from 1857. In 1862 he accepted her into his piano class at the Conservatoire de Paris , where she was awarded the Premier Prix de piano just four months later . Her successful debut in 1855 was followed by several years of concert activity, initially in the surrounding area, in Alsace, in southern Germany and in Switzerland.

In 1866 (on August 9th) she married the pianist Alfred Jaëll , moved to Paris and gave concerts with him throughout Europe and Russia. Marie Jaëll seems to have particularly loved the game of four hands; it had been part of her repertoire and concert activities since she was fourteen. She transcribed and played many pieces of her time with four hands with her husband Alfred.

“The artist couple Marie and Alfred Jaell gave their first concert in the Bösendorfer'schen Saale today . We have fond memories of Mr. Alfred Jaell from the past. In Frau Marie Jaell we got to know a first-class piano player. She played the ' Davidsbündler-Tänze ' by Robert Schumann with such excellently accomplished technique, with so much taste in the conception that we had to be amazed at this performance. For the time being, we note that Frau Jaell will play the extremely difficult Paganini Variations by Brahms in the next concert - a project which we look forward to with great excitement based on today's experience of how she played the Davidsbündler. […] The artist couple concluded with the charming Reinecke impromptu on the folk song 'La belle Griseldis' for two pianos. The numerous public took the most lively interest in the long concert right through to the end. "

- Review of the concert on January 23, 1873 in the Deutsche Zeitung

Little is known about her training as a composer, after 1870 she received lessons from Camille Saint-Saëns - who had already dedicated his Piano Concerto No. 1 in D major op.17 to her in 1858 , and the Étude en forme de valse op.52 in 1877 , 6 - and César Franck . Independent works were created from 1877 onwards and were also printed straight away.

Franz Liszt , whom she met in 1868 and with whom she then took lessons , had a particularly artistic impact . After the death of her husband (February 1882) she came into closer contact with Liszt. Between 1883 and 1885, she spent a few months a year with him in Weimar, doing correction and secretarial work for him. Liszt, who counted Jaëll among the leading pianists of her time, dedicated his Third Mephisto Waltz (1883) to her and also valued her as a composer. He introduced her to Johannes Brahms and Anton Rubinstein . In 1887, through the mediation of Saint-Saëns, she was one of the first women to join the Paris Société des compositeurs .

In the early 1890s she began a series of cyclical concerts in Paris (six concerts with works by Robert Schumann in 1890 in the Salle Erard and six concerts of Liszt's works in 1891 in the Salle Pleyel ), among which the first performance of all of Beethoven's piano sonatas (1893) was particularly noteworthy is.

In the mid-1890s she largely ceased her concert and compositional activities and increasingly withdrew in order to develop a psychophysiologically based reform of piano playing technique and to publish it in several books. It was based on Liszt's piano playing. The soon-to-be-called "Méthode Jaëll" was adapted and further developed by her students (including Albert Schweitzer , Blanche Selva, Jeanne Bosch van's Gravemoer and Edward del Pueyo).

Piano technique

Marie Jaëll was the first piano teacher who tried, starting from the physiology of the hand, to improve and expand the technique. It replaced technical drill with a scientifically proven practice method that was tailored to the specifics of the hand anatomy. A main goal of their method was the economy of movement. In collaboration with the doctor Charles Féré, the medical director of the psychiatric clinic in Bicêtre (near Paris), she first examined muscle behavior and the sense of touch in a study in order to arrive at a scientific analysis of the movements that result from the pressing of the keys, i.e. the Sound generation, are involved. Then she tried to create an awareness of the physical act of playing in order to finally arrive at the ability to develop a mental image of the sound production.

Their new approach “resulted in numerous methodological and content-related innovations. In Le Toucher (1895), detailed determinations are derived from physiological conditions (including slow practice on a low seat, sliding, rolling and rotating movements, independence of the fingers, fixation of the hand, internal preparation and follow-up of sounds). In an experimental collaboration with the physiologist Charles Féré, Jaëll records the stroke movements of pianists in Le Mécanisme du toucher (1897) and tries to prove the musical relevance of harmonic movements by means of a systematic comparison. "

Fonts

  • Le toucher, enseignement du piano… based on physiology. Paris 1895; German The attack (= volume 1), translated by A. Schweitzer, Leipzig 1902
  • La musique et la psychophysiologie (Paris, 1896); dt. Music and Psycho-Physiology , translated by Fr. Kromayer, Strasbourg 1905
  • Le mécanisme du toucher. Paris 1897 archive.org
  • Les rythmes du regard et la dissociation des doigts. Paris 1901
  • L'intelligence et le rythme dans les mouvements artistiques. Paris 1904
  • Un nouvel état de conscience: la coloration des sensations tactiles. Paris 1910
  • La résonance du toucher et la topographie des pulpes. Paris 1912
  • Nouvel enseignement musical et manuel basé sur la découverte des boussoles tonales. Paris 1922
  • Le toucher musical par l'éducation de la main. Paris 1927
  • La main et la pensée musicale. Paris 1927

factories

  • 1871-1879
    • Beethoven's Marcia alla Turca des Ruines d'Athènes for piano four hands, together with Alfred Jaëll
    • Deux méditations (1871?) For piano (dedicated to Théodore Hoffmann-Mérian)
    • Feuillet d'album (1871) for piano
    • Impromptu (printed in 1871) for piano
    • Six petits morceaux (1871) for piano (dedicated to Marie-Claire)
    • Sonata (1871?) For piano ( dedicated to l'illustre Maître Franz Liszt )
    • Bagatelles (1872) for piano ( dedicated to Monsieur Henri Herz )
    • La Babillarde, Allegro (1872)
    • Psaume LXV for choir (1870?)
    • Valses op. 8 (1874) for piano four hands
    • String Quartet (1875)
    • Piano Quartet in G minor (1876?) (2 versions)
    • Fantaisie sur Don Juan (1876) for two pianos
    • Piano Concerto No. 1 in D minor (1877) ( dedicated to Camille Saint-Saëns )
    • Songs of the Gods for voice and orchestra (1877)
    • Harmonies imitatives (1877) for piano ( dedicated to Albert Périlhou )
    • Runéa , opera in three acts (1878)
    • (5) Songs for a voice with accompaniment of the pianoforte (dedicated to Louise Ott) (1879)
    • Bear songs, six chants humoristiques, for soprano and orchestra (1879)
    • Ossiane , Poème Symphonique, premiered in Paris in 1879
  • 1880-1889
    • At the Grave of a Child for choir and orchestra (1880) (Suite for the death of one of the children by Camille Saint-Saëns)
    • Piano Concerto No. 1 in D minor, arrangement for two pianos (1880)
    • Quatre mélodies for voice and piano (1880) (dedicated to Madame Alfred Ott)
    • Fantaisie for violin and piano (1881)
    • Romance for violin and piano (1882) (dedicated to Monsieur Marsick)
    • Cello Sonata (1881?) ( Dedicated to Ernest Reyer )
    • Violin Sonata (1881) ( dedicated to Madame Thérèse Parmentier )
    • Dans un rêve (1881) for piano trio
    • Piano Trio (1881)
    • En route (1882?) For orchestra
    • Cello Concerto (1882?) (Dedicated to Jules Delsart)
    • Six esquisses romantiques (1883) for piano (printed under the title Six préludes )
    • Finale to the Third Mephisto Walz by Franz Liszt (1883)
    • Piano Concerto No. 2 in C minor (1884?) ( Dedicated to Eugen d'Albert )
    • Sphinx (1885) for piano ( dedicated to Camille Saint-Saëns )
    • Peace with you (1885), song
    • Voix du printemps - Sur la grand route (1885) for orchestra
    • Voix du printemps (composed 1885, printed 1886) for piano four hands (dedicated to Madame Aline Laloy)
    • Voix du printemps, idyll for orchestra
    • Adagio (1886) for viola and piano
    • Ballad (1886) (dedicated to Monsieur Adolphe Samuel)
    • Prisme - Problèmes en musique (1888) for piano (dedicated to Camille Saint-Saëns)
    • (6) Valses mélancoliques (1888) for piano (dedicated to Mademoiselle Marie Rothan)
    • (6) Valses mignonnes (1888) for piano (dedicated to la Vicomtesse Emmanuel d'Harcourt)
  • 1890-1899
    • Second piano part for Vingt pièces pour le piano op.58 by Benjamin Godard
    • La Mer (1890) to poems by Jean Richepin
    • Promenade matinale - esquisses (1893) for piano (dedicated to Melle Lucie Wassermann)
    • Les Orientales (1893?) To poems by Victor Hugo (dedicated to Madame Ch. Lamoureux (Brunet-Lafleur))
    • Les Beaux jours (1894) for piano
    • Les Jours pluvieux (1894) piano (partly with orchestra)
    • Paraphrase sur la lyre et la harpe (1894) for piano
    • 18 Pièces for piano d'après la lecture de Dante (1894) in three parts
      • I. Ce qu'on entend dans l'Enfer
      • II. Ce qu'on entend dans le Purgatoire
      • III. Ce qu'on entend dans le Paradis
    • Chanson berçante (1899) (dedicated to Suzanne Villemin), in Le Toucher (Volume 2)
    • Conte de fée (1899) (dedicated to Marie-Anne Pottecher), in Le Toucher (Volume 2)
    • Les Chasseurs (1899) (dedicated to Madoul Kiener), in Le Toucher (Volume 2)
    • Petite valse chantante (1899) (dedicated to Madeleine Villemin), in Le Toucher (Volume 2)
    • Petits lutins (1899) (dedicated to Marthe Fauconnier), dans Le Toucher (Volume 2)
    • Papillons gris (1899) (à Lisbeth Escherich), in Le Toucher (Volume 2)
    • Les Cloches lointaines (1899), in Le Toucher (Volume 3)
    • Pauvre mendiante (1899), in Le Toucher (Volume 3)
    • Supplication (1899), in Le Toucher (Volume 3)
    • Sept pièces faciles (1899) for piano
  • 1917
    • Harmonies d'Alsace for small orchestra

literature

chronologically

  • Jeanne Bosch: About piano playing and tone formation according to Marie Jaëll's teaching method. In: Journal of the International Music Society. 4th year (1902–03), pp. 1–9 n6  - Internet Archive
  • Blanche Selva: L'enseignement musical de la technique du piano. Paris 1922
  • Albert Schweitzer: self-expression. Leipzig 1929
  • Edward del Puey: Autour de la "Méthode" de Marie Jaëll et de son apport à l'enseignement du piano. In: Revue internationale de musique. No. 1 (1939), pp. 929-938
  • C. Piron: L'art du piano. Paris 1949
  • MW Troost: Art et maîtrise des mouvements pianistiques. Paris 1951
  • H. Kiener: Marie Jaëll --problemèmes d'esthétique et de pédagogie musicales. Paris 1952
  • GC Kop: Inleiding tot de pedagogical music psychology. Purmerend 1957
  • R. Delage: Trois figures de musiciens contemporains. In: La musique en Alsace here et aujourd'hui. Strasbourg 1970, pp. 287-306
  • B. Ott: Lisztian Keyboard Energy. Lewiston 1992
  • Horst Leuchtmann and Charles Timbrell: Marie Jaell. In: The New Grove Dictionary of Music and Musicians . Macmillan, London 2001, Vol. 12, p. 751
  • C. Guichard: Marie Jaëll - The Magic Touch, Piano Music by Mind Training. New York 2004
  • Laurent Hurpeau (dir.), Marie Jaëll: "Un cerveau de philosophe et des doigts d'artiste", (textes de Catherine Guichard, Marie-Laure Ingelaere, Thérèse Klippfel, Laure Pasteau, Alexandre Sorel, Christiane de Turckheim), Symétrie, Lyon, 2004, 282 p.
  • Cora Irsen: Marie Jaëll , Wiesbaden: WV - Weimarer Verlagsgesellschaft in the publishing house Römerweg GmbH, [2016], ISBN 978-3-7374-0241-5

Web links

Remarks

  1. ↑ "Four-handed literature was as much a part of Jaëll's repertory as solo literature. She concertized with duo piano and four-handed pieces from the age of fourteen, and later she and husband Alfred transcribed and performed much of the contemporary four-handed literature. "Lea Schmidt-Roger: Condensed Introduction to The Life and Work of the French Composer Marie Jaëll. sandiegomtac.com ( Memento of March 4, 2016 in the Internet Archive ), accessed December 2014.
  2. ^ Concert Jaell. In:  Deutsche Zeitung , January 23, 1873, p. 8 (online at ANNO ).Template: ANNO / Maintenance / dzg
  3. ↑ Jaëll Marie / née Trautmann (1846–1925) ( French ) musicologie.org. Retrieved September 17, 2014.
  4. ^ Marie Trautmann Jaëll
  5. ↑ There is no evidence that Liszt wrote a series of variations on Jaëlls Valses op. 8 (1874); at any rate, there is no such piece in the catalogs of his works.
  6. ↑ Andreas Bernnat: Jaëll, Marie. In: Music in the past and present . 2nd edition, Person Part Volume 9, 2003, Col. 845–847, here Col. 846
personal data
SURNAME Jaëll, Marie
ALTERNATIVE NAMES Trautmann, Marie (maiden name)
SHORT DESCRIPTION French pianist, composer and instrument teacher
BIRTH DATE 17th August 1846
PLACE OF BIRTH Steinseltz
DATE OF DEATH February 4, 1925
PLACE OF DEATH Paris