Sonnambula presents its first ever concept season in 2017–2018: Women's Voices. Prompted by a desire to respond to our political climate, each concert of 2017–2018 will be devoted to work by female composers from the early modern period. In so doing, we are performing a quintessential task of feminist musicology: shifting the point of power away from a domineering force and toward a minority voice—letting it sound, and letting it speak. Welcome to our new season.
This concert will feature the music of Marianna Martínes (1744–1812). Martínes was the daughter of Spanish immigrants to Vienna at the height of Viennese classicism. Recognized for her talents by the court poet Metastasio, a neighbor, Martínes was enrolled in music lessons with Haydn. Once she had mastered the harpsichord she was a favorite four-hand keyboard partner of Wolfgang Amadeus Mozart. Who was Marianna Martínes? A rare concert featuring her music, and lecture devoted to her life and times, will begin to answer this question and to bring attention to another overlooked female composer from the Hispanic diaspora. Tickets to the concert and lecture are free, but must be reserved. Limited seating. Doors open at 6:15. Reception to follow.
Please join us for this very special concert on Thursday, December 21, at 7, and for a lecture by Elizabeth Weinfield at 6:30. Learn about Leonora Duarte, converso identity in the Iberian diaspora, and the remarkable circumstances that allowed for the creation and survival of Duarte's music. Tickets to the concert and lecture are free, but must be reserved. Limited seating. Doors open at 6:15.
In this concert, we present you with the music of acclaimed French baroque composer, Élisabeth Jacquet de La Guerre (1665–1729). As a young child, the prodigious Jacquet astonished adults — including King Louis XIV — with her ability to compose and improvise at the keyboard. She composed sonatas, songs, cantatas, and even an opera, the first by a woman to be performed in Paris. Our goal this evening is not only to introduce you to Jacquet's music, something of which many of you may, indeed, already know — but to present her work in context rather than in isolation, and to reveal how she was influential to her contemporaries rather than the other way around, which is so often the narrative in discussions of female composers. A very active teacher in Paris, Jacquet wrote music whose influence is seen strongly in works by her contemporaries, among them Michel-Richard de Lalande, Jean-Baptiste Lully, Marc-Antoine Charpentier, and Henri Dumont.