Personaje
Retrato

Marie Trautman

(Marie Jaëll)

Steinsaltz (Alsacia), 17-08-1846 — París, 04-02-1925  

Periodo de actividad: 1871 — 1925

Clasificación geográfica: Europa > Alemania Europa > Francia

Movimientos socio-culturales

Edad Contemporánea > Romanticismo

Grupos por ámbito de dedicación

Educadoras > Pedagogas

Músicas > Compositoras

Músicas > Instrumentistas > Pianistas

Músicas > Instrumentistas

Contexto de creación femenina

Pianist, composer and pedagogue who created the Jaëll Method, which some teachers follow today. She belongs to the period of French music in the second part of the 19th century, where a number of pianists and composers followed in the footsteps of other great virtuoso pianist-composers such as Maria Agata Szymanowska (1789-1831), Louise Farrenc (1804-1875), Fanny Mendelssohn (1805-1847), Fanny Mendelssohn (1805-1847), Louise Farrenc (1804-1875), Fanny Mendelssohn (1805-1847), Josephine Lang (1815-1880), Clara Wieck Schumann (1819-1896) and the French opera singer Pauline Viardot (1821-1910).

Among the pianists who went on to make a career alongside her were Augusta Holmès (1847-1903), Luise Adolpha Le Beau (1850-1927) and, somewhat later, Cécile Chaminade (1857-1944) and Mel Bonis (1858-1937). As continuers of this professionalisation, we highlight the sisters Nadia and Lili Boulanger, Blanche Selva (1884-1942), the Polish Wanda Landowska (1979-1959) and the Spaniards Soledad Bengoechea de Cármena (1849-1943), Pilar Fernández de la Mora (1867-1929) and M. Lluïsa Güell López (1867-1929). Lluïsa Güell López (1874-1933).
Throughout the 20th century, female pianists became consolidated as performers and teachers, as in the case of the Belgian, Carlota Garriga (1937) and the Argentinian, Marta Argerich (1941).

Reseña

Marie Jaëll was an excellent pianist from childhood. Although she composed for voice and instrumental ensemble, she is noted for her pedagogical work with the creation of the Jaëll Method for teaching music, which revolutionised piano technique at the time.

Actividades

Justificaciones

  • Composer, pianist, pedagogue and music theorist.
  • Innovator of piano pedagogy through physiology and neuroscience.
  • She created the "Jaëll Method" as an innovative approach to musical practice.

Biografía

The Alsatian composer Marie Jaëll began studying the piano at the age of 6. She was a child prodigy who, at the age of 10, gave a series of recitals in Paris. In 1862, she won First Prize for Piano at the Paris Conservatoire. At the same time, she toured Europe giving concerts in Switzerland, Germany, England, Alsace and Paris. At the age of 20, in 1866, she married the pianist Alfred Jaëll, with whom she continued her brilliant virtuoso career. 
A pupil of the leading European pianists of the time, she published her first works as a composer around 1871. She was one of the first women to be admitted to the Société des Compositeurs in Paris.

As a renowned pianist, she was the first performer of Beethoven's 32 Sonatas. At the age of 45, after suffering from tendinitis, she gave up the glory of public life to devote herself entirely to research into the "laws of art", focusing on research into piano performance, drawing on sciences such as anatomy, physiology, physics, chemistry, mathematics and psychology. 
His fundamental work was his Method of Physiology (Méthode Jaëll), which revolutionised ideas about piano technique. His thinking can be summed up in the sentence "Body and spirit, movement and thought are one and the same force. The energy of movement is in contact with the intensity of the mental representation of the same movement". His work will consist of promoting musical practice with an internal mental intensity, which associates different states of movement and consciousness, up to a mental representation that links them together and which is the guarantee of the artist's inner unity.

Obras

Scores

  • Impromptu, piano (1871) 
  • Deux méditations, piano (1871)
  • Sis petits morceaux, piano (1871)
  • Sonate pour piano (1871)
  • Dix bagatelles, piano (1872)
  • Valses pour piano à quatre mains, Op. 8 (1874)
  • Quatuor à cordes (1875)
  • Quatuor en sol mineur, piano, violon, alto et violoncelle (1875)
  • Concert n.º 1 en re m para piano y orquesta (1877)
  • Bärenlieder, La Légende des Ours, soprano y piano (1879)
  • Am Grabe eines Kindes: obra para tres coros (1880)
  • Runéa, ópera en 3 actos (1878)
  • 5 Lieder, voz y piano (1879)
  • Ossiane, poema sinfónico (1879)
  • Sonate pour violon (1881)
  • Concerto pour violoncelle (1882) 
  • Concerto n.º 2 en do m para piano y orquesta (1884) 
  • Sphinx, piano (1885)
  • Voix du printemps: Sur la grand route, orquesta (1885)
  • Voix du printemps, piano a 4 manos (1885)
  • Voix du printemps, para orquesta (1885)
  • Adagio, alto y piano (1886)
  • Ballade (1886)
  • Valses mélancoliques, piano (1888)
  • Valses mignonnes, piano (1888)
  • Promenade matinale: esquisses pour piano, Op. 58 (1889)
  • Les Orientales, voz (1893)
  • Trois Pièces pour piano (1894)
  • Sept pièces faciles pour piano (1899)
  • Psaume LXV, coro en cuatro partes, inédito (1917)
  • Recueil de chansons, canto y piano (1917)
  • Harmonies d’Alsace, orquesta (1917)

Pedagogic Works

  • Jaëll, Marie (1894). Le Toucher, nouveaux principes élémentaires pour l’enseignement du piano. París: Heugel & Cie, 2 vols. 
  • Jaëll, Marie (1896). La musique et la psychophysiologie. París: Baillière. 
  • Jaëll, Marie (1897). Le mécanisme du toucher: l’étude du piano par l’analyse expérimentale de la sensibilité tactile. París: Colin. 
  • Jaëll, Marie (1899). Le Toucher, Enseignement du piano basé sur la physiologie. Leipzig, París: Breitkopf, Härtel, Costallat, 3 vols. 
  • Jaëll, Marie (1904). L’intelligence et le rythme dans les mouvements artistiques. París: Alcan. 
  • Jaëll, Marie (1909). Les rythmes du regard et la dissociation des doigts. París: Fischbacher. 
  • Jaëll, Marie (1910). Un nouvel état de conscience: la coloration des sensations tactiles. París: Alcan. 
  • Jaëll, Marie (1912). La résonance du toucher et la topographie des pulpes. París: Alcan. 
  • Jaëll, Marie (1922). Nouvel enseignement musical et manuel basé sur la découverte des boussoles tonales. París: les Presses Universitaires de France.
  • Jaëll, Marie (1927). La main et la pensée musicale. París: P.U.F.
  • Jaëll, Marie (1927). Le toucher musical par l’éducation de la main: un nouvel enseignement artistique. París: P.U.F. 

Bibliografía

  • Briscoe, J. R. (1987). Historical Anthology of Music by Women. Bloomington and Indianapolis: Indiana University Press.
  • Chantavoine, J. (1952). “Lettres inédites de Liszt à Alfred et Marie Jaëll”, in Revue Internationale de Musique, vol. 12, pp. 31-47.
  • Cooper, G.W. & Meyer, L.B. (1971). The Rhythmic Structure of Music. Chicago: The University of Chicago Press.
  • Hurpeau, L. (2004). Marie Jaëll: un cerveau de philosophe et des doigts d’artiste. Lyon: Éditions Symétrie.
  • Kiener, H. et Siegfried, A. (1989). Marie Jaëll 1846-1925: problèmes d’esthétique et de pédagogie musicales. Nantes: Editions de l’Arche.
  • Pendle, K. (1991). Women and Music. Bloomington: Indiana University Press.
  • Wright, G. (1987). France in Modern Times. New York: Norton, Fourth Edition.

Discography

  • Erbès, Lara (p), Erbès, Lisa (vc) et Dubosc, Catherine (sopr). (2005). Sonate pour violoncelle, Mélodies et Lieder, de Marie Jaëll. Solstice, (SOCD 227).
  • Irsen, Cora (p). (2016). Marie Jaëll, Complete Works for Piano, (3). WDR Querstand, (VKJK 1607).
  • Irsen, Cora (p). WDR Funkhausorchester et Tien, Arjan (directeur). (2017). Marie Jaëll, Complete Works for Piano (4), Concertos pour piano et orchestre nos 1 et 2. Querstand / WDR (VKJK 1608).
  • Killian, François (p). (1989). Pièces de Erb, Liszt, Jaëll. Staufen, 1 CD.
  • Labeque, Katia et Marielle (p). (1992). Encore. [Valse de Marie Jaëll et autres pièces de divers musiciens]. Sony, 1 CD & livret.
  • Oneto Bensaid, Célia (p). (2022). Ce qu’on entend dans l’enfer, le purgatoire et le Paradis, pièces pour piano d’après une lecture de Dante, Marie Jaëll. Présence Compositrices, (PC 001).
  • Schmidt-Rogers, Lea (p). (1998). French Character Pieces and Valses à quatre mains. Hildegard, 1 CD.
  • Sorel, Alexandre (p). (1998). Oeuvres pour piano de Marie Jaëll. Sigean: Disques FY et du Solstice, 1 CD.

Enfoque Didáctico

In Music of Secondary Education, in Foreign Language and in active listening activities.
In Professional and Higher Music Education, in the subjects of Piano, Instrumental Ensemble and Singing.
At University, in Teacher Training, in subjects with competences in Music.

Documentos