Prince Edmond de Polignac
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Prince Edmond Melchior Jean Marie de Polignac (19 April 1834 - 8 August 1901) was a French composer.
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[edit] Heritage, Prison Sentence
Edmond was a descendant of one of the more illustrious families of France. His father Auguste Jules Armand Marie, Prince de Polignac (1780-1847) was the Minister of State in the Restoration government of King Charles X, and was the author of the Thirty Ordinances in 1830, which revoked the Constitution, suspended freedom of the press, and gave the king extraordinary powers, including absolute power in the name of "insuring the safety of the state".
The document resulted in the development of an insurgency and resulted in the "July Revolution" that ended the reign of the Bourbons. The king fled the country, and his cabinet members tried to. Jules de Polignac was captured, tried, convicted and condemned in December 1830 to le mort civile: life imprisonment and a complete loss of civil rights. He was incarcerated in the fortress at Ham.
[edit] Marriages, Arts-Writing-Acting, and Homosexuality
Jules de Polignac, who by his first wife Barbara Campbell had had one daughter and one son, by his second wife Mary Charlotte Parkyns (1792-1864), had, in 1830, two sons, and a daughter was born as he began his sentence. Despite the harsh sentence, visitation was allowed, and two more sons were born to Jules while he was imprisoned. Edmond was his last child, born on 19 April 1834.
His father, legally non-existent, was listed on his act de naissance as 'the Prince called Marquis de Chalençon, presently on a trip'. In 1836 King Louis-Philippe granted a petition for the release of the imprisoned cabinet members on the grounds of their declining physical condition. Jules was released from jail with the proviso that he leave Paris permanently. The family moved to Bavaria, near Landau, where Jules was granted a second Princely title by King Ludwig I of Bavaria, and built a chateau named "Wildthurn".
Edmond received a classical education there, including instruction in Greek, Latin, modern languages, dancing and horseback riding. English, French and German were all spoken regularly in the household. Early on he demonstrated an inclination toward performance and the creative arts, writing plays and comedies for the children's theatre built by his father. His elder brothers mocked him for his frailness and his lack of athleticism; as a sort of recompense, his parents permitted him to take lessons in piano and music theory.
In November 1845 the family returned to France, moving to St.-Germain-en-Laye. Two years later, on 30 March 1847, Jules de Polignac died. The remaining family moved to Paris in the rue de Berri, and Edmond continued his education with a preceptor in the Faubourg St.-Germain. Edmond by now had determined that he would be a composer, though this scandalized his mother, who felt music was an acceptable hobby for an aristocrat, but not an acceptable profession.
Alphonse Thys was engaged to teach Edmond counterpoint, composition, and solfège. He entered the Conservatoire de Paris and studied harmony under Henri Reber. His pre-existing frailty, the rigors of the conservatory curriculum, his chronic gastrointestinal problems, and the internal pressures of his concealed and, perhaps, mistrusted homosexuality led to periods of great musical productivity alternating with stretches of illness and inactivity.
In 1860 Alfred Beaumont, director of the Opéra-Comique asked Edmond to supply the music for a libretto by Roger de Beauvoir. He composed an opéra bouffe, Un Baiser de Duchesse, but Beaumont left the Opéra-Comique before it could be produced. Depression, and family pressure to marry, ensued.
In 1861 Edmond was a founding member of the Cercle de l'Union Artistique, formed to promote performances of great music in venues other than theatres. Besides the aristocrats, the club included Gounod, Berlioz, Auber, and Catulle Mendès. The Cercle supported Wagner after Tannhäuser's resounding failure in its 1861 Paris Opera debut.
Edmond began writing for the amateur male choruses (orphéons) which had begun to proliferate in France, revealing a gift for choral composition, and winning first prizes in competitions for orpheonic works in 1865 and 1867. He also began to write for chamber ensembles.
Opera, though, was the path to fame, and when the Ministry of Fine Arts mounted a contest in conjunction with the World's Fair in August 1867 for a new opera on the libretto La Coupe du Roi de Thulé, Edmond, and forty-one other composers, entered. The winder Eugène-Émile Diaz de la Péna, was a student of the chairman of the judging jury. The losers included Jules Massenet in second place and Georges Bizet in seventh place. Edmond's score, ranked fifth, had been rated lowly because its orchestration - calling for two bass clarinets - was considered horribly complicated.
Edmond joined other clubs for their social status: the Jockey Club, the most exclusive, and the Cercle de la rue Royale, a venue for idling, smoking cigars, discussing politics and the stock market. The indolence of the Cercle de la rue Royal, and of Edmond, was caught in James Tissot's 1868 painting Le Balcon du Cercle de la rue Royale. He buried himself in mystic obsessions and enthusiasms.
In 1875 a new friend entered his life, Comte Robert de Montesquiou, a beautiful and intelligent man twenty-one years his junior. They shared many interests, including men, and it is possible they began a sexual relationship at that time. In his later years, Montesquiou used his wit to shield himself from genuine human emotion, and in this form is remembered as a model for Des Esseintes in Huysman's A Rebours, and the Baron de Charlus in Proust's À la recherche du temps perdu.
In the early days, though, Montesquiou and Polignac were a complementary pair: Edmond had at last someone with whom to share his deepest longings, while Montesquiou could actually share genuine emotional interaction. The pair traveled together; to country houses, to London, and to Bayreuth. Through Montesquiou's circle, he made the acquaintance of the Elisabeth, comtesse Greffulhe and of Gabriel Fauré, and became a member of the Société Nationale de Musique, where Edmond's compositions were performed alongside those of Chausson, Debussy, and Fauré.
In 1879 Edmond had independently reinvented the octatonic scale (it had been used in Russian folk music for centuries). He used it for his three-part Passion oratorio, Échos de l'Orient judaïque, and in his incidental music for Salammbô. These works, though played, proved unpopular, and Edmond, inept with money, and victimized by charlatans only too happy to prey on his credulity, had been lured into a series of get-rich-quick schemes, and was now destitute; his nephews, shocked by his penury, helped him with loans, but noted that desperate action was needed.
[edit] Meeting of Winnaretta Singer, and the Singer Fortune
The solution they suggested was marriage to a woman of appropriate means. Edmond discussed the matter with Montesquiou, and Montesquiou with his cousin Élisabeth Greffulhe, and out of these conversations the name of Winnaretta Eugenie Singer, daughter of Isaac Singer, the sewing machine tycoon, with her marriage to Prince Louis de Scey-Montbéliard lately annulled, arose.
Now merely an ex-princess, her social status could be improved by marrying a prince, even a poor one. And the arrangement would have other benefits: Winnaretta was lesbian and not sexually interested in men at all, in fact her first marriage of five years was never consummated. She was intimately interested in music, however, something the two did have in common.
Edmond and Winnaretta had met long before the idea of a marriage between them had occurred. But bringing up the suggestion proved delicate. Edmond asked the Comtesse Greffulhe to sound out Madame Singer on the subject of a mariage blanc (unconsummated marriage), in which each partner would have their own bed but would share artistic interests. After a series of arranged meetings, it was Winnaretta who moved things forward.
She wrote Montesquieu, complimenting his taste in decor (he favored decorative bats and blue hydrangeas), and asked for his help with redecorating her house. When actress Sarah Bernhardt (the only woman Robert de Montesquiou ever made love to, though he vomited for a week afterwards) visited Paris, she asked Montesquiou to procure the use of Winnaretta's atelier.
[edit] Mutually Beneficial Marriage Arranged
The success of that project emboldened Montesquiou to ask that Winnaretta speak with Madame Greffulhe, and there the arguments were reviewed; her social position, compromised by divorce, would be improved by an alliance with one of the oldest and most distinguished aristocratic families in France; with the thirty-one year age difference, and the predilections of the bride and groom, Winnaretta would be free to lead her personal life as she wished, with no sexual demands from Edmond.
The advantages clear, a friendship and affection grew. Montesquiou delighted in having made the arrangements, but pointedly reminded Edmond of their own bond in his 1892 poem Effusions, full of phallic imagery. But Edmond and Montesquiou had become more emotionally distant as Edmond and Winnaretta became closer.
In November 1893, Edmond proposed marriage to Winnaretta, and she accepted, a year after the idea had first been broached. On 15 December 1893 the couple were married by the Abbé de Broglie in the Chapelle des Carmes. The union received the blessings of Pope Leo XIII.
The Polignac family accepted the union but took no great pleasure in the alliance; all Americans were equally unacceptable, so there was no compunction in selecting a rich one. And Montesquiou - who felt Edmond owed him a debt of gratitude for effecting this marriage of convenience, felt slighted when Edmond was not sufficiently effulgent.
The marriage freed Edmond to create, and Winnaretta to promote his creations, and the happier they became, the more scurrilous the stories Montesquieu would spread about them. Winnaretta became close with Edmond's niece, Armande, who was also a musician. Winnaretta became a patron in public musical circles, and was soon running an aristocratic salon in her renovated atelier. With a vaulted two story ceiling, 12 x 10 meters, and housing a Cavaillé-Coll organ and two grand pianos, the room was a study in green and blue elegance.
On Tuesdays, her organ evenings were especially sought after, and featured the great performers of the day, including Widor, Gigout, Fauré, Vierne, and Guilmant. Winnaretta branched out into painting. Proust received much of his musical education at Winnaretta's soirées, having fallen in love with one of their musical friends, Reynaldo Hahn, and Edmond's octatonic compositions were first heard at a charity event arranged by her for the benefit of an orphanage.
In 1896 mouths chattered about Winnaretta and the Paris lesbian set, including the Baroness of Nyvelt, the Marquise de Morny, and the Baronne Deslands, Natalie Barney, Colette, and Romaine Brooks. That same year Winnaretta's sister died, and Winnaretta became a surrogate mother to her niece, Marguerite "Daisy" Decazes.
Edmond served as one of the founding committee of the Schola Cantorum
During the Dreyfus Affair in 1894, Edmond and his brother Camille were staunch Dreyfusards, while most of the rest of the Polignacs, and a remarkable number of musicians, were Anti-Dreyfus.
The couple attended the premiere of Faure's Pelléas et Mélisande in London at the Prince of Wales Theatre on 21 June 1898: the work was dedicated to Winnaretta. The seasonal salons helped promote Edmond's compositions, and the couple traveled in the summers.
The time remaining to the couples' marriage was spent in touring Europe, acquiring a palazzo in Venice, and promoting Edmond's compositions. Edmond died of a febrile illness, on 8 August 1901.
He was interred in the Singer crypt in Torquay. His tomb is inscribed "Edmond-Melchior-Jean-Marie, Prince de Polignac, Born 1834, Died 1901, Composer of Music"
After Edmond's death, The Princess de Polignac (Winnaretta Singer) became an important musical patron in her own right, and a lesbian of great notoriety. From 1923-1933 her romantic partner was Violet Trefusis, former lesbian lover to Vita Sackville-West.
Winnaretta established a prize in music in her husband's name, and commissioned Igor Stravinsky's Renard, Erik Satie's Socrate (1918), Francis Poulenc's Two-Piano and Organ Concertos and Germaine Tailleferre's First Piano Concerto. She also frequently entertained in her salon in Paris, frequented by Marcel Proust, Jean Cocteau, Monet, Diaghilev, and Colette, where Manuel de Falla's El retablo de maese Pedro, harpsichord part performed by Wanda Landowska, was premiered.
She also subsidized Nadia Boulanger, Clara Haskil, Rubinstein, Horowitz, Ethel Smyth, Adela Maddison, the Ballets Russes, l'Opéra de Paris, and l'Orchestre Symphonique de Paris.
[edit] References
- Brandon, Ruth (1977). A Capitalist Romance: Singer and the Sewing Machine. Philadelphia: Lippincott. ISBN 0-397-01196-2.
- Kahan, Sylvia (2003). Music's Modern Muse: A Life of Winnaretta Singer, Princesse de Polignac. Rochester, N.Y.: University of Rochester Press. ISBN 1-58046-133-6.
