Clémence de Grandval (21 January 1828 – 15 January 1907), born as Marie Félicie Clémence de Reiset and also known as Vicomtesse de Grandval and Marie Grandval, was a French composer of the Romantic era. She was a person and composer of stature during her life, although less remembered subsequently.[1] Unlike many of her contemporaries, she wrote many pieces for oboe; and unlike her female contemporaries, she wrote several operas. Many of her works were published under pseudonyms.
Contents |
She was born in 1828,[2] into a well-to-do family in the Chateau de la Cour du Bois at Saint-Rémy-des-Monts, the youngest of four children. Her father was an officer in the Légion d'honneur and a talented pianist, while her mother wrote and published stories.[3] Her parents received many composers and artists, including Jean-Baptiste-Philémon de Cuvillon, Auguste-Joseph Franchomme, Louis-Nicolas Cary and Paul Scudo.
At a very young age, she received composition lessons from composer and family friend Friedrich Flotow. Later she received piano lessons from Chopin. Because her family was wealthy, she was able to compose without worrying about financial considerations. A few years later, she married the Vicomte de Grandval and they had two daughters, Isabelle and Thérèse.[3] She subsequently studied for two years with Camille Saint-Saëns.[1] Her social position led her to publish several of her pieces under pseudonyms.[3] These included Caroline Blangy, Clémence Valgrand, Maria Felicita de Reiset and Maria Reiset de Tesier.
Her earliest works were sacred and performed in churches, but she went on to write a number of operas and various popular songs and instrumental works, including many pieces for oboe. However, the orchestral scores of some of her pieces have been lost.[4]
During the 1870s, she played a major role in the Société Nationale de Musique, and was the most played composer in this society. She also gave much money to the organisation.[3] During the second part of the 19th century, she was a very popular composer who was admired by many critics.