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Madame Ravissa de Turin
* 1745 † 1807
Details of the life of a virtually unknown composer Madame Ravissa de Turin, tresse de Clavecin et de Chant Italien is the inscription on the edition of Genovieffa Ravissa six harpsichord sonatas printed in Paris in 1778. It is only recently that details of her life have become known.
Madame Ravissa was baptised Genovieffa Bernardina Maria Vignola between 1745 and 1750. Her parents, who were employed at the royal court in Turin, were Gioanni Vignola and Gionna Battista Colombatta. Genovieffa married the Turin goldsmith Cristofaro Ravissa on 14 August 1764. The couple had four children who were born between 1768 and 1776. As Cristofaro's business went badly, the family's entire possessions, including their house and business premises, were auctioned in 1777. Genovieffa's father thereupon paid for a carriage for his daughter and she travelled to Paris, presumably with her entire family. The first edition of the harpsichord sonatas op. 1 printed here appeared in 1778. On 25 March of the same year she performed two Italian arias at the Concert Spirituel. At the same time she appears to have been greatly sought after as a teacher of "Clavecin" and "Chant Italien". Although relatively brief, the family's stay in Paris was obviously so successful that their financial situation recovered. On returning to Turin Cristofaro resumed his business activities. Genovieffa gave a harpsichord recital at Turin's Teatro Carignano on 9 June 1780. The couple also separated, however, in the same year. While Cristofaro remained in Turin, Genovieffa moved to Neuchâtel, where she was registered as a "musician" as of November 1780. Here, too, she soon found her feet, teaching in the homes of the town's nobility and also finding employment for a season playing the harpsichord in the orchestra of Neuchâtel’s highly active Societé de la Salle de Musique. Following the birth of her illegitimate daughter Frédérique-Elise, Genovieffa left the town in 1791. She was given an excellent testimonial which emphasised her successful pedagogical work. Although Genovieffa's stated destination was Madrid, the records show that she was already resident in Lausanne, together with her children Francois (born Francesco in 1768) and Frédérique-Elise, in December of the same year. There are also records from Lausanne of her teaching activities among the nobility and of recitals in private salons. There are many references to this effect in the diary of Angletine Charrière de Sévery. Genovieffa Ravissa died in Lausanne on 20 February 1807.

Werke:

Six Sonatas pour le Clavecin op. 1 Sonaten I-III
Six Sonatas pour le Clavecin op. 1 Sonaten IV-VI

Karin Rehnqvist
* 21.08.1957 in Stockholm
Karin Rehnqvist wurde am 21. August 1957 in Stockholm als zweite von drei Schwestern eines schwedisch-deutschen Ehepaares geboren. Ihr Vater war Geschäftsführer einer Industriefirma und ihre aus Deutschland stammende Mutter Physiotherapeutin. Karin Rehnqvist wuchs in Nybro in der Provinz Smäland auf. 1982 heiratete sie den Oberstudienrat Hans Persson, mit dem sie drei Kinder hat.
Nachdem sie 1980 ihr Musiklehrerinnenexamen gemacht hatte, begannsie mit dem Kompositionsstudium am Royal College of Music in Stockholm bei Gunnar Bucht, Sven-David Sandström, Arne Mellnäs, Pär Lindgren und Brian Ferneyhough. Ein charakteristisches Merkmal ihrer Musik ist die Synthese von Kunst- und Volksmusik. Das Volksmusikelement ist ein wichtiger Bestandteil ihrer Musik und wird nicht nur aus Effekthascherei oder aus nostalgischen Gründen eingesetzt. Dennoch ist Karin Rehnqvist unverwechselbar eine Kunstmusikkomponistin. Obwohl ihre Musik nicht leicht in Kategorien oder 'ismen' einzuordnen ist, behält sie ihren kennzeichnenden Charakter, der nicht von Kunstmusikdebatten betroffen ist. Dies meint, dass Diskussionen über Modernismus und Postmodernismus oder über Exklusivität und Popularität für Karin Rehnqvists Kompositionen ohne Relevanz sind. Rehnqvists eigene musikalische Sprache erweist sich in ihrem Schaffenals bemerkenswert konsistent. Der Atemrhythmus, die Basis des Gesangs, durchzieht Rehnqvists Musik. Ihre Kenntnisse alter Musik und ihrer Instrumente treten manchmal deutlich zutage, der Stil jedes einzelnen Werkes hängt zum Teil ab von den individuellen Musikerinnen oder Ensembles, für die es geschrieben wurde. Zwischen 1976 and 1991 leitete Rehnqvist den Laienchor Stans Kör. Dies führte zu einer engen Beziehung zur Vokalmusik und erweckte ihr Interesse an verschiedenen Zugängen zu Aufführungen. Diese Erfahrung hat viele Werke beeinflusst. 1982 komponierte Rehnqvist 'Davids nimm', das zu ihren am meisten gespielten und geschätzten Werken gehört. Die eigentümliche Verwendung schwedischer Volksmusik im Rahmen von Kunstmusik und die originelle Kombination elektronischer und akustischer Techniken sowie der Klang dreier starker, konfrontativer, umfangreicher Frauenstimmen a cappella üben eine starke Faszination aus. Da der schwedische Rundfunk eine Aufführung mitschneiden wollte, suchte Karin Rehnqvist dafür passende Sängerinnen sie engagierte Lena Willemark und Susanne Rosenberg, und von diesem Zeitpunkt an entwickelte sich eine jahrelange intensive Zusammenarbeit. Mit 'Davids nimm' fand Karin Rehnqvist ihre eigene, unverwechselbare Stimme und ist ihr seitdem treu geblieben.

Werke:

Annäherung XII - an sieben Komponistinnen XII

Louise Reichhardt
* 1779 † 1826
Louise Reichardt (1779–1826), the daughter of Johann Friedrich Reichardt and Juliana Reichardt, née Benda, both professional musicians, knew many of the leading poets and thinkers of her day. Goethe called the Reichardt family estate in Giebichenstein, near Halle, where he also visited, "die Herberge der Romantik" (the hostel of Romanticism). She composed songs in the folk-like style espoused by her father, choosing poems by poets she knew personally, including Achim von Arnim, Clemens Brentano, and the artist Philipp Otto Runge, Ludwig Tieck and Novalis.
Although the poet Joseph von Eichendorff referred to Louise as the daughter who "composed Goethe songs", only two Goethe settings are known today, one of which appears here.

Werke:

Annäherung XI
Lieder romantischer Dichter Vol. 1: songs for high voice
Lieder romantischer Dichter Vol. 2: songs for low voice
Inspired by Goethe. Songs by women composers of the 18.th and 19.th Centuries
Christmas Carols by Women Composers Vol. 4

Jeannine Richer
* 1924
No description available!
No description available!

Werke:

Fragment Minéral I

Bess Ruddisill
No description available!
No description available!

Werke:

Ragtimes

Zoé de la Rüe
Zoé de la Rüe is found in a small amount of sources also by the spelling “de Larue” or “Delarue”. On the editions of her music she is always spelled “Zoé de la Rüe”, though. It seems like she has been confused already during her lifetime with Eugénie de la Rüe (1777–1816) née Beaumarchais, who was also a musician in Paris at the same time. For sure Zoé de la Rüe was pupil of pianist and composer Daniel Steibelt (1765–1823).
Furthermore contemporary sources characterized her as “célèbre harpiste”, who wrote six sonatas for her instrument, showing much talent. In the newspaper Zeitung für die elegante Welt Berlin (Newspaper for the elegant world, Berlin) a Paris correspondent reports about her: “I am more and more fascinated by Madame Zoe de la Rue. Only thinking of the rareness of a young, very beautiful Frenchwoman (not Parisian), surrounded by elegance and richness, who retires from all time-killing circles, to dedicate herself only to the education of her children and the intensiv study of the arts, and this all with a simpleness, a modesty, as if it could not be otherwise.” Her husband had been member of the Council of Five Hundred, the lower house of legislature of France during the French revolution. He was arrested after the failed revolution of the 18th Fructidor (September 4th 1797) and deported to the penal colony Sinamary in French-Guayana. He was able to flee after eight months to London and later to Germany. The couple had at least two children: a daughter by the same name, who was befriended to Franz Liszt and Marie d’Agoult, and a son, Général Comte de la Rüe (1795–1872), who participated substantially on the drawing of the frontiers between Morocco and Algeria (1845). From an obituary in 1833, in which Zoé de la Rüe is named the best pupil of Daniel Steibelt, the conclusion can be drawn that she died in 1832. A couple of years ago a picture painted in 1804 by Jean-Auguste-Dominique Ingres (1780–1867) bearing the title Comtesse de la Rue, mother of Général Comte de la Rue, was auctioned from the estate of Yves Saint Laurent.

Werke:

L‘amour et le printemps. Songs around 1800

Catharina van Rennes
* 1858 † 1940
The Dutch singer, music educator and composer Catharina van Rennes enjoyed a good deal of fame during her life time, both for her pedagogical activities and for her songs. After studying singing (with Johan Messchaert) and composition (with Richard Hol), she began her career as a soloist, appearing in operas and oratorios. In 1887 she founded her own school of music in Utrecht, teaching singing, music theory and Dalcroze rhythmical gymnastics. For more than 40 years she inspired a love of music in generations of young people. For the coronation of Queen Wilhelmina in 1898 she conducted her Oranje-Nassau-Cantata op. 33 with a choir of 1.800 children and with orchestra.
She composed more than a hundred children’s songs, songs for adult voice-lessons and for performances, using the Dutch language. The songs, highly regarded for their freshness, appealed to the imagination of both young and adult. For the women’s choir founded by herself she composed vocal duets, trios and quartets. Van Rennes was skilfully able to adapt her style of writing to suit the interpreter in question, creating from the simple to classic art song, a skill she shares with Fanny Hensel.

Werke:

Christmas Carols by Women Composers Vol. 3

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