Symphony No. 3 in G Minor, Op. 36
Louise Farrenc (1804-1875)

THE STORY

Louise Farrenc’s legacy was not safeguarded and meticulously preserved, but her known accomplishments show undeniable tenacity. Born shortly after the turn of the 19th century, she received an invitation to the Paris Conservatory at the early age of 15, admitted to study as a pianist. Farrenc had her sights set on composition, but women were barred from receiving instruction on writing music.

Not to be denied, Farrenc sought out Anton Reicha, who had taught such illustrious names as Berlioz, Liszt, and Franck. It was under his tutelage that she cultivated her compositional voice, one rooted in Germanic influences and the Romantic movement rising quickly throughout Europe. Later, accomplished as both a performer and composer, she was appointed professor of piano at the Conservatory—the only woman to hold such a position during the entirety of the 1800s—and taught for three decades.

Farrenc’s decision to compose symphonies was bold—at the time, the musical landscape of Paris focused on opera, with the symphonic medium seen as the territory of German and Austrian composers. Orchestras that performed repertoire outside of the opera pit were few and far between. Her third and final symphony was composed in 1847. Only after two years would she hear the premiere, performed by the Société des concerts du Conservatoire.

LISTEN FOR

• Violins introducing flashes of a motif that evolves into the main, minor melody
• The gorgeous primary theme of the second movement, introduced by the clarinet and supported by horns, bassoon, and timpani
• A sudden ray of sunshine from the woodwinds in the contrasting middle section of the third movement
• The orchestra playing in unison to emphasize striking themes in the fourth movement

INSTRUMENTATION

Two flutes, two oboes, two clarinets, two bassoons, two horns, timpani, strings