her kind: welcome & introduction

Welcome to her kind!

Welcome to her kind—a new column at arts, ink. that takes a closer look at women in the arts: their works, their influence, and their history. This column will feature a different artist each week, and we’ll be covering a wide variety of disciplines, from poetry to visual arts to composition. The title of this column comes from Anne Sexton’s poem of the same name.

My name is Nicole Knorr; I’m a composer/pianist pursuing my Master’s degree here at the University of Michigan. I wanted to start a column on women in the arts for two reasons: I get to research and find wonderful work to feature, and I get to host a platform where women’s art is celebrated and brought to readers’ attention. To go along with the blog, I’ve created a Spotify playlist (here) so you all can listen to the work featured, and those of you who perform might find some repertoire to take on someday.

I’m looking forward to sharing some of my favorite art with you all, and I’m excited to host a space where we can celebrate fantastic art together, so cheers! As artist and professor Joan Semmel put it:

 ‘…if there are no great celebrated women artists, that’s because the powers that be have not been celebrating them, but not because they are not there.’

Germaine Tailleferre

This week, I want to start with one of my favorite composers: Germaine Tailleferre. I discovered Tailleferre a few years ago while looking for piano repertoire for the semester. I chose her Pastorale, and for the first time, I studied a piece that wasn’t written by a guy. Yes—after studying piano for over ten years, I hadn’t played a single piece of music by a woman—so Tailleferre holds a special place in my heart.

Tailleferre lived from 1892-1983 and grew up in fin-de-siecle Paris. She was the only female member of Les Six, a group of French composers who rejected both Wagner’s dramaticism and Debussy’s impressionism. They were interested in composing music for everyday—music the average listener could enjoy—while still maintaining technical rigor and prowess.

Her pre-war period was her most prolific—her catalogue of this era boasts a comic opera, a violin concerto, several songs, and the scores for seven films. When Tailleferre fled to the Pennsylvania during the 1940’s due to WWII, she married artist Ralph Barton, who disapproved of her composing career, so her musical output steeply declined. It wasn’t until she decided to divorce Barton and return to France in 1946 that she began composing again, but once she did, she built up her catalogue significantly.

Still life by Pablo Picasso, one of Tailleferre’s contemporaries.

The piece I’d like to highlight is Tailleferre’s piano concerto. It’s a highly effective piece, and I’m excited to share it with you, so let’s dive in!

The work premiered in December 1924 to a highly positive critical response. Tailleferre was hailed as a progressive; Stravinsky himself said of the concerto, “It is virtuous music!” The piece blends Tailleferre’s French roots with Baroque figurations and perhaps even some American influence. While she does follow Les Six’s ideology of composing “everyday music,” or music for the working class (no more Wagnerian drama or elaborate Debussian orchestrations), no one can deny the pristine clarity and rigor of the work—despite being accessible to the average audience.

The piece opens with a lively first movement—the strings and piano in conversation, then upper winds join, and finally Tailleferre turns our ear to the brass. One can hear the influence of Bach here, the motive is passed seamlessly between voices, and there is hardly a moment of reprieve. I was struck by the cadence capping the first movement; it’s Coplandesque–reminiscent of what one might hear in his Rodeo suite.

 

Of the slow movement, pianist Alfred Cortot says “Voilà qui n’est pas moins beau que Bach” (Here’s

Another piece by an artist who influenced Les Six: Matisse’s “goldfish with cat”

something no less beautiful than Bach). Similar to the first, the music presses onward with little space provided for rest. This maintains a steady sense of momentum, in true baroque fashion. The orchestration fills out over time. Tailleferre begins with the stark upper register of the solo piano,sparsely harmonized—the upper winds slowly filter in, then the strings add warmth as the piano’s lower register is introduced. There is an insistent pedal point occurring in the piano part for much of the piece to build tension. The piece unfolds into a densely orchestrated climax and falls away into the same register it began—this time supported by a few more members of the orchestra.

The third movement is a jubilant celebration. The rhythmic motor returns, accompanied by modal mixture, a staple in the Les Six vocabulary. This movement display’s Tailleferre’s affection for contrapuntal rigor—an effective closing for the work.

 

I hope you get a chance to listen and enjoy Tailleferre’s music as much as I do. You can listen to my favorite selections of Tailleferre’s music in this playlist, or you can scan her Spotify barcode below and explore for yourself. In the future, I’ll be adding a bit more of a reactive element in my blog posts—sketches inspired by the art discussed. Thanks for reading, and I hope you’ll join me next week!

My Name is Minette, Chapter Eighteen: Another World (Final)

They sang along with the old man, raising their arms to the sky and moving their hips to the music. Their movements were free, liquid, completely unrestrained. The music possessed them.

They were free.

Paw swore, nudging Lumpy to move faster. The horse snorted, bothered, but obeyed, moving at a faster clip. With a tight jaw, Paw spit onto the front steps of the building as they passed. The patrons didn’t blink an eye.

Minette couldn’t look away, either, maintaining eye contact with the old man until the building and its music vanished out of sight.

“Paw, what was that place?” Minette asked.

“Droz’s only sin,” Paw growled with a startling vitriol. “That place is for freaks and thieves. Everyone knows that place is dangerous. Our walls are to keep riff-raff out–they don’t belong in here with us. If they can come in, they can get the bees out.”

“Oh. That’s… terrible,” Minette said, trying very hard to sound disgusted.

“You’re damn right,” Paw snapped. “Just keep working, marry a nice woman, give her a good son, and keep your head down, and you won’t end up like any of them.”

Minette didn’t respond. She turned around, trying to catch another glimpse of the mysterious establishment, but it was gone.

***

This signals the end of part one of My Name is Minette, and also my final submission as a blogger for Arts, Ink., as I am graduating in May! I have just completed the novel as my honor’s thesis, and hope to query it to agents and eventually get it published.

I would like to thank Joe and all the lovely folks at Arts, Ink. for all their support and for making a dream come true.

You can find my other works at theopoling.com, and my student org at transgncartsreview.org.

Thank you,

Theo

My Name is Minette, Chapter Seventeen: Something New

She looked to Paw and his clenched jaw. “Where are we? Do you know where we’re going?”

“Of course I do,” Paw grit out. “We’re out in the sticks. It must just be a little bit further.”

Minette shook her head at Paw’s stubbornness. The only thing they stood to lose if they turned back and went another way was Paw’s pride. Minette stared straight ahead, hoping the hills would rise up over the next turn, guiding them safely to the mines. 

Droz didn’t feel like Droz here. Like this place was something unspoken–something not to speak about. And it was true, in a way—Minette had never been taught that Droz was anything other than a merry little community, safe in its walls.

Seeing something that contrasted that so aggressively made a cold feeling sit in her gut. How little did she know about the world beyond her front door?

A new building caught Minette’s attention. This one had a life dissimilar to the shacks and homes around it. It was two-story, brick, with a broad porch that wrapped around the building. All of the windows were open, and music, noise, and voices echoed out from the premises.

On the porch, a couple of old men with sunburned, sagging skin and bright white hair sat nursing their beer bellies in rocking chairs. One of the men had a banjo. He played a song that was like nothing Minette had ever heard before. It was twangy and morose, but oddly upbeat: she felt like she could weep over a dead lover and beat the bees out of a bad guy while listening to it.

The banjo man caught Minette’s eye. Her breath caught in her throat. Instead of glaring at her, or chasing her away like she thought he might, he smiled over at her, gap-toothed, and played even faster, singing along with a raspy croon. His eyes never left Minette’s, even as his fingers flew across the banjo strings.

Some other people came out from inside the building, and Minette couldn’t tell if they were boys or girls. People without shirts on. People with their shapes hidden under cloaks. They were of all heights and weights, skin colors and origins. They dressed like bandits and street workers, bartenders and night-walking women. They smoked and spit into spittoons.

They were something utterly new to Minette.

New, and not terrifying. No, they piqued Minette’s curiosity.

My Name is Minette, Chapter Sixteen: The Other Side of Town

The mines were on the opposite side of town, set into the hills and crags just beneath the walls like orange and brown canyons. Dark caverns stretched underground for miles, yawning, black mouths opening out from the hillside.

They headed toward Main Street, which was a straight shot through Droz and out the other side to the hills full of copper.

When they got close, though, Paw’s nose grew just as wrinkled as hers.

Main Street was the center of life in Droz, and apparently all that life was all out in the streets today.

The heat pushed crowds into its shady streets and pubs, food and drink in high demand. Bodies and donkeys and horses crowded one another, elbows bumping elbows and shoulders hitting shoulders, creating a density like that of cranberries shoved into a bucket to be smushed into juice.

“I know another way,” Paw grunted, jerking on Lumpy’s reins, directing the horse away from the loud, overlapping shouts and cries of peddlers and hagglers on Main Street. He took them on a zig-zagging route, moving farther and farther east until they were on the edge of Droz.

Minette had never been to this part of the city before in her life. She sat up straighter, holding her hand up as like a visor and squinting into the sun, peering at the buildings strewn about.

This neighborhood felt abandoned. Instead of cobblestones and pavers and bricks, this part of town was dotted with listing huts with gaps in the thatch; warped-wood, grey wooden buildings; and scraggly, unkempt vegetation creeping along dirt roads.

They were close to a run-down section of the wall, black with soot and shiny with moss, close enough that the entire area was cast in a permanent shadow.

They passed a few people walking in the road, wandering in the fields, lurking on porches. Each and every one of them stared up at Minette as she passed, stopping in what they were doing. She was a spectacle, something new, and the tired mistrust was apparent on their lined faces.

It made her feel itchy, sweaty, like eyes were sticking to the small of her back along with the humidity.

They were outsiders. They weren’t welcome here.

My Name is Minette, Chapter Fifteen: The Promise

She felt like a specimen on a biologist’s desk about to be dissected, insides revealed.

But she was being selfish.

It wasn’t all about her. It wasn’t about her hair or her clothes or what she wanted. It was about Rhys, and Irma, too, and Maw and Paw. It was about the house and the animals and the smithy and the copper awnings covering businesses all over town. It was about a legacy and a promise.

A promise Minette had been held to since the day she was born. A promise she could not break.

She blew out her candle, sinking into a collection of nightmares filled with disembodied hands touching her, pulling her taller and wider, ballrooms burning away, mirrors breaking when she passed them.

 

***

 

That morning, she awoke on time, ignoring Edric’s Tale on her nightstand. She went downstairs, kissed Maw on the cheek, and grabbed a chunk of goat cheese. She ate it while sitting in the back of the cart, watching Lumpy’s tail flick persistent flies away.

It was even hotter today than yesterday, and the whole world seemed to groan under it, Minette included. The cicadas were loud this year, and their cries sang of exhaustion. They made Minette feel like she was permanently caught between sleep and wakefulness.

They were their only cart large enough to haul from the mines, which also happened to be their shittiest cart. Minette felt straw and dirt and nails poke her in the butt, and the slightest pothole or pile of horse shit sent her flying. She held onto the cart with a white-knuckled fist, chewing at the inside of her cheek and trying valiantly to block out any and all of her thoughts.

At the mines today, she would pick a nice big lode of copper to take to the smithy and demonstrate her skills to the town in a masterpiece of some kind, probably a fancy awning. This would start her partnership with her father. And that would turn her future from molten metal, shape-changing and uncertain, into something solid, hammered down. Inescapable.