Monthly Archives: November 2017

Anna Schoen-René: Soprano, Conductor, Minnesota Pioneer

Anna Schoen-René – singer, conductor, entrepreneur, author, teacher, and the godmother of the present-day Minnesota Orchestra – is like a character from a feminist fairy tale. Walter Damrosch once asked her, “Haven’t they erected a monument to you in Minneapolis yet?” That monument remains conspicuously unbuilt.

In 1941, at the age of seventy-seven, Schoen-René published a book called America’s Musical Inheritance: Memories and Reminiscences. (It’s available to read in its entirety for free here.) Because so little research has been done on her life and career, we have to listen carefully to everything she says, while simultaneously remembering that not all of it has been verified.

This is the first paragraph:

I received my first singing lessons at the age of four – odd little lessons – from our household orderly, Matinetti. He was an all-round fine fellow, always ready to help us children out of our troubles. In his room behind the kitchen, my brother Otto and I used to sit on little stools, watching while he cleaned the uniforms, shoes, and other personal equipment of our large household, and listening to his fairy tales and songs. Matinetti was of Italian descent, though a native of Coblenz, and had a great store of both Italian and German folk-songs. Under his instruction, we not only learned many of these by heart, but acted them out dramatically. After the lessons, the doors to the kitchen would be thrown open, and we would give a performance before an almost tearfully admiring domestic staff. All this was carried on with utmost secrecy – no one in the front of the house was aware of this initiation into the world of make-believe. I have always felt that this marked the beginning of my great desire for a public career as a singer. I began about that time to develop a lively imagination; and as I walked in the forests I would sing to myself and build dream castles by the hundreds – always of future triumphs as a singer.

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Anna Eugénie Schoen was born in 1864, the youngest of eight children, in Koblenz, Germany. According to her book, her father was “Royal Master of Forestry and Agriculture in the Province of the Rhineland and a Councillor at the Court of Wilhelm I, Emperor of Germany, and also an officer of the Reserve in the Honorary Battalion of the Guards.” The family was wealthy, sophisticated, and well-positioned, frequently rubbing elbows with empresses and czarinas. But her father had a strong egalitarian streak, and he insisted that his children spend at least two years in public school in order to become acquainted with children of every class.

Anna’s passion for music was obvious from the start. At an early age, she heard that singing in a choir could potentially harm the voice, so at her school chorus auditions, she “just barked, so to speak.” She succeeded in tricking the chorusmaster, but couldn’t resist singing in front of her friends. Ultimately, word of her deception got back to school officials, and to discipline her, they forced her to sing in front of all her classmates and teachers. Of course, that punishment had the exact opposite of its intended effect: “My longing for a career took a firmer hold than ever.”

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Marie Jaëll: Pianist, Composer, Reclusive Workaholic

Pianist, composer, author, and pedagogue Marie Jaëll’s last words were “I still have so much to do!” Although she had spent a lifetime vigorously, obsessively studying music, she was somehow convinced it hadn’t been enough.

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Marie Jaëll was born Marie Trautmann on August 17, 1846, in the tiny town of Steinseltz in Alsace. Marie loved the countryside, and she especially loved the sounds she heard there. She was transfixed by birdsong, leaves rustling in the breeze, brooks babbling, thunder rumbling, church bells pealing. When she heard a piano for the first time, at the age of six, she became obsessed. She convinced her parents to allow her to take lessons. Luckily they were supportive (interestingly, her mother assumed the role of manager and promoter), and soon she was concertizing across Germany and Switzerland.

By the age of seven, she was taking lessons from Ignaz Moscheles, who had also taught Mendelssohn. By ten, she was a pupil of Henri Herz, who was a professor at the Paris Conservatoire. In 1862, the year she turned sixteen, she entered the Conservatoire proper. After a mere four months, she won the First Prize of Piano. Her playing at this time was especially noted for its passion; she played like a woman possessed. One critic from Nuremberg wrote:

She vibrates with enthusiasm for her art. She forgets all her surroundings. She plays only because she is driven by an inner force… Marie Trautmann sweeps us over and stirs us up.

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