SEXTET FOR PIANO AND WINDS in C minor, Op. 40 by LOUISE FARRENC (France, 1804 – 1875)

[#298] April 06, 2025 1852 | Grade 6 | 25’ – 30’ | Chamber Winds

Sextet for Piano and Winds in C minor, op. 40 by French composer, pianist and teacher Louise Farrenc is our Composition of the Week.

Written in 1852, this work showcases Farrenc’s mastery of counterpoint, rich harmonies, and dramatic expression, influenced by Classical and early Romantic styles. It is one of her few compositions featuring wind instruments, alongside her celebrated Nonet, Op. 38 (scored for flute, oboe, clarinet, bassoon, horn, violin, viola, cello, and double bass).

Historical records suggest that Farrenc composed at least one wind quintet, though no complete manuscript has been found.

The sextet Op.40 is scored for piano and woodwind quintet, and it is structured in four movements.

1. Allegro – The first movement opens with a dramatic, stormy theme in C minor, establishing a bold and expressive character. The interplay between the piano and winds is intricate, with sweeping piano passages and beautifully crafted wind lines. The movement features thematic development and harmonic richness, hallmarks of Farrenc’s compositional style.

2. Andante – A lyrical and expressive slow movement, marked by warm wind melodies supported by a delicate piano accompaniment. The harmonic language is rich yet transparent, allowing each instrument to shine in turn.

3. Menuetto: Allegro vivace – This movement is a lively and rhythmically engaging minuet, infused with elegance and charm. The playful exchanges between the instruments create a light and buoyant atmosphere, contrasting with the more dramatic outer movements.

4. Finale: Presto – The concluding movement is a virtuosic and energetic piece, bringing the work to an exciting conclusion. Farrenc’s skillful handling of form and counterpoint is particularly evident here, as she weaves together rapid passages and dynamic contrasts.

Farrenc’s Sextet blends Classical clarity with Romantic expressiveness. It reflects the influence of Beethoven, especially in its dramatic first movement, while also incorporating the lyrical qualities found in the music of Schumann and Mendelssohn. Her use of counterpoint and detailed instrumental writing demonstrates her deep understanding of chamber music.

The work has a duration of about 22 minutes.

Louise Farrenc was recognized for her exceptional contributions to 19th-century classical music. Despite the gender biases of her time, she gained significant respect as a composer and became one of the most prominent women in European classical music history.

Born Jeanne-Louise Dumont in Paris on May 31, 1804, Farrenc came from an artistic family—her father and brother were well-known sculptors. She showed early musical talent and studied piano with Antoine Reicha, a composer and theorist who had also taught Liszt and Berlioz.

Louise was widely regarded as a virtuoso pianist and toured Europe in her early years. However, after marrying flutist Aristide Farrenc in 1821, she shifted her focus to composition. Her husband supported her career, publishing her works and helping establish her reputation.

Her compositions include: three symphonies, chamber works, music for piano and several orchestral overtures.

Farrenc’s chamber music, especially her wind and string works, is considered among the finest of the 19th century, often compared to Beethoven, Schumann, and Mendelssohn.

In 1842, Farrenc was appointed professor of piano at the Paris Conservatory, a remarkable achievement for a woman at the time. She held this position for 30 years and was highly respected as a pedagogue.

Despite her success during her lifetime, Farrenc’s music was largely forgotten after her death in 1875. However, in recent decades, her works have been rediscovered, and she is now celebrated as one of the great composers of the Romantic era.

Her music, particularly her chamber works and symphonies, continues to gain recognition for its structural brilliance, lyrical beauty, and rich harmonic language.