Elisabeth jacquet de la guerre biography definition
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Elisabeth-Claude Jacquet de la Guerre was a child prodigy, singing and performing on the harpsichord at the court of Louis XIV at age five. The Jacquet family contained a number of musicians and instrument makers, including virtually all of her immediate family; her father and both brothers were organists, and her elder sister played harpsichord or viol for the household of the Duchess of Guise.
In the July 1677 edition of the Mercure galant, she was described as "a wonder" who could sing difficult music at sight, accompany herself or others on the harpsichord, and compose pieces and play them "in all the keys asked of her." Louis XIV encouraged her career, and for several years she was officially attached to the household of Madame de Montespan, at that time the principal mistress of the king. She left the court for Paris after her marriage to the organist Marin de la Guerre in 1684, after which she occupied herself with teaching and performing. She hosted concerts in her own home as well as performing at the Théâtre de la Foire and was reputed to have a great gift for improvisation.
She retired from public performance in 1717; her last known work, a Te Deum (now lost) celebrating the recovery of Louis XV from smallpox,
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Elisabeth Jacquet symbol La Guerre
Dr. Peter N K Leech
Journal of Religious Studies, 2017
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Jacquet de la Guerre, Elisabeth-Claude (c. 1666–1729)
French composer and musician . Name variations: Elisabeth de la Guerre. Born Elisabeth-Claude Jacquet around 1666; died on June 27, 1729, in Paris, France; daughter of musician Claude Jacquet; married Marin de la Guerre, in 1684 (died 1704); children: one son (died young).
Elisabeth-Claude Jacquet was born around 1666 into a family of Parisian instrument makers and musicians. She and her siblings were trained in music by her father, an organist and harpsichord maker. Widely regarded as a prodigy, she first performed on the harpsichord before King Louis XIV when she was four. Her talent won her the lifelong support and protection of Louis and the subsequent admiration of Paris. In 1677, an article calling Elisabeth-Claude "the marvel of our century" appeared in a Parisian magazine, noting that she had already distinguished herself as a singer, harpsichordist, and composer. She continued to play frequently at the royal court, where the king placed her under the protection of his mistresses, Madame de Montespan and Madame de Maintenon , and provided her an annual stipend.
In 1682, Elisabeth-Claude declined the king's invitation to move with his court to Versailles, preferring to remain in Paris, where she enjoyed