The Domestic Phenomenon of the Eighteenth Century

Over the centuries, gender and musical instruments have been a topic of tremendous discourse. One of the earliest examples of this discussion can be found in The Courtier’s Book by Baldassare Castiglione: “and thus in dancing I would not see her use too active and violent movements, nor in singing or playing those abrupt and oft-repeated diminutions which show more skill than sweetness; likewise, the musical instruments that she uses ought, in my opinion, to be appropriate to this intent. Imagine how unlovely it would be to see a woman play drums, fifes or trumpets or other like instruments; and this because of their harshness hides and destroys that mild gentleness which so adorns every act a woman does.”1 These words are a true reflection of the times they were written in (1528), right through to the eighteenth century. The instrument deemed appropriate for women of the eighteenth century was the pianoforte.

In the early 1700s, the Italian harpsichord inventor Bartolomeo Cristofori wanted to create an instrument that would have superior finger response and sound. He called the instrument the gravicembalo col piano e forte (harpsichord that plays soft and loud). Cristofori replaced the plectra (which plucked the strings of a harpsichord) with felt tipped wooden hammers, which strike the strings according to the pressure given by the player. This made the instrument more versatile by enabling the instrument to produce more sounds and dynamic variations. In 1768, Johann Christian Bach played the first public performance on the pianoforte. During this time, the pianoforte became more popular for both singers and, due to the advancements (such as pedals and hammers), within the female domestic scene. Women’s musical accomplishments reflected a family’s gentility. They demonstrated that the family had the time for leisure activities and that they could afford an instrument, along with private lessons.

Keyboard instruments, such as the pianoforte, were the most suitable for eighteenth-century ladies. English dance choreographer John Essex declared in 1721 that “the harpsichord, spinet, lute and base violin, are instruments most agreeable to the Ladies: There are some others [that] are unbecoming the Fair Sex; as the Flute, Violin and Hautboy; the last of which is took Manlike and would look indecent in a Woman’s Mouth; and the flute is very improper, as taking away too much of the Juices, which are otherwise more necessarily employ[e]d, to promote the Appetite, ad assist Digestion.”2 In this instance the term ‘juices’ refers to

a woman’s saliva. However, it was philologist and composer Carl Ludwig Junker, in Vom Kostüm des Frauenzimmer Spielens who identified most forthrightly which instruments were proper for ladies to play and which were not. Junker was especially opposed to women playing the horn, cello, and bass. Junker’s four main criteria to support his view were the shape and form of a women’s physical body while playing an instrument, their chosen fashion while playing, the instrument’s sound in comparison to the character of women and the inappropriateness of certain postures required for instruments. The piano met his requirements.3 The performer was not required to turn their body into an ‘unnatural’ position, nor move it in a way that might suggest that they were unvirtuous. A lady could sit with her legs together, face peaceful, with fingers stretched out and pressing down on the keys, while the mechanics of the instrument (which were invisible to the lady’s audience) produced the sound.

Unlike other genteel women’s activities like needlework, upper class society viewed the cultivation of music favourably because “it could be shown off best while actually, being accomplished” gracefully and effortlessly.4 Demonstrating one’s ability at the piano also permitted interaction with men in a socially acceptable and respectable environment. According to Jean-Jacques Rousseau, eighteenth-century women learned the pianoforte for enjoyment, beauty, and morality.5 Composers and music publishers of the eighteenth century produced pianoforte scores such as sonatas, rondos, variations, and minuets for amateur female musicians to play and understand. These pieces were meant to sound simple and highlight the female musicians’ technical accomplishments.

Within the setting of one’s home a lady could entertain her relations, but if she happened to be single, there could be an ulterior motive for inviting guests who were not relations. These meetings could lead to marriage. Pianofortes were often given as wedding gifts to couples. For a man to turn pages for a lady or to play a four-hand composition with her was an intimate form of communication and romance.6

Although women were encouraged to participate in small chamber performances within the home, they were not permitted to perform professionally as instrumentalists. It was believed that women who performed in front of men in order to earn an income presented themselves as courtesans. Despite this, socially successful women were expected to be present in the audience of public concerts. Advertisements for concerts encouraged women to attend as demonstrated in this poem for a benefit concert in Paris on 25 March 1781: To the Ladies. Charming sex, whom I seek to please, Come embellish the abode of our talents; By your presence warm up my accents: Just one of your looks brings me to life and light me up. Eh! What does it matter to me, this much vaunted Laurel With which genius is crowned, This seal of immortality, If it is not Beauty who gives it. - BRH & JPB7

The pianoforte was a significant cultural domestic phenomenon of the eighteenth century. The instrument was located within the home specifically to entertain a family’s guests, and assist in forming connections between families through marriage, in a socially acceptable manner. Ultimately, the female pianist became a symbol of a harmonious, financially thriving, and cultured home.

Hanna-marie Gazso (she/her)

Double major in History and Music