de Polignac, Armande. (1876–1962)

Rare Signed Cabinet Photograph

Very uncommon signed Desgranges of Nice cabinet photograph of the French composer, dated June, 1907. Scattered light stains and handling marks around the edges, extensively annotated for apparent publication on the verso, else fine. 5.4 x 7.4 inches.
A student of Eugène Gigout and Gabriel Fauré, as well as with Vincent d'Indy at the Schola Cantorum, the comtesse de Chabannes-La Palice, born Marie Armande Mathilde, was the niece of Prince Edmond de Polignac and Princess Winaretta de Polignac, patrons of Stravinsky, Ravel and Milhaud. "During the fin de siècle, Armande de Polignac was one of the most active composers in Paris, completing almost one hundred and fifty compositions. She wrote works in nearly every musical genre, ranging form small-scale songs and piano miniatures to large-scale ballets and opera, and engaged with many contemporary musical trends, particularly the fin de siècle fascination with Exoticism and concomitant drive to revive French music through drawing inspiration from the Baroque. Despite considerable success in her own lifetime, however, de Polignac is all but forgotten today. She is absent from the majority of studies dedicated to musical life in fin de siècle Paris and not represented in either The New Grove Dictionary of Music and Musicians or The New Grove Dictionary of Women Composers." (Laura Hamer, "Armande de Polignac: An Aristocratic Compositrice in Fin-de-siecle Paris," in "Women in the Arts in the Belle Epoque: Essays on Influential Artists, Writers and Performers," ed. Paul Fryer)
"The Prince and Princess de Polignac had established a salon in Paris, and the music room of their mansion in the XVI arrondissement quickly became renowned as a haven for contemporary music. For the young and ambitious Ravel, whom his teacher Gabriel Fauré introduced to the Winnaretta salon, it became the social and professional springboard for a highly successful career. On their first meeting, Ravel presented Winnaretta with the dedication of his newest work, the Pavane pour une infante défunte. Instead of asking and waiting for her permission, Ravel had simply gone ahead and presented her with the score and dedication. In the event, Winnaretta accepted the dedication and became one of the most passionate supporters or Ravel’s music. The Pavane sounded in various concerts organized by Winnaretta, and it was also performed at Edmond de Polignac’s funeral in 1901." (19548)