We owe to the Parisian monthly, Le Mercure Ga-lant, the first mention of the name of Elisabeth Jacquet, in July 1677, in very flattering terms: “There is a prodigy who appeared here four years ago. She sings at sight the most difficult music. She accompanies herself, and accompanies others who wish to sing, at the harpsichord, which she plays in a style which is inimitable. She composes pieces, and plays them in any key which is proposed to her. I have told you that it was four years ago that she appeared with such extraordinary qualities, and yet she is still not more than ten years old.”
In 1678, the same Mercure Galant reports, in an article devoted to the concerts given by Louis de Mollier “every Thursday for the last six weeks”: “The marvel of our age, the little Mademoiselle Jacquier plays the harpsichord there.”
From this report onwards, the portrait of the young Elisabeth is that of an impressive virtuoso, remarkably educated from a technical and theoretical point of view, capable of accompanying at sight and of transposing into any key.
According to the Mercure, she was born in 1667: the actual date of her birth is still a matter of debate today, and it is highly probable that the young musician chose to make herself pass (or was presented) in the musical salons as younger than she was in reality, for obvious reasons of publicity, to use a contemporary term.
What is certain is that she was soon admitted to court, and appreciated by Louis XIV, probably through the mediation of Monsieur de Mollier, dancer at the court and ballet partner of the King in his youth. |
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