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194:, with whom she performed in concert. Although the register of students indicates that she left the Conservatoire in September 1891, it seems that she remained at the institution for a longer period of time, helping some of Eugène Ysaÿe's students in their training until 1894. That same year marked the departure of Ysaÿe for his first American tour but also the end of his love affair with Irma Sèthe. Before the separation, he composed his
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painted her in a famous portrait. In a letter to Irma, Ysaÿe writes: "I find that this Poème is 'ours', that this music tells the passionate drama that is being played out here, at this hour; Yes, I feel that no work I will ever write will tell this bitter chapter of my existence better than this
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Irma Sèthe was introduced to the world of music by her mother at an early age, and at the age of five she began her apprenticeship with
Ottomar Jokisch (1841-1901). During the summer of 1885, the young girl continued her violin training with the German violinist
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In 1909, Irma Sèthe was a member of the
Berliner Kammerspiel-Trio with the pianist Walther Lampe (1872-1964) and the cellist Otto Urack (1884-1963). At the same time, the violinist gives private violin lessons.
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After the death of her husband in 1944, Irma Sèthe experienced a difficult exile and gradually fell into madness. Living with her eldest daughter
Elisabeth in
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In 1898, Irma Sèthe moved to Berlin with her husband, the
Russian philosopher, journalist, writer and diplomat Samuel Saenger (1864-1944), and played in the
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186:. Two months later, in early July 1891, Irma was awarded the first prize in violin at the age of 15. Among her friends at the time were the Belgians
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Irma Sèthe was the daughter of Gérard Sèthe (1827-1893), a textile merchant, and Louise Frédérique
Seyberth (1847-1923). She had two older sisters:
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and instrumental ensemble lessons from Jean-Baptiste Colyns (1834-1902). On May 6, 1891, Eugène Ysaÿe invited her to perform with him at
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On March 12, 1897, Louis
Hillier accompanied her on the piano at St. James Hall in London, notably in his piece
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During the period 1894 to 1911, she collaborated with many artists: Marguerite Swale, Gustav Ernest,
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Alain
Lallemand, « Comment Georgia, dix ans, a réveillé le petit violon d'Irma Sèthe »,
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This composition is edited in Milan by
Ricordi; a copy is kept in the Eugène Ysaÿe collection (
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to reach New York on March 26, 1941, where they joined their youngest daughter
Magdalene.
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Sophie
Drinker Institut für muzikwissenschaftliche Frauen-und Geschlechterforschung
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408:, Mus. Ms. 1472/VIII/ 1. This letter is reproduced and commented in Marie Cornaz,
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Irma Sèthe stopped performing in public at the beginning of the
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On September 23, 1890, Irma Sèthe was admitted to the
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in 1894, and Alice, who married the Belgian sculptor
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264:with her husband. In 1922, the couple returned to
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412:, Turnhout, Brepols, 2019, p. 81. About the
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580:20th-century Belgian women musicians
565:19th-century Belgian women musicians
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461:Record of the violin in the
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241:which he dedicated to her.
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545:Women classical violinists
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525:Belgian women violinists
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520:Belgian music educators
394:Un jour dans l'Histoire
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368:Portrait of Irma Sèthe
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44:Background information
373:Théo van Rysselberghe
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200:Théo Van Rysselberghe
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380:Notes and references
105:(April 27, 1876, in
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303:Saenger-Sethe, Irma
301:Volker Timmermann,
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