Camille Pepin is part of a very rare breed. She is a female composer.
Women have conquered space, risen in the military ranks, but some professions remain resolutely and bewilderingly masculine.
When Ms. Pepin turned up for her first day at the Paris Conservatoire — as usual the only woman in a class of men — an official told her that her name wasn’t on the list.
But when she insisted that she was and that he look again, he cried, “Ah, you’re a woman!”
Camille is also a man’s name in France.
“I would never have thought,” he apologised. “There are so many men...”
With so few female composers in the classical music repertoire, it was an easy mistake to make.
Ms. Pepin has never let everyday sexism get her down though, laughing it off like water off a duck’s back.
“One male composer told me I was getting commissions because I was a woman and not too bad looking,” said the 28-year-old, whose first album, Chamber Music, is to be released later this month.
Beyond labels
After a concert of one of her more combative pieces, “a man came to tell me my music was ‘very fresh, flowery and sweet’,” she said. “I am a woman so clearly those three words” apply, she added wryly. Ms. Pepin, whose music recalls both Claude Debussy and American minimalist composers like John Adams, said sometimes the sexist stereotypes which persist in the classical music world are hard to take. One “old school” music professor insisted she sit on his right at lunch “because that was a woman’s place” and sent her off to make the coffee.
Ballet score
“I was the only woman in all my classes in the Conservatoire, and it was fine,” said Ms. Pepin, who is now working on her first ballet score in her Paris apartment which doubles as a studio.
Mostly the young composer, who made her breakthrough with the orchestral piece Vajrayana in 2015, said she was treated exactly the same as her male colleagues in classes with French contemporary composers like Guillaume Connesson, Thierry Escaich and Marc-Andre Dalbavie.
Beyond the classroom, however, progress is slow in the conservative world of classical music.
Ms. Pepin believes it will take generations for the forgotten work of female composers to get just recognition.
Beyond the casual unthinking sexism, she said the biggest problem for young female composers was “a lack of role models”. A few woman such as the American composer Meredith Monk, Kaija Saariaho of Finland and Tansy Davies from Britain have managed to break the glass ceiling.
But even Ms. Pepin admitted that when she was younger she didn’t know of a single female composer. “We never studied them,” she said.
Who has ever heard of Helene de Montgeroult (1764-1836), Louise Farrenc (1804-1875) or Fanny Mendelssohn (1805-1847)? Fanny was the older sister of the more famous Felix Mendelssohn, with many at the time saying her work was more expressive. But after she married she was limited to domestic duties and had to content herself with being her brother’s chief editor and muse, which led him to call her his “Minerva” of wisdom.
“Lots of female composers were crushed like Clara Schumann [the wife of Robert Schumann],” despite being one of the most distinguished composers and musicians of the Romantic era, said the pianist Celia Oneto Bensaid, who often performs Ms. Pepin’s work.