Reply to: Maddalena Laura Sirmen

After reading about an opera, it was time to go back to what I know best: compositions by and for violinists. I was intrigued by what I learned about Maddalena Laura Sirmen in kmanolescu's Blog, but was curious to learn more about the history of this extraordinary woman composer.
As mentioned, Maddalena Sirmen was a Venetian woman, born (in 1745) and raised in Venice, so despite not coming from a musical family, she was surrounded by the musical world of Venice. This was especially true in Sirmen's times. Venice was the home of four Conservatori, or training schools of music for girls. These schools were dedicated to the training of impoverished girls the art of music.
Of the four schools in Venice – the Pietá (the same Pietá at which Antonio Vivaldi taught about 100 years earlier), the Medicanti, the Ospedaletto, and the Incurabili – Maddalena began attending the Medicanti at age seven. At all of these schools, the girls were required to learn all orchestral instruments, from violin to flute to bassoon, as well as skills in conducting and vocal training.
The students performed every Saturday and Sunday evening, either a Vesper or a motet, and then whole oratorios on feast days. The Conservatori performances were internationally famous, and were frequently graced with the presence of Royalties, ambassadors, diplomats, and even professional musicians.
In 1767, she married violinist and composer Lodovico Sirmen, and within a years' time, the newlywed Sirmens went on a successful European tour, performing and composing together. Maddalena’s known compositions are not only mainly, but all string compositions. Her forte in violin composition and performance is apparent in the music displayed in her Violin Concerto No. 5 in B-Flat.
As mentioned by kmanolescu, the Concerto consists of three movements, fast-slow-fast, which was true for most of her compositions. Her style is simplistic classical, by playing with candenzas, dynamics and chromaticism, but still has glimmers and inspiration from the Baroque period, as seen by her use of embellishments and rock steady rhythms. Her use of balance of tutti and solo makes it clear the form used by Vivaldi was still a strong influence over Venetian composers in the classical era. And like Vivaldi before her, Sirmen does not hesitate to give the soloist as much opportunity to display their skills as possible.
The first movement, the Maestoso, begins with a majestic announcement by ritornello, which eases into a lighter theme, then builds up again, then back to light, then going strong once more. Sirmen is a master with dynamics, by using them in a way that so perfectly conveys the mood, while still being stately. The soloist carries these themes well, in staying true with these themes, but giving the theme its own entity and life. Kmanolescu states it perfectly by saying, “It provided the listener with more to focus on. I think this concerto is an excellent example of Classical style because of the elegance and clarity.” This same elegance and clarity are found in the third movement, though is much calmer and admittedly leaves the listener in want.
The second movement, however, is my favorite. It reminds me, once more, of Vivaldi, but with the emotion found in the Classical era. The build-up of sound and gradual easing is composed beautifully in the solo. The use of double stops are impressive without being overwhelming, especially at the end where only the solo voice plays, and ends with a gentle support from the orchestra.
It is difficult to say whether this piece belongs in the canon or not, since it seems unfair that there is a good chance Sirmen and her pieces were simply not included because of her gender. Perhaps comparatively, it is not as great as the behemoths of the canon. However, it is a piece that reflects well the music of her time, and therefore a piece well worth the listening.