Classical Listening Journal

Mary Ann Lucas

Entry #1

Listening Journal

Maddalena Laura Lombardini Sirmen’s Concerto No. 5 in B-Flat for Violin and Orchestra consists of three movements. Written in the Pre-Classical style, the movement’s tempos are ordered fast-slow-fast, which is similar to the Italian Overture. The first and last movements are in the tonic while the middle movement is in the dominant, which is another trait of the Italian Overture. Simple and lovely, the instrumentation is a chamber orchestra consisting of strings, harpsichord, flutes, oboes, bassoon, and horns. The first and third movements are approximately ten minutes each whereas the second movement is roughly only four minutes long. Certain characteristics of the piece such as cadenzas, frequent chromaticism, harmonies, and the melody give this piece the virtues of a Pre-Classical Symphony. The ritornello formation of the piece is inevitable by the many arpeggiations and scales that are integrated throughout. The beauty of the piece is partially due to the symmetry and balance of the melody and the communication between the soloist and the ensemble. Thus, while the title of the compact disc is “Baroquen Treasures,” I do not believe that this piece should be labeled Baroque.

This work caught my attention with the first note. Its beautiful melodies and harmonies are simple, yet delightful. There is never a dull moment; Maddalena’s ability to move the listener is incredible. My mind was full of colors and a story, while my heart was full of straining passion. The piece seems to reflect her life, since she was happily married to a fellow musician and had a glorified life of being a successful woman composer. She led a very passionate life and portrayed her affection in her work.

The first movement opens with a tutti arpeggio from the ensemble. While the strings play the melody, the oboes soar over them with a slow, legato line. The ensemble lays the melody out for the listener for two minutes before cadencing with the soloist entering in with a more ornamented version of the melody.

I love the second movement the most out of the three because it flows with passion. The instrumentation is just the soloist and the first and second violins, which makes the movement vulnerable, yet it still has a sense of boldness. The instrumentation’s texture is different from the other two movements because of the absence of the winds, which makes it so distinguishable.

The third movement, “Rondo,” is a light waltz in three, which is a trait of the suite. Happy and bouncy, it has two main themes that go back and forth between each other. As the piece continues, it becomes increasingly complicated and ornamented by the soloist accompanying the ensemble with a descant. It goes through a sad minor section, which is followed by a recurrence of the two main themes back in the major key. The cadenza was written by the performer, but fit extremely well into the piece’s style.

I would definitely add this piece to the Canon. Maddalena Laura Lombardini Sermin had an accomplished life. She started music school at the age of 7, was a violin virtuosa, opera singer, and married a violinist with whom she performed and composed. One reason why she deserves to be in the Canon is because she is the only woman in Venice of her time who got the opportunity to have her works published. Her Concerto No. 5 in B-Flat for Violin and Orchestra plays an integral role in linking the Baroque and Classical eras with the styles she meshed together. It has the standard Baroque order, but rebels once in a while with a chromatic line or an unexpected harmony. This piece keeps your wondering where she is going to go with the melodic line and structure. It is passionate and admirable in every aspect. I was pleasantly surprised with this piece. I did not expect to be so moved with what I was hearing. Stepping outside of the “canon box” is something I’ve realized is an absolute necessity. Because of its individuality from other pieces in both the Baroque and the Classical eras, I think it is important to have in the Canon because it links how music changed from one style to another.

Mary Ann Lucas

Entry #2

Listening Journal

For my second entry, I chose Mozart’s Concerto for Flute and Harp, K. 299. The work consists of the solo flute and harp accompanied by a small chamber orchestra of strings, oboes, and horns. It has three movements: Allegro, Andantino, and Rondo/Allegro. The tempos are fast-slow-fast for the movements, which relates to the Italian Overture. The second movement is in the dominant, which is also a trait of the Italian Overture. The movements are generally almost equal in duration, with the second movement being slightly shorter than the first and third movements. The piece is obviously Classical from the dates in which it could have been written (1770s).

My first reaction to this piece was that it sounds like a typical chamber concerto that you would hear from Mozart. While it seems that there is not anything special about this work, it requires a little more attention than your average concerto because of the interesting interplay between the soloists. The orchestra is a great accompaniment to the soloists, but is removed when the harp comes in with the flute. As if they are having a conversation, the flute and harp busily play runs and arpeggios.

I think the piece sounds more like a Concerto for Flute and Piano, with the piano line modified for harp. The harp sounds almost like a plucked flute, because it is as soft sounding as the flute. With the timbre and way the harp blends, it could also serve as a second flute in performance with the first flute, playing arpeggios, chords, and the occasional answer to a melodic line. Nevertheless, this instrumentation is a pleasant sound to the ear and just about as heavenly as possible. According to the cover of the compact disc I listened to, the work was commissioned to commemorate a new addition to the family by the Duke of Guînes, Adrien-Louis de Bonnières, who played the flute in the performance. However, Mozart was not paid for this composition, which could be why the work isn’t as remarkable as it could be. The flute has an enormous range, yet Mozart chose not to explore this aspect of the instrument. He also did not push the harp to its full potential. So while the piece is beautiful, it still lacks the enthusiasm it could have.

The first movement immediately opens with the orchestra stating both themes in a typical sonata form. The themes are then replayed and rephrased by the soloists. The movement goes through a development, recapitulation, cadenza, and then a coda to end the movement with gusto.

The second movement has a beautiful melody which and consists of just strings and the soloists – most likely to create a more delicate accompaniment. There is more communication between the soloists in this movement. They play variations on the main theme. The soloists seem to flourish frequently above the vulnerable accompaniment of the strings. At the end of the movement, a cadenza leads to the coda, where the soloists and orchestra restate the lyrical theme.

The third movement is a rondo, which does not have the typical “in three dance feel.” The soloists are now strongly supported by the oboes and horns. This movement is when the harp gets to be a little more in the lead, although both soloists lead the way through the ongoing melody. The movement ends with a melodic cadenza, followed by a coda to end the movement with dignity.

I think this piece is not typically added to the Canon because of its strange instrumentation. It is hard to perform a piece that features instruments with a limited dynamic range in a big hall, which made the harp and especially the flute semi-unpopular back in Mozart’s time. The harp was also not a regularly used instrument at this time.

I have decided that I am indifferent about whether to add this piece to the Canon. While it seems like a typical chamber concerto, it is still unique in its instrumentation. Just because a work is a little inconvenient to perform, does not mean it should be ignored. This piece provides great opportunities for the flute and harp to shine and be heard. However, the work is not entirely special style wise and the flute part is not especially entertaining. The addition of the harp makes this piece appealing to the listener, because it is something not often heard. Mozart’s Concerto for Flute and Harp is a beautiful work which is still simple and delicate, but I still am indifferent about whether it should be in the Canon.