Forgotten Voices
Saturday, March 13, 2021, 7:30 EDT, Online
Duetto in G Major, op. 64, no. 3 Franz Danzi (1763-1826)
Andante sostenuto
Allegretto
Trio in D Major, op. 1, no 3 Maddalena Lombardini Sirmen (1745-1818)
Allegro cantabile
Menuetto (grazioso) – Allegro assai
String Quartet in C Major, op. 1, no. 1 Joseph Bologne, Chevalier de Saint-Georges (1745-1799)
Allegro
Menuetto Rondeau
Quintet in G Major for flute, violin, two violas, and cello, op. 5, no. 3 Andreas Lidl (d. before 1789)
Moderato
Adagio
Rondo
Suzanne Stumpf, flute; Sarah Darling, violin and viola
Jesse Irons, violin, Marcia Cassidy, viola
Daniel Ryan, cello
Program Notes
Franz Danzi was born into a musical family not far from Mannheim. At the age of 15, he joined the celebrated Mannheim orchestra as a cellist, and at age 21, he replaced his father as Principal cellist of the Court orchestra in Munich. Although he was highly respected in Munich, various personal and professional setbacks led him to leave Munich for Stuttgart, then a short time later depart Stuttgart for Karlesruhe, where he was challenged to strengthen the rather weak muscial scene. He composed in a wide variety of genres from opera to chamber music. He wrote well for wind instruments, and his woodwind quintets are probably his best known works today. Danzi's Duetto in G Major for flute and cello features a wide variety of characters, playful humor, and drama. The first movement is variations on a lyrical theme and the second movement is a Bohemian-flavored Rondo.
Maddalena Lombardini Sirmen was born to poverty-stricken parents and began her studies at the age of seven at the ospedale San Lazaro dei Mendicanti, which trained orphaned girls in music in Venice. Due to her considerable talent, she was given permission to leave the orphanage for periods of time to study with the violin virtuoso Giuseppe Tartini. At the age of 21, Lombardini was awarded her maestro license and allowed to pursue a musical career outside of Venice. At that time, she married the renowned violinist Ludovico Sirmen, and the couple began touring together. She soon established a reputation as one of the finest violinists and composers ever taught in a Venetian orphanage. Her touring career took her to Paris, London, and even as far away as Russia. Her final concerts in Paris were in 1785 when Thomas Jefferson was living there, and he is known to have purchased tickets to her performance on the Concert Spirituel on May 5, 1785. Her Trio in D Major is an inventive work with clever dialogue between the three instruments, shared virtuosic demands, and dramatic surprises. An unusual feature of the work is its Minuet, in which its trio unexpectedly alternates with a brash and brilliant section in duple meter.
Joseph Bologne, Chevalier de Saint Georges is the first known Classical composer of African descent. He was born in Guadeloupe to the Guadeloupe planter George Bologne and his African slave Nanon. When his father was unjustly accused of murder when Joseph was two years old, George fled to France, bringing Nanon and Joseph with him so they would not be sold. Joseph became an outstanding fencer — he was described by a rival as being the finest swordsman in Europe. Although little is known of his musical education, he became an acclaimed violinist, and the concertos he wrote for violin reveal him to be a true virtuoso. His String Quartet in C Major is one of may he composed. This conversational work is imbued with well-crafted melodies and a flair for drama.
Little-known today, Andreas Lidl was an acclaimed player of the viola da gamba and the baryton in his day. From 1769 to 1774 he was employed by Prince Nicholas at the Esterhazy court. He later immigrated to London where he spent the last decade of his life in the competitive and lively musical scene there. His set of three flute quintets was written in 1780, just after his arrival in London. Written for the unusual instrumentation of flute, violin, two violas, and cello, Lidl makes effective use of this rich palate of colors in his beautiful writing for the lower strings which are often paired with each other or with the treble instruments. There is much engaging banter and virtuosic exchange in the conversational passing of motivic material among all the instruments.
—Suzanne Stumpf and Daniel Ryan
