THE VIOLIN CONCERTOS, OPP. 2 AND J, 
BY MADDALENA LAURA LOMBARDINI-SIRMEN (c.1735-c.1799) 
by 
Jane Louise Baldauf Berdes 
A thesis submitted in partial fulfillment of the 
requirements for the degree of Master of Music 
in the Department of Music 
in the Graduate College of 
The University of Maryland 
October 1979 
Thesis supervisor, Professor E. Eugene Helm 
APPROVAL SHF.'RT 
'T1i tl e of Thesis : TH~ VIOLIN CONCERTOS , OPP , 2 A ND 3 , Bv MADDALENA 
LAT~A LOMBAqDINI-SIRMRN 
11TamP 0f Gandidate : .Tane Louise Balrlauf Berdes 
Master of n,rusic , 1979 
"'"es is and Ahstract Annroved, 'z' ';:,, ~ ~ 
F.. 'RuP-ene elm 
Professor 
Deuartrnent of ~usic 
Date .Annroved : I ( 11 '11 
A'1STR ACT 
The 18th-century Venetian ~addal e na Laura Lombardini-
Sirme n had a complex international caree r as a protegee of 
r.iu seppe Tartini, violin virtuosa, ope ra sinve r, and com-
poser , yet ori ~i nal documents providing information about 
h e r are almost nil, This thesis assembles information about 
the life and works of this gifted woman musician and also 
provides a bibliographic study and analysis of her b e st-
known works, a set of six violin concertos (Opp . 2 and J), 
Some JO individual prints by three publishe rs--Dutch, French, 
and English--and 12 manuscripts have b een located in 20 li-
braries of eight nations for these concertos, A discussion 
of Lombardini-Sirmen's style characteristics takes place 
within the context of concerto composition in the Lombardia-
Venet ia re g ion of Tartini's influence and in that of the 
broad er, European , pre-Haydn-and-Mozart sphere of influence, 
The discussi on concludes that Lombardini-Sirmen's concertos 
be long to the hi gh classical style period, 
In the Appendixes are a copy of Tartini's historic peda-
gop:i cal "Letter" addr e ssed to Lombardini-Sirmen (in an Eng lish 
translation by Charles Burn e y); a thematic index of the com-
plete works by the composer and her husband, ? Lodovico Sirmen, 
A couv of the keyboard transcription of t h e concertos, done by 
Tommas o Giordani and uublished in London circa 1773, is 
separately bound, 
Copyri ght by Jane Berdes 
1979 
ii 
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i 
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I 
FRONTISPlECE1 .. A nossible . portr,;1.i t of Lombardini-Sirmen 
decor2tes the title page of the composer's Six Sonatas for 
Two Vi6iin~ (Six Duets), Op. 4 (Berlin, 1773). 
iii 
PR~FACE 
The observation Charles Sanford Terry made two penera-
tions a g o in the preface of his study of the life and works 
of Johann Sebastian Bach 's yo unRes t son-- " ??. John Christian 
Bach has slumbered in a ne g lected ~rave"--could also serve 
for a composer connected with Bach fils by chronology and cir-
cumstances Madda lena Laura Lombardini-Sirmen, 18th-century vi-
olin, keyboard, and vocal virtuosa, who is one of the earlies t 
known woman composers of chamber music and concertos . Al-
thou~h there is a dearth of information on her life, she is 
said to have been an orphan , born in the region of Lombardia-
Venetia in the same year as J.C. Ba ch, who performed in Bach's 
London conc erts during the 1770s, and whose works were, like 
h is , known in Paris , London, Amsterdam, Brussels, Berlin, 
Dresden , Salzburg, and the musical centers of Italy and 
Sweden. 
Even thou~h (as publishers ' catalogues of the time show) 
Lombardini-Sirmen's works were desirable commodities for ove r 
6 0 years , the complex life of this multi-faceted woman mi ~ht 
well be considered more si gnificant than her workst she was 
a product of, and evidently an evan~elist for, the unique 
~ / 
Venetian conservatory s ystem of music education , a protege e 
of r-iuseppe Tartini and a representative of his international 
school of violin performance and composition , and an inter-
national celebrity who participated in public concerts, 
iv 
when t hos e institutions were in their infancy , in ?ranee , 
F.nPland, and German~ . 
Over the course of establishing a context for the dis-
cussion of Lombardini-Sirmen's six violin concertos, a con-
siderable body of information was amassed on 18th-century 
Venice, on the orphanages there and the famous musi c schools 
appended to them , as well a s on unusual social traditions that 
fed them , and on other pertinent matters. In order to treat 
the p r esent topic in an appropriate ma nner , while managing 
the material for further deve lopme nt eventually , I have re-
lied on the system used by Otto Erich Deutsch in The Schubert 
Reader s a Life of Franz Schubert in Letters and Documents 
(New York, 1947). Certainly, the incompletene ss of the bio-
graphical materials, both primary and secondary , cited by 
Deutsch as his reason for using this straightforward if dry 
approach is even more characteristic of Lombardini-Sirmen 
study thus far. 
The extensive and varied material relevant to the com-
poser's early life and musical development up to about a g e JJ, 
therefore , has been assimilated into three brief sections 
contained in Chapter Is "Introductory Notes ." Chapter II pre -
sents known primary biographical documents that appeared 
during Lombardini-Sirmen's lifetime b eginning with t he 
evidence for her relationship with Tartini and her presence 
in 1760 at I Mendicanti, one of the four Venetian ospitali 
purportedly caring for some 6,000 foundling s at mid-century . 
Thus, Chapter II contains virtually all that is known at this 
V 
I 
time about documents--mostly contemporary , an onymous jour-
nalistic notices reconstitut e d by modern scholars--relating 
to Lombardini-Sirmen's career as an inte rnational performer . 
Information on the publication of her works, dedications, 
and verifiable facts culled from biographical sources are pro-
vided in the brief annotations accompanying the primary docu-
ments, where appropriate. Tartini's "Le tter " to the composer 
and the facts surrounding its publicati on in 1770, as re-
vealed by Pierlui g i Petrobelli, provide an apt occasion for 
a discussion of our composer's ~arious names and vari- . 
ously conjectured ancestry . Both the presentation of docu-
ments and the bio vraphical comme ntary follow the chronolo-
g ical patte rn used by Deutsch. A final section in Chapter II 
focuses specifical ly on Lombardini-Sirmen's hus band, fellow 
musician , and co-composer, Lodovico (Ludovico) Sirmen, an 
even more elusive lRth-century Italian performer. Because 
he was also Lombardini-Sirmen's close professional collabora-
tor in performance and in the composition of instrumental 
music for a si ~nificant period, it seems prudent to broaden 
this investi~ation enough to include him. Not to do so would, 
perhaps, be to invite omission of potential clues that could 
p ossibly lead to a fuller understanding of important aspects 
of the life of the woman musician who was also Lodovico 
Sirmen's wife. In places where original documents are 
~iven in the ori ~inal lan?!"Uaf e, it has seemed unnecessary to 
translat~ not only to save space , but especially because of 
the repetitive nature of the documents, particularly those 
dealing with performances. In imitation of DP.utsch, dates 
vi 
apnear i n the upper left corner of pages throu ~hout Chapter 
II to provide a running chronology for the r eader. 
Chapter III presents the first r e sults of the search for 
documentation on which to base a study of Lombardini-Sirmen's 
six concertos. The search thus far has yie ld e d JO copi e s of 
the six extant editions by three publishers--Dutch, Engli sh, 
and French--and 12 manuscripts which are preserved in 20 
libraries of eight nations. A seventh edition by the London 
publishing house of LonITTnan & Broderip circa 1785 may have 
existed, as well . (Prints are inadequate l y accounted for in 
RISM . Despite generous cooperati on from both the inte rna-
tional RI SM Center in Kasse l and its various national and 
r egional affi liates , it is cl ear t hat information abou t manu-
scripts of Lombardini-Sirmen wor k s has ye t to be ac c umu lated 
a t the central headquarters.) Those nati ons with si gnificant 
prints ho ldings are Spain , Sweden, and the United St ates 
(principally the U.S. Library of Con~ress , Musi c Division ). 
Half of the manuscripts a re in northern Ital ian music librari e s 
and, more specifically , in special collections t hat ma y hold 
clues as to their ori g inal owners ; in one case, an early 
owne r seems to have been the composer Domenic o Fe rrari (1 722 -
RO ), a fellow Tartini pupi l from Piacenza . Scholars h ave 
tended to accept the v erdict of the editor of several modern 
editions of music of the past , Alfred Moffat,* that Lombar-
dini-Sirme n ' s works have no r emarkable features a nd fail to 
* See, for example , Walter w. Cobbett, comp. and ed ., Cobbett's 
Cyclopedic Survey of Chamber Music, 2 vols., 2nd ed. (London, 
Oxford University Press, 1963), II, 591. 
vii 
qualify he r f or the r a nk of even on e of t he l esse r maste rs. 
And vet, avai l a bl e evid en c e d emonstrates that the conc e rtos 
were not simply p e rforme d once and promptly for g otten, a 
fact that sets the works and their composer somewhat apart 
from the general musical mass of the s e cond half of the 18th 
c e ntury, This observation applies, as well, to Lombardini-
Sirmen's cha mber works generally. 
Although the concertos up to now have been available 
onlv in separate parts, whether in print or in manuscript, I have 
put th em into score format for my own use in making the 
stylistic analy sis contained in Chapt e r IV. Th e closing 
section of the thesis proper makes further observations 
about the composer's p ossible si gnificance vis-a-vis her 
p eers and in li ght of the fact t hat earlier anal y ses seem to 
have b een based on superficial observation. It s eems more 
suitable within space limitations here, however, to include 
a copy of Tommaso Giordani's adequately faithful keyboard 
reductions of the six concertos as Appendix III. These re-
ductions are bound separately so that the reader may refer 
to them while readin~ the anal yses. 
The 40 secondary sources for bio ~raphical information 
on Lombardini-Sirmen, listed a mong other references in the 
Bibl i ography , may be sorted into three categories1 the old 
and questionable, the more recent but derivative and ques-
tionable, and 20th-century references. That the list is so 
lon~ is interestin~ for the polite bow it would seem to re-
present to women as performers of excellence and/or as 
creative musicians. Supporting documen-
viii 
? 
tation for s tatements in t hese se condary s ourc es is in the final 
?analysis nil. The majority merely repeat each other; none attempts 
verification. With the exception of Charl es Burney, who 
wrote as a music critic and historian contemporary with Lom-
bardini-Sirmen, and whose ? information is treated as _a prim_ary 
source in .Chapter II, none of the secondary biographical 
sources ori ginates in first-hand knowledge. It is curious 
that no entry on Lombardini-Sirmen appears in any of the six 
editions of Baker's Biographical Dictionary of Musicians that 
I have consulted. She is g;i_ven space in vari?ous h1st'orica1? trea-
tises on the violin as well as in treati se s on works composed 
for the violin. Notable exceptions to this are Henri Verche-
val's Dizionario del Violinista, violista e violoncellista 
(Paris, 1923) and Abraham Veinus' The Concerto (New York, 1944). 
Without exception, it se ems, Lombardini-Si r men's place is 
warranted solely by the fact that Tartini created a proto-
typical self-help manual for students and teachers for the 
violin and cast it in the form of a "Letter" to his Venetian 
woman student when she was about 25 years of a ge. The 
"Letter" is found in Appendix I. 
There have been thre e attempts to go beyond the quasi-
factual recitation toward the inventive biogr aphy, all in 
our century, Charles Bouvet (1858-1935), Une Le?on de Giu-
seppe Tartini et une femme violoniste au XVIIIe si~cle (Paris, 
1915); a section in Edmunds. J. van der Stra eten's The Story 
of the Violin (London, 1933); and Marion M. Scott (1877-1953), 
"Maddalena Lombardini, Madame Syrmen," Music and Letters XIV 
ix 
(1933), 148-63. Bouvet makes available critical r eaction to 
Lombardini-Sirmen performances found in 18th-century Parisian 
periodicals: Scott's surprisingly shallow study seems to be 
based only on holdings of the composer's works in the British 
Museum and on Moffat's opinion; Straeten interprets the care 
Tartini lavished on the composer as a measure of her obvious 
virtuosity. Colin Mason, editor of Cobbett's Cyclopedic 
Survey of Chamber Music, second edition (London, 1963), pre-
serves W.W. Cobbett's ori ginal approach to Lombardini-Sirmen 
in 1930, which was to give her no entry of her own but to 
feature her in a separate section on women composers. 
I wish to acknowledge the guidance and support I have 
received from my thesis adviser, Professor E. Eugene Helm, 
Chairman, Musicology Division, Department of Music, Univer-
sity of Maryland . I also wish to express my grateful appre-
ciation to members of my thesis committees Dr. Shelley G. 
Davis, Dr. Lawrence K. Moss, and Dr. Howard J. Serwer, members 
of the faculty of the Department of Music at the University 
of Maryland . 
I am grateful as well for help proffered by Professor 
Jan LaRue , New York University: Prof. E; Chappell White, Kansas 
State University; Dr. Philip H. Hi ghfill, Jr., George Washing-
ton University , Washington , D.C.: Mme . Dr. Monique de Smedt, 
University of Louvain, Belgium: Prof. Marie-Th{rese Bouquet-
Boyer, Univ.ersity of :?aris-Sorbonne: and o.w. Nei ghbour, Music 
Librarian for the British Library , for permission to reproduce 
the Museum 's print of the Giordani keyboard transcriptions . 
Finally , I am indebted to Prof. Shelley G. Davis, University 
X 
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of Maryland, who was kind e nou g h to introduce me to Si gnora 
Sirmen in his course on the 18th-century keyboard concerto 
and to get me well started on this thesis . 
xi 
.I  
DEDICATED TO 
my husband , 
who made this study poss ible, 
and to our children , 
who make it necessar y . 
xii 
CONTENTS 
Page 
FRONTISPIECE . iii 
PREFACE . iv 
ILLUSTRATIONS . xiv 
EXAMPLES . xvi 
CHAPTER Is Introductory Note s 
Venice in Lombardini -Sirmen 's Time 1 
Venetian Conservatories ? 7 
La Scuola Tartiniana ? ? 13 
CHAPTER II1 Primary Biographical Documents 
Tartini 's "Letter" - March 5, 1760 ? ? 18 
1768-991 Documents Chronologically Arranged 
Turin ? ? 20 
Pari s ? ? ? ? 21 
London. ? ? ? ? JO - I 
Dresden. ? ? ? ? ? 46 
Paris ? ? ? ? ? 46 
1760-991 Biographical Commentary . 50 
Lodovico Sirmen of Bergamo . ? 59 
CHAPTER Ill s 18th-Century Manuscripts and 
Prints of the Six Concertos 64 
CHAPTER IV s Stylistic Analysis 
Analytic Methods . ? ? ? 79 
The Violin Concerto in Transiti on 80 
Lombardini-Sirmen Style Traits ? 81 
CONCLUSIONS 107 
APPENDIX 
I. Giuseppe Tartini ' s "Letter" ? ? 110 
II . Thematic Index of Other Known Works by 
Lombardini-Sirmen and Lodovico Sirmen 116 
III . Tommaso Giordani ' s Keyboard Reductions Vol. II 
BIBLI OGRAPHY. ? 129 
xiii 
ILLUSTRATIONS 
Fi gure Page 
1. A Possible Portrait of Lombardini-Sirmen Frontispiece 
2. rruardi's Campo San Zanipolo, Locale of 
I Mendicanti Conservatory, Venice 12 
3, A Summary of the Early Publishing History 
of Giuseppe Tartini's "Letter" to Lombardini-
Sirmen 19 
4. The King's Opera House, London, Home of the 
Italian Opera in England in Which Lombardini-
Sirmen Performed as a Violinist and Singer 54 
,/ 
5, A Portrait of the Venetian, Count Abbe 
Zaccaria Seriman 61 
6. Title Page of a Manuscript of Lornbardini-
Sirmen's Violin Concerto No. 1 in Bb Major 73 
7, Title Page of the J.J. Hummel Print of Lombar-
dini-Sirmen's Six Violin Concertos, Op. 2 
(Amsterdam, 1772) 74 
8. Title Page of t he First William Napier Print 
of Lombardini-Sirrnen's Six Violin Concertos, 
On. 3 (London, 1773) 75 
9. Title Page of a Manuscript of the Keyboard 
Transcription by Tomrnaso Giordani of Lombar-
dini-Sirmen's Violin Concerto No. 1 in Bb Major 77 
10. Title Page of the William Napier Edition of the 
Giordani Transcription of Lombardini-Sirrnen's 
Six Violin Concertos, Op. 3 78 
11. Title Page of Lombardini-Sirrnen's Six Duets, 
Op. 4 (London, c,1778) 120 
12. Title Page of Lombardini-Sirmen's Sonata in 
A Major (Vienna, 1776-1786?) 122 
xiv 
Fi gure 
13, Title Page of the Six Quartets (Paris, 1769) 
by Lombardini-Sirmen and Lodovico Sirmen 
14, Title Page of the Rondo Song Dedicated 
to Lombardini-Sirmen by an Anonymous Com-
poser (Paris, c,1780) 146 
xv 
EXAJV!PLES 
Number Page 
1. Changes of Instrumental Settings From Opening 
Tutti t o Opening Solo Exposition in Violin 
Concerto, No, 1, in Bb Major 85 
2 , An Organizational Chart for the Six Concertos 87 
J. Lengths of Movements According to Number 
of Measures in Concertos Nos , 1-6 , 88 
4 , A Table Showing Tartini ' s First-Movement 
Concerto Plan , After Dounias 90 
5. A Table Showing the First-Movement Concerto 
Plan Circa 1760 , Based on Simon 91 
6. A Comparison of the First Movements , 
Concertos Nos . 1-6 92 
7 , A Comparison of the First Movements' Statistics 
Showing Lombardini-Sirmen's Methods of Blendin~ 
Sonata and Concerto Forms 93 
8, H. C. Koch ' s 1802 Description of Concerto 
First-Movement Form, After Stevens 94 
9. Formal Structures of Lombardini-Sirmen 
Concerto Rondo Finales 97 
10, Cadenza Cadential Routes 99 
11 . Tonal Plans for the Six Concertos 100 
xvi 
1 
Chapter I 
I NTRODUCTORY NOTES 
Venice in Lombardini-Sirmen ' s Time 
Venice , as a city , was a foundling , floating 
upon the waters l ike Moses 
in h i s basket among the bulrushes . 
Mary McCar t hy , Venice Observed 
( New York , 1957) , 44 . 
For a thousand y ears , Venice--the foundling city that 
grew up to b e come the "bride of the Adriatic''--was incom-
parable . This was true even after Veni ce had earned the r epu -
tation for being a tourist-luring lady of the ni ght, beg inning 
in the late 17th century . By 1 700 , Ven ice , ever the meeting 
u lace of Eas t and West , was also the hedoni stic playground of 
Europe . During Lombardini-Sirme n's l ife time , it was well on 
its wav toward extinction . 1 Still , many facets of the Venetian 
uniqueness held sway s its setting of magnificent edifices 
built on piles driven into the mud of over 100 islands connec -
ted to each other b y 170 streets-canals- rios ; its self- g overn-
1 . Some important books on Venice are , Pompe o Molmenti , La 
Storia di Venezia n el la vita privata , J vols . ( Bergamo , l9i'l) , 
new ed . ( Trieste , Edizioni LINT , L19 7J J ); Oliver Logan , 
Culture and Societv in Venice ( New York s Scribner ' s , 1972 ); 
Maurice Andrieux , Dailv Life in Venice in the Time of 
Casanova ( New York s Praeger , 1972 ); James Morris , The World 
of Venice (New York , Harcourt Brace Jovanovich , 1974 ). 
ing civil and ecclesiastical structur e s that made it indep e n -
dent of the Holy Roman Empire and of Rome itself: its self-
imposed , tyrannical Inquisition : its life-style that initiated 
such customs as individual taxati on , ghettos , and cisibeos : its 
culture from dialect to physiognomy to distinctly Venetian 
styl es of art , architecture , and music . 
After the end o f the city ' s status as a world power 
with the Peace of Passarowitz in 1718 , the leaders of Venetian 
society fe l t free t o focus on d iverting themselves. Musi c, 
more than anything e l se , seems to have been in media res , with 
l ife in Venice depicted by commentators as one continuous con-
cert . 2 Amid the street-sing ing and dancing , processional pomp , 
academies , and ecclesiastical services and concerts , revolu-
tionary elements , inspired by the rise of neo-classicism , 
entered the annals of music history from the backstages of 
Venice ' s seven opera houses , four of which we re exclusively 
2 . Charles Burney , An Eighteenth-Century Musical Tour in Fran ce 
and Ital v r Being Dr . Charles Burnev 's Account of Hi s Musica l 
F.xuer ienc es As It Aupears in His Published Volume With Which 
Are Incorporated His Trave l Exueriences According to His 
Original Intention , Vol . 1 of Dr . Burnev ? s Musical Tours in 
Europe , 2 vols ., e d. Percy A. Scholes (London , Oxford Uni -
versity Press , 1959 ), I , 1J8 . 
Reports on Veni c e by contemporary travelers include works 
by Addison , Montesquieu , De Brasses , LaLande , J . J . Winckel -
mann , Emperor J oseph II , Goethe , and Rouss eau . Many of 
these s ourc es c ontain discussions of the conservatories and 
of t h e con ser vatory a t tended b y Lombardini-Sirmen, I Men-
dicanti, i n parti c ular. 
Except for Burney , there is no mention made of Lombardini -
Sirmen in any of the diaries , letters , or travel reports 
of the period published in Italy , France , ~n gland , or Germany , 
that I have been able to examine . 
? 
3 
devoted to opera buffa.3 Venetian musicians enjoyed the 
benefits of a musicians' union, and women musicians were ad-
mitted into both the unions and the academies in keeping 
with the Venetian tradition of fostering feminine emancipa-
tion,4 Baldassare Galuppi (1706-85 ) and Ferdinando G, 
Bertoni (1727-1813) dominated both sacred and secular musical 
composition and performance in Venice during the second half 
of the century~5 
3, Vicenzo Manfredini , Difesa della Musica Moderna (Bologna, 
Trenti, 1788), 130-34, Five progressive composers dis-
cussed by Manfredini who mi ght have known Lombardini-
Sirmen area Niccola Piccinni (1 728-1800 ), Antonio M.G. 
Sacchini (1734-86), Pietro Guglielmo (1727-1804), Giovanni 
Paisiello (1741-1816), and C.W. von Gluck (1714-87). See 
Donald J. Grout, A Short Historv of Opera, 2nd ed, (New 
York, Columbia University Press, 1965), 215-25, 
4. Eleanor Selfridge-Field, "Annotated Membership L:sts of 
the Venetian Instrumentalists? Guild 1672-1727," Royal 
Music Association Research Chronicle No. 9 (1972), 1-52. 
Though concerned with a period too early for this study , 
Selfridge-Field reports that Faustina Bordoni Hasse 
(1693-1783), noblewoman, pupil at the Pieta conservatory 
in Venice, and eminent international singer, especially 
in Dresden, where Lombardini-Sirmen was later, sought 
membership in the guild, 
5. Denis Arnold, "Venedi g und venezianische Handschriften ," 
Die Musik in Geschichte und Gegenwart , 14 vols,, ed. 
Friedrich Blume (Kassel, B~renreiter, 1949), XIII, 1371-87, 
Joseph de LaLande, Voyage d'un Fran9ois en Italie, faix 
dans les annees 1765 & 1766 (Paris, De Saint, 1769), as 
excerpted in Journal de Musique II (1773), 64-66, mis-
takenly identifies Galuppi ("Il Buranello") as "Galuppi 
Buranello~" See the possibly related discussion of the 
composer's assumed maiden name, "Maddalena Lombardini," 
on p. 50, 
4 
In 1735, the assumed year of Lombardini-Sirmen 's birth, 
the world's oldest Jewish ghe tto was declared bankrupt by 
the Venetian civil commission appointed to govern the ghetto, 
its inhabitants were dispersed for a time, In 1744, Gluck, 
in whose Orfeo Lombardini-Sirmen would sing a principal role 
in London during the 1772-73 season at the King's Theater, 
pr esented premi~res of two of his early operas at the chief 
opera buffa theater in Venice, Teatro San Moise, This 
theater was owned by the noble Giustiniani family, directed 
by Girolamo Ascanio Giustiniani, to whom Lombardini -Sirmen 
dedicated one of her first compositions, and managed by a 
band of dilettantes tha t included Domenico Carminer, editor. 
of the Venetian journal L'Europa letteraria, where Tartini'S 
."Letter" to Lombardini-Sir~en first appeared in print~ 6 -
Included among a list of the most celebrated Venetian 
public events staged by the city's administrators as spec-
tacles to dazzle the various international royal visitors 
6, Taddeo Wiel, I teatri musicali veneziani de l settecento 
(Venezia, Visentini, 1897), 217, See Nicola Mangini, 
Il Teatro di Venezia (Milano, Mursia, 1974), 107-11, 
Possibly Gluck and Tartini were acquainted througi1 the 
presence at Il Santo in Padua of the priest Bohus lav 
Czernohorsky, who t aught Gluck in Prague, as well as 
Tartini in Assisi, 
5 
during th e l as t half of the century was the per1?ormance of a 
cantata for seven female soloists and a choir of 100 women's 
voices, La Re~gia di Calipso, a setting by Bertoni of a li-
bretto by Zaccaria Seriman, abate, count, l eading Venetian of 
Armenian descent, and an influential fi gure in the turbulent 
scene of Venetian journalism of the time . Performers were 
from the four celebrated conservatories. The cantata was 
stag ed as a huge outdoor spectacle for the first visit to 
Venice of Austria's Emperor Joseph II on July ~5, 1769. 7 
Like the c ity of Venice, its ecclesiastical counterpart, 
the Venetian patriarchate, founded in 1451, controlled church 
activities in other northern Italian citi es as far away as 
Padua and Bergamo. In 1750, there were 40 male reli g ious or-
and over 100 churches with still 
more clerg y in Venice alone. A survey of 164~ puts the num-
ber of nuns in Venice at nearly 3,000, ref'lecting the tradition 
that patrician girls whose fathers could ill afford to marry 
their daughters off were simP+Y assi gned to convents.1::5 A 
similar tradition forbade more than one son in a noble family 
to marry in order to conserve the family's economic resources. 
It was usually a younger son who was g iven this privilege, so 
?. D. Maxwell White, Zaccaria Serimans l/09-1784 and the Viaggi 
di Enrico Wantons A Contribution to the Study of the En-
li ghtenment in Italy (Manchester , Manchester University 
Press, 1961), lUl:5. An account of this performance is i'ourrl 
in E.A. Cicogna, Delle inscrizioni veneziane ( Bolognas Forni, 
1969), I, 550-51. Tommaso Traetta (1727-79 ) and his pupil 
Paolo (Pietro?) Grua (1754-l HJJ), both associated with the 
Venetian conservatories, set Seriman's text as operas. 
8 . Lo gan , op. cit ., 193-202. See discussion on p. 7 . 
6 
t hat many Venetian nobles , especially first sons , joined re-
li ~ious orders , the Capuchins , Jesuits , and Theat i nes mos t 
often , The custom contributed si gnificantly t o the rise of 
illegitimate Venetian children, to the decline of the Vene-
tian nobility , and, t o some extent , to the eventual extinc -
tion of the republic , 
In 1768 , the same year for which known documents of 
Lombardini-Sirmen ?s publ ic performances begin, there erupted 
in Veni ce a long-simmeri ng political-ecclesiastical crisis 
between the Vatican and Venetian authoriti es over civil juris-
dictional rights; The conflict had brough t down a dreade d 
papal interdict upon Venice in 1606. The crisis resulted in 
stringent new l aws b eing pass ed by the Council of Ten against 
Vatican usurpation and the suppression by t he Venetian patri -
archate of several Venetian reli gious orders , 9 Finally , at 
the presumed end of Lombardini-Si rmen's life, the Republic 
of Venice, like the Venetian ghetto in 1735, was declared 
bankrupt, this time by Napoleon Bonaparte. On May 12, 1797 , 
Napo leon deposed the l ast do ge, Ludovico Manin , without a 
struggle, suppressed the oli garchy , and then delivered the 
city to the Austrians, 
9 , A. Gombasi n, "Veni ce," The New Catholic Enc~clopedia, 16 
vol s , (New York s Mc Graw Hill, 1967), XIV,OJ, See James 
Cushman Davis, The Decline of the Venetian Nobi lity As a 
Ruling Class (Bal timore s The Johns Hopkins University 
Press, 1962 ). 
'( 
Venetian Conservatories 
From the 13th century onward , Venice was famous for its 
"scuole" (brothe rhoods, gui lds, or reli g ious confraternities), 
wh i ch milt impressive headquarters, served the n eedy, -
staged l a vish ceremonies , and patronized the arts and mus ic. 10 
At the same time , Venice . was equally famous for its ospitali 
or ospedal i ( orphanag es ), which she ltered the daughters born 
as a r esult of Venice's restricted marriage tradition, as well 
as otherwise home less children. Sons born au naturel to the 
nobility seem to have been absorbed by thei r families , whil9 
natural daughters were accepted into one of the four foundl ing 
harnes s I Mendicanti ( Hospita l of the Beggars): La P.i et'a  (. Hos-
pital of Mercy) : Gl' Incurabili ( Hospita l for Incurables ): and 
L' Ospedaletto (Little Hospital). 11 One of the mos t important 
10 . Lo gan , op, c i t,, 202-10 , See Ve rnon Lee (Violet Paget), 
Stud ie s of the l ~th Centurv in Italy (London, Satchell, 
1eeo) , 53 , for a discussion of underground fraternities 
ardreli g ious suppression in Venice in the last half of 
the l~th century, 
11, Denis Arnold, God, Caesar, and Mammon ( Nottingham, Uni -
versity of Nott i n gham , 1970), 16, and Walter H. Rubsamen, 
Mus ic Research in Italian Libraries (Los Angeles s Musi c 
Library Association, 1951 ) state that no c ompilati on of 
the history of the orphanag es or of their conservatory 
superstructure has been as yet at t empted. The details 9f 
Venetian conservatories are_ compiled? from discussions . in 
the fo11?owingi Burney, op, cit ., 1, 122-38 : Denis Arnold, 
" Instruments and Instrumental Teaching in Ear l y Italian 
Conservator i es," Proceedims of the Royal Musi c Assoc i a-
tion LXXXlX (1962-63), 31- 8 : R. Schaal, "Konservatorium," 
Die Musik in Ges chichte und Ge.ienwart, op, cit,, VII, 
1459-82; Marc Pincherle, "Vivaldi and the Os pitali of 
Venice," The Musical Quarterly XXIV (1 93~ ), jOU-12: and 
K, Meyer~ Der Chorische Gesang cter Frauen (Leipzi g , Breit -
of the scuole, the Scuo1a Grande di San Marco, occupied an 
imposing edifice on t he Canal of the Beggars which was built 
in the mid-15th century and is today still in use as Venice ' s 
hospital . The oldest and longest-surviving of the four ospi -
tali , I Mendicanti, appears to have been quartered in the 
same Square of San Giovanni and Paolo (San Zanipolo , i n the 
Venetian dialect ); its faciliti e s , like those of St . Mark ' s 
School , are s aid to b e presently used as the Venetian civil 
hospita1 . 1 c After about 1700 , due to changes in s~cial more s 
the orphanag e s added music seminary branches to their acti -
vi ties and subsequently became famous as centers of talent 
i n service to the courts of Europe . 13 
kopf & H~rtel , 1917 . Giuseppe Baretti , An Account of the 
Manne rs and Customs or Italy : 11/16-89 , 2 vols . (London : 
Davies , 1i69 ), I l , 294- 95 , contains a rebutta l or French 
and British charg es that Italians sent tneir daughters to 
nunneries as infants , then dispose:i of them in marriag e 
without their knowledg e . Sophie Drinker , Music and Women 
(New York , Coward-Mccann , 194e ), c54 , states the Venetian 
conservatories were a milestone in the history of bo t h 
women and musi c. She says that the Churc h "requirea a 
promise from the g irls that they would not g o on the stag-e 
after leaving the asylums ???? " Charles Burney , Musical 
Tours , on . cit . , I , ljt:5 , credits " the gi rls of the Con-
servatori os '' for the incomparable quality of Venetian 
musi c which they influenc~throug h marriage and otherwise . 
le , A description of the bui1aing is in Jame s Morris , The 
World of Veni c e , op . c it ., 16U , I have not found any 
source that relates the School of St . Mark t o l Mend i -
canti . 
lJ . For more on the early concert tradition as it pertains to 
the Venetian conservatories , se e Percy M. Young , The Con-
cert Tradition From the Middle Ages to the c Oth Century 
(London , Routled ge and Ke gan Paul, 1965 ), ccf . 
9 
I Me ndicanti b ega n in 122 4 as a she lter f or Venet i a n so l-
di ers returnin~ from the Syrian wars . 14 Giovanni Legr enzi 
(c. 1625-90) pioneered the conservatory pro gram as music direc -
tor for I Mendicanti and also for the cappella at St. Mark 's 
cathedral, thus setting a precedent for the double post. Le-
grenzi ori ginally was organist , composer , and conductor for 
St. Maria Ma ggiore, Bergamo , the same post attributed to Lom-
bardini-Sirmen 's husband, Lodovico Sirmen. 15 Le grenzi?s pupil , 
Antonio Vivaldi (1 685-1743), founded the music program at La 
...... 
Pieta . Another of Le grenzi ?s pupi ls, Antonio Lotti (c. 1667-
1740), taught Galuppi , who s ucceeded Legr enzi at St . Mark 's 
and I Mendicanti . Between the ~enurei of Legrenzi and Ga-
luppi at I Mendicanti , Benedetto Marcello (1 686-1739 ), the 
patrician author and compos er , held the position . Bertoni was 
32 years old when he replaced Galuppi at I Mendicanti in 1757 : 
he remained there , at least officially, unti l the end of its 
operation , variously reported as being in 1777, the 1790s, and 
the early 19th century.16 
14. Giuseppe _Tassini , Curiosit~ veneziane (Venezia , Filippi, 
_ 1970), 406-07. 
15. Both ma les and females may have studied at the conservator -
ies , according to Burney , op. cit., 124: Vernon Lee, QQ? 
.?1.1., 98 ; and Hugo Riemann , "C onservatories ," Dictionary 
of Music , 2 vols., trans . J .S. Shedlock ( New York : Da Capo, 
1970), I, 158. Riemann states that only L'Ospedaletto was 
reserved ?exclusively for girls. 
16. Arnold, "Orphans and Ladies,"op. cit., 45-47, states the 
ospedali were "nationalized" in 1777. He names musicians 
teaching at the conservatori es during Lombardini-Sirmen 's 
time, e. g ., Antonio Martinelli , director of instrumental 
musi c at I Mendicanti and La Pieta : Sacchini, Traetta, 
Giuseppe Saratelli, Antonio Barbieri , Bonaventura Furlan-
etto, Antonio Nazzari , Antonio Lodi, Gaetano Lattila, and 
Domenico Ne gri. Marc Pincherle, Tartiniana (Padova r Milani , 
1972), 23, cites Tartini's name on the ledgers of La Piet1. 
10 
The si gnificance of the ospedali "fi glie dal pub lico" 
for the history of music is not fully understooa. 18 The 
young musicians (talented children who comprised an elite 
five per cent of the total orphanage population) wore re-
li gi ous habit-like uniforms. Their days would probably have 
been filled with l essons, practice, r ehearsals, performance, 
and, presumably, other studies, if not chores. There were 
public -~-or:icerti.- in_ _ \ti~- convent or adjoining church every 
Saturday and Sunday and daily liturgical services. All the 
instruments of the orchestra, including the corno di caccia 
and percus sion, were taught, as well a s the full range of 
keyboard instruments. Vocal training was I Mendicanti's 
forte. 19 
The conservatories conducted a type of in-house teacher 
training program that provided outstanding instruction for 
the most promising student musicians, ? themselves teachers of 
less-advanced students. These advanced students passed 
through ranks such as "privileggiate di coro" and eventually 
became "maestrae'' or directors of choirs or sections of the 
orchestras and principal performers. Maestrae were paid 
salaries by the schools apparently, were even permitted to take 
18. Wiel, I teatri, op. cit., xxix. Baretti, op. cit., II, 
150-51, offers a glimpse of the contempt with which Itali-
ans seem to have treated their musicians then. How-
ever, there was also a virtual international movement to 
copy the Venetian conservatory system--often with royal 
encouragement--involving such historical fi gures as J.A. 
Breitkopf, St. Petersburg; Pietro Nardini, Florence; Gae-
tano and Girolamo Besozzi, Turin (continued by Gaetano 
Pugnani), and by others in Paris, Hamburg , and warttemberg. In 
ll 
private (pay ing ) students , and experienced other honors , 
privileg es , and personal renown. 20 A first-hand report of 
his visit to I Mend icanti by Rousseau shows the eminent 
author to have been thrilled by the music he heard there , but 
rather disanrn,o i'nted over th e h ome 1?i ness o f th e g?i r 1 s ~ro d uci? ng 
the music s 
The church (I Mendicanti ) is always filled with 
admirers ; even the singers from the Opera come to 
profit b y those excellent examples of g ood style 
in singing ???? Home liness does not p reclude 
charm; I found that they possessed some . I said 
to myself s One can?t sing the way they do without 
some soul : They must have it : Finally my atti-
tude towards them chang ed so much that when I ~eft 
I was almost in love with all those u gly ducklings . 21 
England, the major advocates were Theater Critic John 
Potter, Observations on the Present State of Musi c and 
Musi cians (Londons Henders on, 1762), 97-108 , and Dr. 
Burney who collaborated with Felice Giardini (1716-96) 
on such a project . See his Musica l Tours , op . cit., I, 
122-38 ; Memoirs , 3 vols., ed . Frances Burney d 'Arblay 
(Londons Moxon, 1832), I , 23)-44 . See also Ro ger H. 
Lonsdale , Dr. Charles Burney (Oxfords Clarendon, 1965), 
89 , 149-53, and Percy A. Scholes , The Great Dr. Burney , 
2 vols. (London, Oxford University Press , 1948), I, 261-bj. 
19. I Mendicanti events are documented in Francesc o Caffi, 
Storia della musica sacra gia Cappella Ducale di San Marco, 
2 vols. (Venezias Piccotti , 1 854), Il , 4 2~ ; E .A. Cico gna , 
Sagg io di bibliografia veneziana (Venezia , Merlo , 1~41) ; 
and Girolamo Soranzo , Bibliografia veneziana ( Bologna s 
Forni , 196~. 
20 . Singers at I ~endicanti frequently named in sources are 
Lelia A.rchiappati ( Maria Lelia or "La A.rchiappati " who 
married Pietro Guglielmo and was in London with Lombardini-
Sirme n); Francesca Tomii (like Lelia , a soprano ); Laura . 
R~se ~ari , contralto; Antonia .Lucovl~h, a Sclavoniaq (Slav) al 
to; Teresa A.lmeri go ; Antonia Cubli , another Tartini student , 
and - of Greek descent ; Francesca Rossi , harpsichordis t; and 
Giacoma Frari . See George Sand, Consue lo (London, 1876 ). 
21 . J . J. Rousseau, Confessions , Seconde Partie, Book VII, 
"Une Sor~ie Di gne " (Londons Robinson and Bow 1790). 
Translation quoted from Pincherle, "Vivaldi ,?1on. cit., 34. 
Fig. 2. I Mendicanti , where Lombardini-Sirmen lived during 
her childhood and youth apparently , stood amid the scene 
depicted in Francesco Guardi's Campo San Zanipolo. Shown 
are the church of Santi Giovanni e Paolo and, risinr behind 
the church, La Scuola di San Marco which stands on Ca' di 
Mendicanti , Venice. This reproduction is from Eric Newton , 
The Arts of Mans an Interpretation of 1 4 Great Works of 
Art New York , 19 0 , 199. Another painting by Guardi 
(1712-93), entitled Concerto, portraying an ensemble per-
formance at a Venetian conservatory in the late 18th century, 
is in the Pinakothek, Munich . 
13 
La Scuola Tartiniana 
Beginning in 1709, Giuseppe Tartini (1692-1770) 
studied law at the university that served all the Venetian 
province, the University of Padua, 22 In 1713, he entered 
into a secret and troubled, though enduring, marriage with 
the protegee of the Venetian Cardinal Cornaro, then fled for 
some years during which he perfected himself as a virtuoso 
violinist under Gluck's t eacher, Cz ernohorsky (c,1690-1740), 
earned a reputation as the first violinist of Europe, and, 
. in 1721, was named violinist to the Cappella del Santo, Padua, 
where he remained until his death, In either 1727 or 1728, 
he be gan his own violin school in his home, To this school 
came advanced violin students from all over the world for at 
l east two years of special training, 23 Among his students 
were the violinist-composers Andre Noel Fagin (1721-?), Pietro 
Nardini (1722-93), J,G, Graun (c,1698-1771), Antonio Nazzari, 
listed above among I Mendicanti's music faculty, and Michele 
Stratic~, who was responsible for preserving the 18th-century 
Paduan manuscript collection now at the University of Cali-
fornia-Berkeley,24 Tartini travelled the 26 miles between 
22, A comprehensive Tartini source is Pierlui gi Petrobelli, 
"Giuseppe Tartini," La Musica, 6 vols,, ed, Guido M, Gatto 
(Torino, Tipografia Sociale Torinese, 1966), IV, 573-84. 
23, Hans Nathan, "Autograph Letters of Musicians at Harvard," 
Notes V (1948), 463-64, shows Tartini writing G.B. Mar-
tini about his school, e. g., that he charges two zecchini 
per month's lessons minimum. The fee approximates $2,90 
of U.S. currency for the comparable period of 1883. 
24, See discussion on pp. 17-18. 
14 
Padua and Venice re~ularlv to instruct pages at ambassadorial 
courts, conservatory pupils, and youth of the nobility, in-
cluding his patron Girolamo Ascanio Giustiniani, the brother 
of Benedetto Marcello, Count Thurn und Taxis, Francesco Venier, 
and Bevenuto, comte de Rafaele. 2) As Burney observed of 
Tartini and his school, which endured for over 40 years, 
"He had no other childrer1 than his scholars, of whom his 
care was constantly paterna1. 1126 
Tartini's teaching method was based on the develop-
ment of technique, especially in the use of the bow to 
produce an intensely emotional lyricism. 2 7 J.J. Quantz 
25. Francesco Caffi, Storia della Musico, op. cit., II, 70-71; 
Minos Dounias, Die Violinkonzerte _Giuseppe Tartinis 
(ZUrich1 Moseler, 1966), 200, and Arthur Pougin, Le Vio-
lon, Le Violonistes et la Musi ue de Violon du XVIe au 
XVIIIe si~cle Paris, Fischbacher, 192 , 10 -05. Two 
women conservatory students of Tartini in addition to 
Lombardini-Sirmen frequently mentioned are "La Cubla" at 
I Mendicanti with her and "La Stromba" at Gl' Incurabili. 
Pincherle's evidence (seep. 9) suggests there would 
have been pupils also at La Pieta. The Sirmens dedicated 
their Six Quartets (Paris, 1769) to the Turin nobleman, 
Bevenuto, comte de Rafaele. 
26. Burney, Musical Tours, op. cit., I, 123. Antonio Sartori, 
Documenti per la Storia della Musica al Santo e nel Veneto 
(Verona, Neri Pozza, 1977), 223, cites extant gold and 
silver coins minted in 1754 to honor Tartini students. 
27. Petrobelli op. cit. This Tartini specialist values Tar-
tini's "Leiter" as containing the essentials of his method. 
Tartini also apparently wrote a singing manual, Methodes 
pour la voix, listed in Car~ Johansson, J.J. and B: Hummel 
Music Publishing and Thematic Catalogues, 3 vols. in 2 
(Stockhold1 Musikaliska Akademiens, 1972), I, 81. See 
Abraham Veinus, The Concerto, rev. ed. (New York, Dover, 
1964), 45 1 Tartini seems 0 a c~mplete romantic.long before 
romanticism had become the main stream of musical expres-
sion." 
15 
(1697-1773) calls Tartini "Der lombardische Violinist 028 
and describes the innovations he brou~ht to violin play ing , 
double-stopping, trills and double trills for all left-
hand fingers , and ease of playing in the highest positions 
at least to the ei ghth position . 29 In add ition to bowing and 
fingerboard rules, including shifts up to fifth position, 
Tartini had his students practice with two bowings, one marked 
for 4/4 meter, the other, 3/4. He required them to prac-
tice the same exercises with bowings reversed. The first 
works he had them practice were solo violin compositions 
by Arcangelo Corelli (1653-1713), founder of the Rome violin 
school . About 1747, Tartini reportedly chan&ed his own 
playing style from bravura to bel canto, nevetheless he 
continued holding his instrument under his chin in the old-
28. As quoted in Dounias, Die Violinkonzerte, op. cit., 40. 
29. Norman K. Nunamaker, "The Virtuoso Violin Concerto Before 
Pa~anini a The Concertos of Lolli, Giornovichi, and Walde-
mar," Unpublished Ph,D dissertation, University of Indiana, 
Blooming ton, 1968, 1431 "The 'old' violin with its finger-
board--up to 2" or 2?" shorter than the modern--limited 
the use of truly extreme positions. Beyond ei ghLh posi-
tion would be almost impossible , as a fingerboard did 
not extend much beyond that point," 
16 
fashioned manner , that is, on the ri ght sid e of the tai l-
piece, 
Tartini himself may have owned a Stainer violin, but 
he enthusiastically promoted instruments made in Padua by his 
collea~ue, Antonio Bagaletto,30 Tartini was convinced that 
a musician's character profoundly affected his ability to 
perform and that goodness was an essential ingredient of the 
good musician,3l A veritable Tartini cult flourished in 
Paris in the 18th and 19th centuries, climaxing with E.T.A. 
Hoffmann's ~-J\ap~l),_meister Kreisler caricature of "Tartini's 
. second be~t scholar, 11 32 
30. Pierluigi Petrobelli, "Tartini, Al garotti, e la corte di 
Dresden," Analecta Musicologica II (1965), 72-84. Baga-
letto's violins are described in Henri Poidras, Critical 
and Documentarv Dictionarv of Violin Makers, 2 vols. 
(Rouen 1 Vicomt~, 1928-JO), I, 6. 
31, Details of Tartini's method are drawn from Edward S.J. 
van der Straeten, The History of the Violin, 2 vols. 
(London, Cassell, 1933), II, J0-31; Paul Stoeving , The 
Storv of the Violin (London, Scott, 1904), 182; David D. 
Boyde n, The History of Violin Plaving (Londons Oxford Uni-
versity Press, 1965), 343-44, 387, 389, etc.; and M.M. 
Scott, "Maddalena Lombardini, Madame Syrmen," Mus ic and 
Letters XIV (1933), 151, 
32, Marc Pincherle, Tartiniana, on. cit., 13-17, See Georges 
Cucuel, "Le Baron de Bagge et son Temps ," L'Annee 
Musicale I (1911), 145-86, where details of the musical 
milieu in Paris circa 1770 link "Tartini's second best 
scholar," Baron de Ba gge , with Lombardini-Sirrnen 's 
colleagues and publishers there. 
1,7 
Pi erl ui gi Pe t r obelli summariz es the historical si gni-
ficance of the Tartini schools 
From a formalistic, organizational standpoint, 
the influence of Tartini's School was much less im-
portant [than its influence on performance style], 
in the sense that every one of Tartini's pupils 
assimilated [into their compositions] other contem-
porary influences along with the Master's teaching. 
Tartini's influence on those musicians is not mani-
fest so much in formal organization or thematic 
usages [in works composed -by musicians connected 
with the Paduan School] as it is in the arrangement 
and expression of the musical language. It [Tar-
tini's influence] is, in conclusion, a model and a 
herita~e that has more to do with style than with 
form. 3J 
The collection of 234 .., 0rks by composers beli eved to 
have been connected with Tartini's school and now preserved 
at the University of California-Berkeley does not contain. 
any known works by Lombardini-Sirmen.34 
13. Petrobelli, La Musica, op. cit., IV, 581: "Dal punto di 
vista formale e cornpositive, l'influsso della scuola tar-
tiniana ~ assai meno importante, nel sense che ognuno 
de gli allievi assimilo la lezione del Maestro con altre, 
concomitanti esperienze contemporanee. La derivazione 
tartiniana in questi musicisti non si manifesta tanto nell' 
organizzazione forrnale o nella tematica, quanto nella 
disposizione e nell' atteggiamento del linguafgio musi-
cales ~ insomma una lezione ed una eredita piu di stile 
che di forma." 
34. Vincent Duckles, Minnie Elmer, and Pierlui gi Petrobelli, 
Thematic Catalog of a Manuscript Collection of 18th-
Centur Italian Instrumental Music in the Universit of 
California Music Librarg Berkeleya University.o~ Cali-
fornia Press, 1963), 3-. Many of the 57 Tart1n1 students 
named by Dounias (Die Violinkonzerte, op. cit., 200) are also 
among the Paduan School composers named in the Thematic 
Catalog. Anton Bonaventuri Sberti (1732-1802), who 
worked with Stratico to preserve these manuscripts, also 
preserved Tartini's "Letter" to Lombardini-Sirmen (see 
p. 18). It would have been accepted practice at the time 
for Tartini to have instructed Lombardini-Sirmen, the 
violinist, in principles of composition. 
1 8 
Chapter II 
PRIMARY BIOGRAP HICAL DOCUMENTS APPEARING 
D TRING LOMBARDINI-SIRMEN ' S LIFETIME (c,1 735-c ,1 799 ) 
( Note s no effort has been made to standardize spel ling and 
punctuation either in Chapters II or III or in the comple -
mentary Thematic Index of other known works by the Sirmens 
to be found in Apoendix ? rr. This informati on has been copi ed 
exactly as it appears on title pages or citations by identi-
fiable sources .) 
Tartini ' s "Letter " 
1, March 5, 1760 
An imperfect copy of a letter from Giuseppe Tartini to 
Lombardini-Sirmen , made by Anton Bonaventura Sberti (1 732 -
1802 ), is preserved in the Museo de l Mare , Pirano , Italy, 
Pierlui gi Petrobelli in riuseone Tartini 1 le fonte bio -
grafiche (Venezia , 1969) , 14f and 82f , compiles details 
concerning the writing , copying , and preserving of the 
"Letter ," For instance , he describes how Sberti offered 
to mail Tartini ' s "Letter " from Padua to Venice, but first 
asked Tartini ' s permission to copy it , Petrobelli cites_ 
Sberti ' s __u _npublished autobio 2:raphy now in Padua ' s ? Bi blio teca 
dfl_ _M us eo _Civico, B,P. 1479/V, pp.5f: , Sberti received 
a law de gree from the Univers ity of Padua in 1 755 and was 
ordained in 1779, Duckl es , Elmer, and Petrobelli ( Thema-
tic Catalog of a Manuscript Co ll ection of 18th-C entur 
Italian Instrumental ~usi c Berke ley, 19 3J, 3- cal l 
Sberti a musical amateur and credit him as one of those 
r esponsible for preserving the Collection . The primary 
document is , of course , the Tartini "Letter ," and it must 
be considered biographical because of its date and address , 
The cq~plete text is provided in Appendix I. A summary of 
its early publishing hi~tory in- tabular form is on P? 19. 
The "Letter " begins: "Sig , Madda l ena Mia Stimatissima , 
Padova li 5, Marz o. 1760, 11 
Figure J. A Summary of the Early Publishing History of Giuseppe 
Tartini's "Letter" to "Si gnora Maddalena" Lombardini-Sirmen, 
dated March 5, 1760. 
Document No~ Year Title Cit Publisher Translator 
1. 33a 1770 "Lettera del De- Venice L'Europa none 
fonto Sig. G.T. letteraria 
alla Signora Mad- 6/1, p, 74f. 
dalena Lombardini" 
2 ~ 33b 1770 ?'Un importan~e le- Bologna Sassi none 
zione per i suo-
natori di violino ? 
3. 33c 1770 ditto Milan Galeazzi none 
4. 33d 1770 ditto Venice Colom bani ?none 
5. 61 1771 A Letter From the London Bremner Charles 
Late Signor Tar- Burney 
tini to Signora 
Maddalena Lombar-
dini (Now Signora 
Sirmen) 
6. 95 1773 "Lettre de Feu Paris Journal de F.J.M, * 
Tartini a Madame Musigue Fayolle 
Magdeleine Lom- No. 2, p, 15f, 
bardini. ? " 
7. 110 1779 REPRINT of No. 5 London Bremner Burney 
8. 114 1784 "Brief des Joseph Leipzig~~ verlage J. A. 
Tartini an Magda- der Dykis- Hiller 
lena Lombardini. chen buch-
? fl ? ? handlung H. H. 
9. 130 1786 Unknown Hanover Pochwi tz Rohrmann 
10. 134 1799 Unknown Venice Marescalchi None 
I-' 
* Fayolle's translation is reprinted in his Notices sur Corelli, Tartini, '? 
Gavinies et Viotti (Paris, 1810), 
1760-68 20 
The "Letter" concludes with Tartini 's expression of will-
ingness to answer further questions from Lombardini-Sirmen 
and with his r eques t to be remembered to her coll eagues --
all of whom would seem to be nuns--at the conservatory . 
" ??? Null ' altro per ora le propongo da studiare ; ma 
questo basta , e avanza , quando ella vo glia dir da senno 
per la sua parte, come io le dico per parte mia . Mi ri -
spondera , se ha ben intes o , quanto qui le ho proposto; 
e intanto rasse gnandole i miei rispetti , come la prego 
di far per mia parte alla Siga . Priora , alle Si ge . Teresa , 
e Chiara , tutte mie Padrone , mi confermo sempre piu 
Di V. S. Mol . Illustre . 
Devotis . A.ffetuossmo . Servitore 
Giuseppe Tartini " 
1768 -99 : Documents, Chronolo rica ll;v Arrang ed 
(Note: A running c hronolo gy appears from the top left of this 
pag e throug h pa ge 49 of the presentation of documents and 
reappears from pag e ?0 to p a ge 5_9 of the Bio graphical Commen-
tary for the reader ' s convenience . ) 
TURIN, Ital;v 
2 . June J , 1768 . From the Torino Archivio Storico Communale , 
Ordinati, Vol . 6 , carte 22 1 e 222 , as cited in ~.arie 
Th~r~se Bouquet , Il Teatro di Cort e Dalle Ori ~ini al 1788 
(Torino , 1976), 341 , fn . 59 1 Lombardini-Sirmen a nd he r 
husband request and receive pe r mi ss ion to perform at a 
Friday Concert in the Teatro S,A.S. di Cari gnano. 
"31 maggio 1768 ; Ludovico Sirmen di Ravenna assieme a 
sua moglie , ambi virtuosi Suonatori di violino , desider-
ando dare un pubblico Concerto Venerdi prossimo J del mese 
di Giu gno nel Teatro S . A.S . di Cari gnano , si; permess o 
loro al dare tale concerto nella maniera in simili case 
praticata con altri virtuosi[ ??? J ben inteso per~ che 
tale permesso non ab~ia luo go , s~ non d?po . che.il . pred 0 
Ludovico Sirmen avera ottenuta l1cenza in 1scr1tt1 da 
Mvr . Arcives covo ." 
21 
PARIS , France 
J . Au gust 15, 1768, From Annals of the Concert snirituel 
(1725-1 805 ), as compiled by Constant Pi erre , Histoire du 
Concert suirituel (Paris , 1900 ), 295 1 The Sirmens appear 
in Paris for the first time in a performance of a double 
concerto for two violins composed by Lodovico Sirmen . 
"Item 829 . 15 aoCt. Symph . --_Dili gam te , Gilles .--Conc . 
htb . ex . [Gaet . J Besozzi . --Coeli enarrant , mvs ., Dugu~ 
ch . abb~ Durais de St-Germain l ' Auxerrois . - - Conc . I 2 
vons , Sirmen ex . Mme Sirmen et l ' auteur . --Airs ital . ave c 
paroles latines ch , ? Ml le Fe l, dont l ' un ave c accomp . de 
h;b ? par Besozzi . --F.xultate ,justi , Dugue (Mme Larriv'ee ,) - -
Gelin et Muguet ch . dans le concer t ." 
According t o Pierre , an advertisement for th i s concer t 
appeared in Affiches , annonces e t avis divers on Aug . 11 , 
1768 , p . 699 , Reviews of the Sirmens ' performance con-
stitute Nos . 4 , 5 , and 6 , below . 
4 . M~moires secrets pour servir a l' histoire de la reuublique 
des l ettres en France , denuis MDCCLXII jusqu ' a nos ,jours ; 
ou , J ournal d ' un observateur ? ?? , 36 vols ., eds . L . P . de 
Bachaumont , et a l. (London , Ad amsohn , 1777- 89 ), XIX , 266 1 
a review of the Aug . 15th concert which emphasizes the 
element of surprise insisted on by the concert management 
for Lombardini - Sirmen ' s debut . N. B. "leur L: omposi ti on ," 
"Le 15 Au8t 1768 . Le concert spirituel a ~tf fort brillant 
aujourd' hui ; l es amateurs y ont ete attir~s par l e spec-
tacle d ' une femme jouant du violon . Mad . Sireman, 
V~nitienne jeune & jol ie , a ex~cut~ av e c son mari un 
concerto de leur composition . Les Directeurs avoi ent 
exi g~ qu ' elle ne jouat nul l e part avant ce jour celebre , 
ce qui avoit redouble la curiosite, Elle a ete fort 
applaudie . On a trouve de l a verite , de la purete , de 
la gentillesse dansson j eu . El l e a surtout mis dans 
l' adagio ce tte sensibilite qui caracterise si bien son 
sexe . Cependant , le violon es t pousse -aujourd ' hui a un 
te l de gr'e~ de perfection , qu ' on ne peut dire?? cfue .. cette 
virtuose surpasse leS grands maf tres , OU meme les e gale ," 
5, August 22 , 1768 , L ' Avant-Coureur , p . 540 , as cited in 
Charles Bouvet , Une Le on de Giuse e Tartini e t une femme 
violoniste au XVIIIe siecl e (Paris , 1915 , 31 1 another 
review of the Aug . 15th performanc e . 
22 
"r.~adame et Monsi eur Sireman ont fai t entendre un concerto 
de violon de l eur composition. Madame Sireman, ~l;ve du 
C~l~bre Tartini , a le tal~nt l e plus distingu? . Son 
violon es t la Lyre d'Orphee dans les mains d'une gr@ce. 
La beaute des sons , l'expresas ion, le goGt et la facilite de son jeu , concourt (sic) la mettre au premier rang 
des virtuoses," 
6. September 1768 , Mercure de France , p . 117, as cited by 
Bouvet , ibid., a third review of the Aug . 15th performance 
at the Conc ert spirituel by the Sirmens . 
"Le Lundi , 15 aont 1768 , jour de l'Assomption, on a 
ex~cut~ au Concert Spirituel ??? M. et Mme de Siremen 
ont execut~ un conc erto 1 deux violons, de leur composi-
tion . Mm e de Siremen est une ??leve du fameux Tartini 1 
elle a parfaitement saisi le jeu de cet habile maftre ; 
e lle a meme , dans l'exe cution, des grices qui lui sont 
particulieres . C'est une muse qui touche la Lyre d' 
Apollon , et les c harmes de sa pers onne ajoutent encore 
~ la sup'eriorite de son talent ." 
7 , Sept . 8 , 1768 , From Annals of the Concert spiritue1 
compiled by Pierre , op . cit ., 295 1 The Conc ert spirituel 
orchestra plays a symphony by Lodovico and Lombardini -
Sirmen perform?s . ~a violin concerto by him . 
"Item 830~ 8 sept. Syrnph ., Sirmen ,--Conc . htb ., bon 
et cor de ch, ex. [Gaet . J Besozzi , LG , j Jadin et Molidor, 
- - Exultate justi, pm., Tissi er ( tres jeune compositeur ) 
ch, ~~e Larriv~e .--Pi~ces , Romain ex , sur le pfe par Mlle 
Lechantre . --Conc . von , Sirmen ex . W~e Lombardini-Sirmen.--
Air ital. ch. Mlle Fel avec accomp . de htb. par Besozzi . --
SuDer flumina couronne', Giroust." ? 
8 . Sept . 12, 1768. From L'Avant-Coureur , 12 septembre , 1768, 
p. 583, cited in Bouvet, OD, cit ., 321 a notice of the 
second Concert spirituel app earance by the Sirmens. 
;" ~ 
"Madame Lombard"i' ni Sirmen a exe cute avec beaucoup de ? gr? -ices et de gout un concerto de violon de M. Sirmen . 
Le concert a commence par une s yrnph onie de M. Sirmen," 
9 , Oct . 1, 1768. From Mercure de France , octobre 1, 1768, 
pp . 149-50, cited in Bouvet, OD , cit., 321 another hi ghly 
complimentary review of the Sept . 8 appearance , 
"Le jeudi 8 septembre , jour de la nativit~ de la Vierge, 
on a execute au Concert Spirituel une syrnphonie de M. 
Sirmen .?? 
"Mme de Lombardini Sirmen a enchante" par la mani~re 
1768 23 
,,. ,, 
dont elle a execute un concerto de M. Sirmen . Cette 
charmante virtuose exprime du violon des sons brillans 
et amoureux qui penetrent jusqu ?au coeur . " 
10 . Dec , 5, 1 768 . From Affiches , annonces et av i s divers , 
5 decembre , 1 768 , cited in Bouvet , op . cit ., 4 11 announce -
ment of the publication of a set of six violin trios by 
Lodovico Sirmen in Turin , 
"Six nouveaux trios a deux violons et basse , par Loui s 
Sirmen , ler violon de la Ste-Chapel l e de Bergame , Prix 1 
1 liv. 4s ., chez l'auteur , rue des Grands - Augustine , a 
l'hotel de Turin , etc , ( OEuvre 2? )" 
According to Pierre , op , cit ,, 295 , there appear s on 
p . 984 of this same issue an advertisement for the thi rd 
appearance of Lombard i ni-Sirmen at the Concer t spiritue l 
reported below in No , 11~ 
11. Dec , 8 , 1768 . From Annals of the Concert spirituel , 
compiled by Pierre , op . cit ., 295 1 Lombardini-Sirmen again 
performs a violin concerto composed by her husband , 
"Item 8J2 , 8 dee , Suite de symphs , Rameau ex . a gd ? . 
orch , sur l' orgue par Balbastre , - - Conc , htb , comp , et ex , 
LGaet . J Besozzi , --Jubilate Deo , Dauvergne , ch , r.1me Lar -
riv;e et Muguet , - - Conc , von , Sirmen ex . Mme Lombardini -
Sirmen , --Air ital , ch . Mll e Fe l avec accomp . de htb . obl , 
par LGaet . J Besozzi , - - Te Deum , Dauvergne . --Mlle Rozet , 
Gelin ch . dans le concert ." 
12 . Dec . 12 , 1768 . From L ' Avant-Coureur du lundi 12 decem-
bre 1768 , p . 796 , as cited in Bouvet , on . cit ., 33 1 a 
notice of Lombardini - Sirmen ?s Dec . 8th performance . 
"Madame Lombardini Sirmen a execute' un concert ( sic) de 
viol on de la comp osition de JI~ . Sirmen ." 
13 . Dec . 22 , 1768 . From A.ffiches, annonces e t avis dive~s , 
p~ lOJB, as cited in Pierre , ou . cit ., 295: an advertise -
men~ for the fourth Sir~en per f ormance at the Concert 
suiritue l , this one by Lodovico only ( te~t is unavailable 
to me) . 
14 . Dec . 24, 1768 . From Anna}s of the Conc ert spirituel , 
compiled by Pierre , on . ?it . ,_ 295, a symphony and a 
violin conc erto by Lodovico Sirmen (with him as soloist) 
are on the pro gram . 
24 
"Ite m 8 33. Symph ~ , Sirmen ( A.) - -Omnes gentes , Dauve r ge 
(A. )--C one, htb , ex , [ Gae t , J Besozzi.--Air ital ,, 
~ , r ~ 
Barthe l emont ch, Mme Barthel emont , --Conc , von comp . 
et ex . Sirmen ,- -Air ita l. ch. Mme Bar th~l ~mont .--Conc. 
de no~ls ex , dur l'orgue par Balbastre.--S upe r flumina 
( 2e prix) , Giroust," 
15, 1 768 . In Catalo go, Citt1 di Firenze , Bibliote ca 
del R. I s tituto Musicale , comp , Ri ccardo Gandolfi 
(Parm az Freschi g , 1910-11), 28 1, Item B1494, uhere is 
listed a Violin Trio in D, c ompose d by Lombardini-Sirmen 
and pub lished in Paris by LeC l e r c (c. 1768 ). The work 
is dedicated to G.A. Giustinia ni. Ca ll e d Op. 1, No , 1 
in the Ca talo gue , the work may be part of a se t of six 
published Trios brough t out by Le Cl e rc. The incipit 
for this Trio in D corre sponds to Op. 1, No. 3 of the 
J.J. Humme l editi on of Lombardini-Sirmen 's Six Trios , 
Op , 1 (Amsterdam , 1771). 
PARIS , FRANCE 
1 6 . J a nuary 1769 . From Mercure de France, j anvie r 1769, 
p . 151 , cited in Bouvet , on. cit., 33z a r evi ew of 
Lombardini-Sirmen's Conc er t spiritue l performance on 
De c. 8 , 1 768 . 
"Madame de Sirme n, qui depuis quelque temps nous a ccou-
tume a un phenomene enc or e plus rare , executa sur le 
violon, un concerto de la composition du sieur Sirmen 
son epoux . Elle est la premiere de son sexe qui ait 
disput~ ce genre de succ~s ~ nos grands artistes . Mais 
l a politess e francoise n' entre pour ri en dans les ap-
n l audi ssemens que r e~oit cette vir tuose . Ilssont dus 
a la superiorite de son talent." . 
25 
17, Jan,, 1769. From L 1 Avant-Coureur, j anvie r 1769 , p. 8, 
cited in Pierre, on. cit., 295? another r eview, pre -
sumably of Lombardini-Sirmen's Dec, 8 performance . The 
text is unavailable to me . 
18. March 13, 1769. From Annals of the Concert spirituel, 
compiled by Pierre, op. cit., 2951 Lombardini-Sirmen 
plays for the Lenten concert, 
"Item 836 . 13 mars (passion). Miserere, Dauverge, --
Cone; fl~te ex . Sallantin fils.--Dili gam tech. Mlle. 
Morizet~--Conc . argue deja joue plus , fois comp. et ex, 
Balbastre~--Mme Lombardini j. du von,--Stabat, Pergolese." 
19, March 1769~ From L'Avant-Coureur, mars 1769, P? 186, 
cited by Pierre, op. cit., 295r presumably a review of 
the performance of No; 18, Text is unavailable to me. 
20, March 20 , 1769, From Anna ls of the Concert suirituel , 
compiled by Pierre, op . cit. , 296 1 Lombardini-Sirmen 's 
fifth appearance at the Conc ert spiri tue l. 
"Item 838 . 20 mars, 2 motets de l ' ode LJ. B .J Rousseau r 
La Gloire du Se i gneur pour le concours (lre fois ,)-- ? 
Barthel emont. von,--Legros [ch.2--Son, von ex , Mme, 
Lombardini-Sirmen,--Deus meus r espi ce, pm ,, Giroust ch, 
Levasseur," 
21 , March 25 , 1769. From Annals of the Concert spirituel, 
compiled by Pierre, on, cit,, 296, Lombardini-Sirmen per -
forms in her sixth and last program of the 1768 - 69 season 
at the Concert spirituel, 
"Item 842. 25 mars. Nouv . cone, argue comp, et ex. 
Balbastre.--Nouv. cone~ von ex , Mme Lombardini-Sirmen,--
Cantate Domino, de Saint-Amans ch. Mlle Fel,--Bonum est, 
nouv, mgch., Doriot." 
22, A ril 1769~ From Mercure de France, avril 1769, II, P? 
1 43, cited-in B6uvet, - ~p. cit., JJ1 a review of Lombar-
dini-Sirmen's - l~st p~fformance in Paris during 1769, 
"Madame Lombardini Sirmen, ~l~ve du c~l~bre Tartini , a 
execute des concertos de violon qui ont fait admirer la 
hardiesse de son archet et la delicatesse de son jeu; 
c'est une muse qui tient la lyre d'Apollon." 
23. 17.2.2., Barry S, Brook, The Breitkopf Thematic Catalogues, 
The Six Parts and Sixteen Su plements 1 62-1 87 (New Yorks 
Dover, 19 , Supplement IVs 1769, 3511 "VI Trii di 
Ludovico SIRMEN, Opera I." 
1769 -70 C, 26 
24 . 1 769 . From Catalo ?Tue Des OuvraP-es qui se vendant ch e z 
Madame Berau l t, Mde . de f.~usig ue , Rue d ? a cote de la 
Com~die Franco i se nred i e l e Carfour de Buss i Fauxbour ~ 
St . Germai n, ou l' en t rouve an assortment e:e neral de 
toutes sortes de Musique , Fran9oise et Itali enner the 
Sirmens ' c o-c omp osed Six Quartets appear in column 2. 
The 176', date for these qua rtets is reaffirmed by RISM r 
RecueiJ.s Imprimfs XVIII 0 Siec le (MUnch en-Duisburg , 1964), 
I, 29 5, and by Cecil Hopkinson, A. Dictionary of Paris i an 
Music Publis hers (London , 1954), 9. 
25 . 1769. Title Page r eads, Sei/Quartetti/A Violino I, e 
II, Viola, e Violoncello/Dedica ti/Al Illustri ss imo 
Si gnor Conte/Benevento/Di Sant. Ra ffa ell e/e Comnos ti da/ 
~odovico, e Madelena Laura Syrmen./Prix 9# ./0pera III. 
A. Paris/Chez/Madame B~rault Mde. de Musigue rue de la 
Com~die francaise Faubourg St. Germain au Dieu de 
l'ha r monie/Ei a ux adr esses ordinaire/A.P.D.R. ?? 
The dedicatee here , Count Bevenuto or Benevento di San 
Raff ae lle, studi ed with Tartini and was pr a ised by 
Charles Burney on his visit to Turin in 1770 as an ex -
tremely fine musician and composer. (Seep . 14) 
VENICE, Italy - 1770 
26 . March 1770, "Elo gio del defonto Si g . Tartini," L' Eurona 
l etteraria, IV/I (Ven e zia, Fenzi , marzo 1770 ), 94- 9t3 : 
t he Venetian abate , Gius eppe Gennari (1 72 1-1800 ) pub -
l ishes his eulogy (apparently anonymous l y ) to Giusepp e 
Tartini, who died on Feb. 26 , 1770 , at the age of 77. 
Gennari's eulogy calls attention for the first time in 
print of the existence of Tartini 's "Letter " to Lombar-
dini-Sirmen, written a decade earlier. The tex t is not 
avai l ab l e to me. It is cited by Petrobelli, Giuseppe 
Tartini: Le fonte bio grafiche , op. cit ?? 14-15, Petro-
belli states that the eulo gy a nd additiona l reportage is 
conta ined in G. Gennari, Not izie giornaliere/di ouanto 
avvenne snecia lmente/in Padova/dall' a nno 1739 all ' a nno 
1800 Padova , Biblio te ca de l Seminario, MS. DLI , carta 6J. 
- -' 
27 . March Jl, 1770. A memoria l Mas s is offered for Tart ini 
in Padua, a nd Frances co Fanzago , Paduan abate and fi rst 
Tartini bio gr apher, delivers his eulo gy to Tartini in 
which the existence of Tartini's "Let t er" to Lombardini-
Sirmen is again I)1erittoned . __F 3:nzag~ ? ~ eu lo gy i~_ _s _u?sequentl y 
nubli shed .. under _sepa_~a te_ coye3? ? ?---- -~-1?:- ~a_d:_u9-_? _:_t hr_:~ e __ d'.:i T:.. -:-? 
0
Terent t-imes..:-..:-r:n? 1770 and twi_c_~ ~n .1792 .. Francesco Fanz_ago 
ada.s?ba?ck ,2;r-ound details to the circumstanc es behind the 
"Letter " ; nd r e f ers to some Tartini ~tudents who jea lous l y 
puard hi s teaching methods and materi a ls. 
27 
a ) Orazione / de l Si gnor Abate/Francesc o Fanza?o/Padovano/ 
dell e l odi/di ~i usepue Tarti ni,/reci tata ne ll a chi esa 
de rr . ?P. Serv~ ti/in Pad ova /Li Jl. di r.:a rzo 1 ? anno l 770L 
con va r1e Note 1llus t r a ta econ breve Comuendio della 
vita del Mede simo Padova 1 Conzatti , 1770) . 
b) Elo gi di Giuseppe Tartini, primo violinista nella 
Caupella del Santo di Padova e del P . Francesco Antoni o 
Valotti, Maestro della Medesima (Padova 1 Conzatti , 1792 ). 
c ) Elo gi di tre uomini illustri , Tartini, Valbtti , e Gozzi, 
con una ora zione gratula torio (Padova, Conzatti , 1792 ) ; 18f . 1 
Fanzago ' s r eference to certain Tartini admirers who 
jealously guard his pedagogical writings . 
"? ?? molte l ezioni pratiche communicate ad alcuni de gli 
allievi suoi , che le conservano gelos amente ??? " 
On p~ 34 , fn . 34 of this 1792 edition , Fanzago explains 
the backgro und of Tartini ' s "Letter" to Lombardi ni-Sirmen . 
"Era allora ritornata nello Spedale de ' Mendicanti in 
Venezia . La qual Lettera fu inserita nella Europa letter-
aria , Tom 5. Part . 2 . Primo Giugno 1770 . pag . 74 . e seg . 
(See below , No . 3Ja). Si stampo?' a l tre sl separata in 
Venezia dal Colombani , come una importante Lezione per i 
Suonatori di Violino , e di cione siamo giustamente obbli-
gati al nostri Si g . Dottore Anton-Bonavventura Sberti , che 
di essa ce ne ha cons ervata la copia ???? " 
28 . May 14 , 1770 . From ' s- Gravenhaegse courant , as cited 
in Cari Johansson , J . J . and B. Hummel Music Publishin 
and Themati c Ca talo e:ues Stockholm I Musikaliska Akademi ens , 
1972 ), 28 1 advertis ements for the newl y published Humme l 
editions of Lodovico ' s Six Violin Trios , Op . 1 , and Lom-
bardini-Sirmen ?s Six Violin Trios , Op . 1 , without plate 
numbers . The texts are not available t o me . (See No. JO) 
29 . 1770 , Barry S , Brook , The Breitkouf Thematic Catalogues , 
~cit ., Suuul ement Vi 1770 , 387 1 incipits for Lombardini-
Sirmen ' s Six Trios (Amsterdam , 1770 ) are given under the 
headin .12: : 
"VI Trii di r.1adame Lombardini SIRMEN . Op . 1 . Amsterd . 
con Violoncello obli gato ." 
30 . 1770 . RISM title card for Lombardini-Sirmen ' s Six Trios , 
Op . 1 (Amsterdam , 1770) reads 1 
"Sirmen Maddalena Laura/Six trios [F , C,D , A, G, fJ 'a deux 
violons et violonce l lo obli ge dediees [sicJ , ??? Com-
pose?s par Madame Lombardini Sirmen ?? ? Oeuvre premiere ./ 
Amsterdam , J.J . Hummel , s . d . /3 fasc .: vl I , vl II , b (vl c). 
/ 
Grave. " 
28 
31 . UZQ.. Edi th B. Sc l:n )per, ed ., The 3ri tish Union Cata-
lo p-ue of T<:arl :v r~us i c Printed Before t he Year 1801 , 2 vols . 
(London: But t rworth , 1957) , II, 627 , 902: BUC gives 
a circa 1 770 date fo r ~he Welcker edition of Lo~bardini-
Sirmen ' s Six Tri os , Op , 1, which would be her first 
British editi on , d spi~e the French text of the title . 
32. 1770. Title Page r a ds 1 ''Six/Trios/a/deux Violons et/ 
Violonc ello obl La-e?'/ Com ,oses par/f1adame Lombardini Sirmen/ 
F:leve du ce l ' bre Tar tini de Padoue/Oeuvre Premi~re/Price 
10-6/Lond on/ Prin ted b y Welcker in Gerrard Street St . Ann ' s 
Soho/ .'lher e may be -had i he gr eatest Variety of 3ew r.~usi c 
bv t he mos t c e l ebrated Authors etc . etc. etc .u 
33 . June 1 , 1770 . From Pe irobelli , Giuseppe Tartini , le fonte 
bio .?Tafi che , 0 1) . cit , , 14-15 1 mention by Gennari ( No. 26 ) 
and Fanza go ( No . 27) of the existence of Sberti ' s copy of 
Tartini ' s "Le t ter " to I ombardini-Sirmen prompted the im-
mediate publication f the "Le tter ." 
. a ) "Lettera de l De f on t o Si g . Giuseppe Tartini alla si gnora 
r,~addalena Lombardini , inservi ente ad una importanta 
l ezione pe r i suona t ori di violino ," L ' Europa letteraria 
V/II (Venezia: Fenzi , 3une 1. , 1 770 ), 74-79 , the edito'r 
of L'Eurona l e tter a ri a at this time was Domenico Carminer 
(seep . 4) . The text i s unavai l able to me . 
b) Un i mnortante l e zion er i suonatori di violino (Bologna : 
Giovanni Ba tti sta Sas . i , 1770). 
c) Un imnorta n t e l ez i one ner i suonatori di vi oU no ( Mi l ano 1 
s . Giuseppe Galeaz zi , 1770) . 
d) T~ imoortante l e zi one ner i suonatori di violino (Venezia : 
Paolo Colombani , 1770) . See Documents Nos. 61, 9 5, 110, 114, 130, 
and 134 for more ea rly publication hi story of Tartini ' s 
"Letter ." See Fi ,c:r . J, p . 19 , for a publication summary . 
34 . Au gust 17, 1770 . Fr om Charles Burney , The Present State 
of Music in Franc e and Ita ly , Or, the Journal of a Tour 
Through ~hoe Countri es, Undertaken to Collect Materials 
for a General Histor v o: ~usic . London : Printed for T. 
Becket and Co . in th~ S tr a nd , 1771 ( 2nd ed ., 1713) 1 
on Friday , August 17 , the last of his two-week visit to 
Venice , Charles Burney [1726-1814) attends a concert at 
the Seminario musical e dell ' Ospitale dei Mendicanti . Of 
the concert given e pec:ally for him , he f'iles t his r e -
port wnich was l ater - published (pp . l BJ::81.} ). 
29 
"It was here that the two celebrated f emale 
per f or mers , t he Archi apate , now Si gnora Guglielmi , 
and Maddalena Lombardini Sirme n, who have rec e ived such 
.grea t and just app lause in Engl and , had their. mus ical 
ins t ruction ." 
35 . Se1J tember 1770 . From Burney , The Present State , ibid ., 
249-50 1 t he following month , Burney was in Florence and 
heard a pe rformance by the violi nist and Tartini pro -
tege , Pietro rard ini (1 722 - 93) , and writes a comparison 
of Pardi ni with Lomba r dini-Sirmen . 
". ? ? Si .c:rno:r:.? nardini played bo-th a so lo and a 
c oncerto , of his own c om ositi on , i n such a manner as to 
l eave nothing to wish r hls tone is even and sweet ; not 
very l oud , but clear and c ertain ; he ha s a great dea l of 
expression in his s low movements, which , it is sai d, he 
has happily caught from his maste r Tartini . As t o execu-
tion , he will satisfy and p l ease more t han s ur prise r in 
s hort , he s eems the comp l etest player on t he violin in al l 
It': l y ; and , a ccording to my fe e lings and judgment , his 
stile is de li cate , judicious , and high l y finis he d ." 
Burney ad ds a fo otnote: "Whoever has heard t he polished 
perfor mance of the celebrated ~adame Sirmen , may form a 
pretty just id ea of Si gnor Nardini's manner of playing ." 
~) Fall 1770 . From Burney , An Eiehteenth- Century Musical 
Tour in France and Italy s Being Dr . Charles Burney ' s 
Account of His Musical Experiences As It Appears in Hi s 
Published Volume With Which Are Incorporated His Travel 
Exneriences According to Hi s Ori ~inal Intention , Vol. 1 
of Dr . Burnev 's Musical Tours in Europe , 2 vols ., ed. 
Percy A. Scho les .(London s Oxford University Press , 1959 )1 
Scholes footnotes Documents No. 34 and 35, on pp . 137 and 
185 of his edition. 
"She is the first of her sex to have achieved this 
kind of success among the great artists . Unquestionably , 
it is not a matter of French politeness in the amount of 
appla use she (Lombardini - Sirmen ) receives . The fact is 
they reco gnize the superiority of her ta l ent ." (Clear l y 
the review of Lombardini-Sirmen 's performance in Mercure 
de France , January 1769 , p . 151, is the source of this 
footnote (see No. 16). 
b) "f.1addalena Lombardine Sirmen , or Syrmen ( b. 1735), 
famous violinist and favourite pupil of Tartini , to whom 
he wrote the famous Letter mentioned on p. 101, footnote , 
Composed string music and harpsichord music. He r husband 
also was a violinist and the two combined thei r skills in 
the composition of some string quartets," 
LONDON, England, 1770-71 JO 
36. Nov. 6, 1770. From Ge orge WS.nchester Stone, Jr., The 
London Stage 1660-18001 a Ca::J.endar of Plays, Entertain-
ments and Afterpieces To ge ther With Cas ts, Box Receipts, 
and Contemnorary Comment Compiled From the Playbills , 
Newspapers, and Theatrical D:::I..aries of the Period , 3 vols., 
11 parts (Carbondale, Ill. 1 Southern Illinois University 
Press, 1962), IV/II, 15091 S""t:: one quotes from a public 
notice for the opening of the 1770-71 Italian Opera 
Season at the King's Opera House in the Haymarket, Lon-
don , England. Earlier, on P- 1497, he reports that 
Lombardini-Sirmen is one of :E'ive specialist Musicians 
playing in the pit orchestra there with the Oboist, 
Johann Christian Fischer (1733-1880); Jean Pierre Duport 
(1741-1818), Violoncellist; a.nd the Flautist Joseph 
Tacet about whom little is k!'":lown. Lombardini-Sirmen is 
listed here as a violoncellist. Stone states that, ex-
cept for two performances of Arianne e Teseo and one of 
Artaxerxes and two performances each of the oratorios , 
Ruth and Messiah ;?- the -. ItalLan Opera Comp.any - i?his 
season gave only comic -operas. There were 65 performances 
of 11 works in all. 
"Tues;, Nov. 6, 1770, King 's Theater--Le Vicende Della 
Sorte; or, The Turns of Fort~ne. First singe r--Sga Ris-
torini; first man--Lovattini." 
37. Jan . 10 1 1771. From the Pla;r:bill for King 's Theater, 
cited in Stone, ibid., 15221 Lombardini-Sirmen performs 
a violin concerto entr'acte . 
"Gioas Re Di Guida LJ. C. Bach_ J. Parts by Tenducci, Savoi, 
Morigi , Sga Grassi, Sga Guglielmi, Mrs. Barthelemon. 
Musi c. I1 Solo on Violoncello by Duportr II, after the 
Duetto1 A Concerto on the Violin by the celebrated Mrs. 
Lombardini-Sirmen. Sin~ing. ~ I, Song by Sga. Guglielmi, 
accompanied by Duport." 
This pro gram at King's Theate~ is repeated on Jan. 16, 17, 
23, and 24. It is called Lom~ardini-Sirmen 's "de.but" generally. 
38. Jan. 10, 1771.From the Public ,Advertiser for this dates 
notice of the performa~ce at ~ing 's Theater cited in No. 
37. The text is unavailable co me. 
39. Feb. 8, 1771. From t~e Playb~ll for King 's Theater, 
cited in Stone, op. cit., 152 11 Lombardini-Sirmen a gain 
performs a violin concerto, t~is time on a recital pro-
gram put on by the Opera Compc%_ny. 
"A Concert of Vocal and Instr~mental Music. By the Opera 
singers and orchestra and_ot~E%r celebrated performers. 
Act I, Overture in the Olirnpi?.de, Songs by Sga. Grassi, 
Jl 
Savoi, Sga Guglielmi. Music s Conc erto on the Bassoon by 
Baumgarten . Act II, Concerto on German Flute, by Tacet. 
Songs by Sga Romani, Sga Guglielmi, Tenducci, Ristorini. 
The Trio in Ezzio (compos'd by Guglielmi). Solo on 
Violoricello by Duport. Act III, Concerto on Hautboy by 
Fichar. Songs by Sga Grassi, Tenducci. Concerto on 
Violin by Mrs. Sirmen~ Quartetto in Astarte (compos'd 
by Bach)~ A new full piece by Giordani." 
40. Feb~ 15, 1771. From the Playbill for The Theater Royal 
in Covent Garden, as cited in Stone, op. cit., 15281 
"Judas Macchabeus ~ Cast not listed; ? , ? Music. End of 
Part I1 a Solo; End Part II1 A Concerto on Violin by 
Sga Lombardini Sirmen." 
Stone notes that Covent Garden Theater's capacity was 
2,180 people and that, even though oratorio performances 
were attended by the King and Queen regularly, audiences 
were disappointingly small. 
41, Feb. 20, 1771~ From the Playbill for Covent Garden, as 
cited in Stone, op. cit., 15291 an entr'acte solo is 
presented by Lombardini-Sirmen. 
"The Messiah, Cast not listed ??? , Music, Violin solo 
by Sga Lombardini Sirmen: and Concerto on German Flute 
by Florio," 
42, Feb. 25, 1771, From Affiches, annonces et avis divers, 
sunplement, as quoted in Bouvet, op. cit., 28-291 an ad-
vertisement for the Sirmen~~ Six Quartets (Paris, 1769), 
"Sei quartetti a violino 10 et 2?: viola et violoncelle 
composti da Ludovico et ~adalena-Laura Sirmen, Opera 3. 
Prix 9 liv  ~ chez ~ Mad~ Beraul t ~?11 
43, Feb~ 28, 1771. From the Playbill for King 's Theater, as 
cited in Stone, op. cit~, 15301 Lombardini-Sirmen performs 
twice on this Lenten season program~ 
"La Passione, Parts--Tenducci, Savoi, Morigi, Sga Grassi, 
Sga Guglielmi, Mrs. Barthelemon. Music, End of Said 
Part [i !'e ~-,~ La Passi one] 1 A Concerto on Violin by Sga 
Sirmen, in which will be performed a Stabat Mater (com-
posed by Pergolesi); End Act I1 Concerto on Bassoon by 
Baumgarten; End Act II1 Solo on Violin by Sga Sirmen, to 
finish with a Grand Chorus by Guglielmi." 
44~ March 7, 1771, The King's Theater program of Feb, 28, 
listed above in No. 43, is repeated. 
45~ March 15, 1771. The Covent Garden program of Feb. 15, 
listed above in No, 4o, is repeated, 
J2 
46, March 18 ,' 1771, Fr om L ? Avant-Coureur, a s cited in Jo-
hansson, op , cit ,, I, 1381 an advertis ement for Lom-
bardini-Si r men' s _Six Tr ios, Op, l (Ams terdam, 1770), 
Text is not av a ilable t~ me, 
47 ~ March 20, 1771, 'rhe Cm.rent Garden program of Feb. 20, 
listed above in No, 41, is r epeated, 
48, March 21, 1771, From the Playbill for King 's Theater, 
as cited in Stone, op, cit,, 1535, Lombardini-Sirmen 
joins Giovanni Bat ti s ta Cirri (c,1740-c,82), cellist, 
and Fischer, oboist, in performing concertos on their 
respective instruments during intermissions in the o~era 
as a Benefit for Si gnor and Signora ("La Archiapati") 
Guglielmi! 
"I Viaggiatori Ridi coli [GuglielmiJ, La Marchesa--Sga 
Guglielmi will attempt t he part which was performed by 
Sga Guadagni ,[a cas t ra to] in the Third act of which 
she_w~ll introduce a new Song accompanied by Fisher. 
Music~ I: Concerto (Cirri) for Violincello: II, Concerto 
on Haut boy by Fi s her; IV: Concerto on Violin by Sga 
Sirmen! Comment. Be ne fit f~r Sg and Sga Guglielmi," 
March 21, 1771. From Affiches annonces et avis divers, 
as c~ted in Bouve t, on , cit,, 41-42, and Johansson, Q:Q., 
cit~,? I, 138 1 public notice of the Hummel edition of , 
Lombardini-Sirmen's dedication of her Six Trios (Amster-
dam,? 1770) to the ni ece of Frederick the Great, the 
Princess of Orange- Nassau, wife of William V of the Nether-
lands, 
:six trios~ de ux violons et violoncelle oblige dedi~s 
a son Altesse Madame la Princesse d'Orange et de Nassau, 
compos~s par Madame Lombardini Sirmen, El~ve du c~l~bre 
Tartini; OEuvre premi~re, 
DEDICACE 
"Madame, Votre Al t esse Royale a dai gnee me permettre 
de lui presenter l e s pr emiers essais de ma composition, 
je regarde cette f aveur comme la plus belle recompense 
des efforts que je fais pour acquerir du talent dans un 
genre en quelque fa 9on ?~ranger a mon sexe; Vous en 
@tes l'Ornement et la Gloire, Madame, les Arts et les 
Talents vous doivent l e ur hommage comme a leur juge et 
a leur protectrice, si ce premier titre m'effraye, le 
s econd me rassure et me nermet d'esper,e r que Votre ~ 
Altesse Royale recevra avec cette bonte qui la carac-
JJ 
terise, et l'ouvrage, et les voeux, aussi sinceres 
que r espectueux; de celle qui a l'honneur l'~tre 
Madame, 
De Votre Alte sse Royale, 
La: tres humble et tres obeissante servante 
Lombardini-Sirmen" 
50~ March 22, 1771. The Covent Garden program of Feb. 15 
(No~ 4o) and March 15 (No. 45) is repeated a gain. 
51~ April 27, 1771. From the Playbill for the Chapel at the 
Lock Hospital, Hyde Park Corner, as cited in Stone, 912.. 
cit~, 15441 an entr'acte Lombardini-Sirmen violin con-
certo performance. Presumably, Lombardini-Sirmen was a 
member of the regular orchestra here as at King's 
Theater and possibly at Covent Garden Theater. 
"lh!.!h~ Cast, Guadagni, Vernon, Reinhold, Mrs. Mattocks, 
Mrs.? Weichsel,' etc; Musi c! First Violin by Giardini; 
after Part II a Concerto Violin by Sga Sirmen. Comment. 
Oratorio set to music by Giardini~ Benefit for the 
Charity at the Lock Hospital Chape l." 
52~' April 30, 1771~ From the Playbill for King 's Theater, 
as cited in Stone, on! cit., 15501 more entr'acte con-
certo performances by Lombardini-Sirmen. 
"Orfeo~? Music. I I Concerto on Violin by Sga Sirmen."' 
53. May 14, 1771~ From the Playbill for King's Theater, as 
cited in Stone, op. cit., 1548-491 an entr'acte solo by 
Lombardini-Sirmen. 
"La Schiava. Cast not listed. Music. I1 Solo on the 
Violin by Sga Sirmen~ Last Act a new Song by Giordani 
sung by Ristorini accompanied on the violin by Sga Sirmen." 
54. May 15, 1771. From the Public Advertiser, as cited in 
Charles Sanford Terry, John Christian Bach (London, 1929), 
1231 Lombardini-Sirmen performs at a concert at Almack's 
on King's Square Court, under the management of Bach and 
his partner, Karl Friedrich Abel (1725-87), for a.Benefit 
in honor of Duport and Bach's patron, Johann Baptist Wend-
ling~ 
T~e t -ext,:- unav~ilable to me, reportedly calls her a cembalist. 
55. May 17, 1771~ The ,_King'~ Theater p1;ogram of April 27, 
listed above in No. 51, 1s repeated. 
56. May 25, 1771~ The King 's The~ter program of April 27 1 
1No~ 51) and May 17 (No. 55) 1s repeated. 
1771 34 
57 ~? May 28, 1771, From the Pl aybi 11 for the King 's Thea ter, 
as cited in Stone , op ~ cit,, 15531 Lombardini-Sirmen 
r eportedly makes her l ast appearance of the season at 
King 's Theater~? 
"La Buona Fi gliuola [Piccinni], As 22 Jan,, but Soldato--
Zanca; Mingotto--Sga Ri s tor i ni (for the first time since 
their arrival in England), Dancing, New Dance _?_hy' -a_ new 
~rincipal_1 ?.?-i:i_c_er. . 1ate ly arrived from Fr~nce;. Ho~nplpe 
on Skates by Sga Guidi and Sga Galliotti, Singing, In 
the last Act a New Song (Giordani) sung by Sga Ristorini, 
accompanied by Sga Sirmen on Violin, being her last per-
formance this season on this stage, Comment, By parti-
cular Desire~" 
58. l'.Z.1.1~? Catalogue Des Livres de Musigue tant Vocale 
qu'Ins trumentale, qui se vendent & qui sont de l'Impres-
sion de J.J. Humme l, Marchand au grand Magazin de Musioue 
sur le Vygendam, a Ams t erdam. & De B. Hummel, Marc hand 
de Musique da ns le Spuystraat, a la Haye, 1771, col. 3, 
as cited in Johans son, op, cit., III, F-7? a listing of 
the Six Trias composed by each of the Sirmens. 
"Sirmen 6 Trio op~ I,--3/10 
(Madame) 6 Trio Op, I.--3/10" 
59. l.'.Z11., Catalogue Thematique ou Commencement de touttes 
les Oeuv1;es de Musigue ,: qui sont du propre fond de 
J.J, & B. Hummel, Publie a la Commodite des Amateurs, 
par ou ils pourront voir, Siles Pieces qu'on leur 
pr esente pour Ori ginal, n'ont pas deja ete imprimees. 
NB, Le supplement de ce Catalgue Consistant en une 
feuille de Nouveautex, paroitra Chaque Anne. A Amster-
dam chez J.J. Hummel, Marchand d'Imprimeur de Musique, 
Prix fc,-1 the first Sirmen compositions to appear in 
the Hummel Thematic Catalogues 1768-74 were the incipits 
of their separate sets of Six Trios which were included 
in the s econd supplement, P? 42, according to Johansson, 
op. cit~, III, T-42, 
60. 
? ? 
This third publisher of Lombardini-Sirmen's Six Trios 
is reaffirmed by Cari Johansson, French Music Publishers' 
Catalogues of the Second Half of the 18th Centur, 2 vols. 
Stockholm, Royal Swedish Academy of Music, 1955, I, 138, 
61~ 1771~ Charles Burney, trans. A Letter t rom the Late 
Si gnor Tar t ini to Si ~nora Maddalena Lombardini (Now Si ~oora 
Sirmen), Published As an Important T,esson to Performers 
1771-72 35 
on the Violin (London , Printed for R. Bremner in the 
~trand,.1771)1 the Tartini "Letter" (s ee Appendix II) 
is published in England by Burney upon return from his 
travels throughout Italy and France. 
62~ ? 1771-72~ From Playbills for King's Theater during the 
1771-72 season of the Italian Opera Company, as cited 
in Stonei op, cit., 1567-69, Stone's s ummary report. 
"The opera company was not the strongest England 
had seen, although its beauty was improved by the ap-
p~aranc e of Millico in the late spring. Its principal 
singers, seven dancers, and six specialist musicians 
carried on sixty-three performances of ten different 
operas and a concert. The new sensation at the King's 
Opera House was the dancer Mlle Heinel, whose dances 
were featured on every playbill. The most popular 
operas appeared to be Artaserse of thirteen performances, 
I Vi ggiatori, of eleven, and Carnovale di Venezia, of 
ei ght~ The company, as indicated on the bills included 
as principal Singers, Sga Bos chetti, Sga Guglielmi, 
Lovatini,' Millico, Mori gi, and Savoi ?? ~ , Mus icians, 
Baumgarten (eassoon), Duport (violincello), Fischer 
(hautboy), Ponta (French horn), Sga Sirmen (violin), 
and Tacet (flute)!" 
63. February 21 1 1772. From the Pla~bill for King's Theater, 
as cited in Stone, op~ cit., 160 1 Lombardini-Sirmen par-
ticipates in a concert given by members of the Italian 
Opera Company; 
"Concert of Vocal and Instrumental Music, By the Opera 
singers and orchestra and other celebrated performers. 
Part Ir Overture to Le Pazzie di Orlando (Guglielmi)~-
Songs by Savoi and _Sga B_oschetti_~. Concerto on the Bas-
soon by Ba1imgarten. Song by Morigi (composed . by Giordani). 
Part t!~ -b~ncerto on German Flute by Tacet, Songs by 
Savoi and Sga Guglielmi. Solo on Violincello by Duportr 
Concerto on French Horn by Ponta. Part III, Concerto on 
Hautboy by Fischer. Songs by Sga Boschetti! S?a Guglielmi 
accompanied by German Flute. Concerto on Violin by Sga 
Sirmen. Favourite Overture for two Orchestras composed 
by Bach, Comment. Benefit for Increase of a Fund for 
the support of Decayed Musicians or their Families; Go-
vernors report that from June 1770-June 1771 they have 
laid out L826 17s! Jd." 
64~ March 6, 1772~? From John Potter, Theatrical Review, 2 vols. 
1London,? 1772), II, 211-lJr Lombardini-Sirmen performs 
in the Oratorio season at Covent Garden. 
"The Messiah, a Sacred Oratorio. The Music composed by Mr. 
Handel~ ~ ?? End of part the first, a Concerto on the 
French Horn,? by Mr. Penta. --End of the second, a Concerto 
.36 
on the Violin, by Si gnora Lombardini Sirmen." 
65. March 11, 1772~ From Potter, ibid. 
"Covent Garden Theatre, March 11, 1772. Judas Maccabeus. 
An Oratorio~? Set to Music by Mr. Handel . ? ? ? End of 
the second part, a Concerto on the Violin, by Signora 
Lombardini Sirmen.--As this celebrated Lady has been 
some ~ime in England , her abilities are pretty general ly 
known; ? Her tone, and stile of playing, is very pleasing, 
and her execution truly chaste, without any of those 
unnecessary and extravagant liberties, which the general-
~ty ~f solo players on the Violin too frequently give 
into~" 
66. March 13, 1772~ From Potter, ibid. 
"Covent Garden Theatre, March 13, 1772. Sanson. An Ora-
torio. The Music composed by Mr. Handel ???? End of 
the second Part, a Concerto on the Violin, by Signora 
Lombardini Sirmen." 
67. March 18, 1772. From Potter, ibid. 
"Messiah. ~ ? ~ End of the second Part, a Concerto on 
the Violin, by Si gnora Lombardini Sirmen." 
68. March 20, ? 1772; From Potter, ibid~ 
"The Resurrection, an Oratorio. The Musi c composed by Mr. 
Arnold. ? ~ ~ ? End of the first Part, a Concerto on the 
French Horn , by Mr~ Ponta. End of the second Part, a new 
Concerto on the Violin, by Si gnora Lombardini Sirmen, com-
posed by Signor Cirri." 
69.? March 25, 1772. From Potter, ibid. 
"Abimelech, an Oratorio. The Music composed by Mr. Arnold 
???? End of the second Part, Signor Cirri's new Con-
certo on the Violin, by Si gnora Lombardini Sirmen." 
70. Marc h 27, 1772. From Potter, ibid. 
"Covent Garden Theatre, March 27, 1772. A Concerto Spiri-
tuale in the Manner of an Oratorio ???? A Concerto on 
the F;ench Horn, by Mr. Ponta; and a Concerto on the Violin, 
by Si gnora Lombardini Sirmen." 
71. Anril 1, 1772. From Potter, ibid. 
"Covent Garden Theatre, April 1. Messiah. ? ? ? End of 
the second Part, a Concerto on the Violin, by Signora 
Lombardini Sirmen; 
37 
72. April J, 1772~ From Potter, ibid. 
"Covent Garden Theatre, April 3. Messiah ?? , , End of 
the s econd Part, Si~nor Cirri's new Concerto on the Violin, 
by Signora Lombardini Sirmen," 
73. April 8, 1772~ From Potter, ibid~ 
"Covent Garden Theatre, April 8, 1772, A Second Conc erto 
Spirituale, ! . ~ Part III, Dixit Dominus, The Music 
by Si gnora Pergolesi, This is a very sol emn and grand 
performance, A Solo on the Violoncello, by Mr. Duportr 
and Si gnor Cirri's Concerto on the Violin, by Signora 
Lombardini Sirmen," 
74, April 10, 1772~ From Potter, ibid,1 Potter's indication 
of Lombardini-Sirmen's departure from England may be er-
roneous given the data on her continuing performances 
during 1772 and 1773 itemized below, 
"Covent Garden Theatre, April 10~ A 'Third Concerto Spiri-
tuale~ In four Parts~ ; ?? Part III. Dixit Dominus, 
by Signor Pergolesi, with a Concerto on the Violin, by 
Si gnora Lombardini Sirmen, being the last time of her? 
performing in England ," ? 
75~ Auril 10, 1772, From the Public Advertiser of this dater 
another publi c notice announcing Lombardini-Sirmen's 
departure from England , Text is unavailable to me, 
76 . June 1, 1772, Journal des Scavans, p, 444fr Francesco 
Fanzago's Orazione (see No. 27A) mentioning Lombardini-
Sirmen ad Tartini's pupi l and the recipient of his "Letter," 
is published in Paris, according to Petrobelli, Giuseppe 
Tartinir le fonte biografiche, op. cit., 15, Text is 
not available to me, 
77. July 14, 1772, Fro~ L'Avant-cour~u:? ~n advert~sem~nt_ 
for the Hummel edition of Lombardini-Sirmen's Six Violin 
Concertos, Op~ 2, Nos , 1, 2, and J (Plate No~ 226), as 
cited in Johansson, Hummel Catalogues, op. cit,, I, 29, 
78, ~~ The Title Page for t0e {.J. Hummel edition (Am-
sterdam, 1772) of Lombardini-Sirmen's concertos reads, 
1772-73 JS 
79, liZ.?~. ~~rry S, Brook, The Breitkopf Th ematic Catalogues, 
op, cit~, Sunplement VII, 1772, p. 4611 incipits for 
Lombardini:-Sirmen' s Six Violin Concertos,? Op, 2 and Op. 
3, as published by Hummel , 
"III~ Cone~ di M.L~ Syrmen. a Viol. cone, 2 Cor. 2 Ob, 
2 Viol. V. e B~ Op. II. Amsterd,: and 
"I I I ~ Con c , d i M ? L ? S yrm en ? a Vi o l , con c ? 2 Co r , 2 0 b ? 
2 Vi o 1 ? V e B ? Op ? I I I ? Ams t e rd ? " 
Bq ~. f772 !~ .The Title Page for the first of th?e . three Napier 
editions of Lombardini-Sirmen's Six Concertos reads1 
Strand." 
BL 1772-72!? From Playbills for King's Theater during the 
1772-73 season of the Italian Opera Company, as cited in 
Stone, op~ cit., 1655-17331 Stone's summary report~ 
The season included 67 performances of eight different 
operas, one oratorio,: and several concerts of spiritual 
~usic, Sacchini's Il Cid and Vento's Sofonisba--operas 
in which Lombardini-Sirmen is known to have sung at this 
t~me--had 26 and eight performances, respectively. Tomnaso 
Giordani's Artaserse received 17, 
82 , l:!9v~ 14, 1772, From the Playbill for King's Theater, 
cited in Stone, op, cit., 16721 Lombardini-Sirmen moves 
from the orchestra pit to the stage to become one of the 
Italian Opera Company's principal women singers. 
"Sofonisba ? Syphax-Millico: Sofonisba, Girelli, first 
appearance ? in England , ?I ?? Commetn . A seri.o us opera 
composed by Vento and other celebrated composers." 
Although her name is not listed in the cast here or at 
any of the repeat performances on Nov, 17,_21! 23, ~nd 28, 
Dec~ 8, 12, and .r.-anuary 9, 1773, Lombard1n1-S1rmen is 
harshly criticized for her performance in Sofonisba (as 
well as in Il Cid) by Charles Burney (see below No. 13 2 ), 
83. ~an~ 19, 1773~ From the Pla~bill for King's Theat~r, 
cited in Stone, on. cit~, 16 Sr although the ?as~ is un-
listed, Lombardini-Sirmen apparently has a principal role, 
"-I- 1.. ;;;C..;?i .d;.~ .  ? , ? Comment. A new serious opera, music en-
39 
tirely new, by LAntonioJ Sacchini, Text by G.G. Botta-
relli~" 
Il Cid is repeated on Jan~ 29; Feb. 2, 3, 9, 13, 16, 20, 
23, and 27; March 4, 6, 16, and 20; April 19, 2l.J-, and 27; 
May l; and June 3 and 19. 
84. Jan~ 19, 1773. From Terry, John Christian Bach, op. cit., 
145, fn~ 2, In passing on Charles Burney's devastating 
comments on Lombardini-Sirmen's performance (see No. 132) 
Terry cites his source--British Library Item, Bottarelli j 
Lthe librettist for Il CidJ 11714.aa.21/7--for a listing 
of the cast including Lombardini-Sirmen. 
"Cast, Fernando; Si gnore Ristorini; Rodrigo, Giuseppe 
Millico: Durate, Gasparo Savoi; Armindo, Leopoldo Micheli 
Cymene, Signora Girelli-Aguilar; Elvyra, Signora Lombar-
dini-Sirmen~" 
85.? March 9, 1773, From the Playbill of King 's Theater,? 
as cited by Stone,: op.- cit~, 1728, Lombardini-Sirmen' s 
~ppearance in the London 1773 production of Gluck's Orfeo 
is frequently mentioned in s econdary biographical sources 
although her name typically is not listed here. 
"Orfeo~ Cast not listed ???? Comment. By Particular 
Desire." 
The ori ginal Gluck Orfeo of this production is repeated 
at the King's Theater on June 28. Alfred Einstein, Gluck 
(London, Dent, 19J6), p. 1J3, states that Lombardini-
Sirmen appeared in this production along with Millico 
and Signora Girelli-A.guilar. 
86. March 24, 1773. From 's Gravenhaegse.courant, as cited 
in Johansson, Hummel Catalogues, op, cit,, I, 291 an 
advertisement for Lombardini-Sirmen's second set of three 
violin concertos~ 
Text is not avail able to me. 
40 
87. Marc h 24, 1773. Title Page of No. 86 reads1 
88. l.21J., From Playbills of Haymarket Theater, cited by George 
W. Stone, op. cit., 16581 11 Lombardini-Sirmen is a musician 
for .t5 performances during the 1772-73 season along with 
Abel, Barthe lemon, Fischer, and ei ght others. 11 
89, May 27, 1773, From Playbills of Mary-le-Bone Gardens, 
cE cited by Stone, op. cit,, 17281 Lombardini-Sirmen is a 
principal singer in a different London company , apparently 
for a s ubscription seas on of summer stock. 
'11.cis and Galatea [ HandelJ . 
Performance repeated May 29~ 11 
Other works performed by the company at Mary-le-Bone G-c).rdens 
were Pergolesi's La Serva Padrona and nine different plays, 
Singers were Mrs, Barthelemon , Sga Syrmen, Reinhold, and 
Sibilla! Mus icians were Barthelemon and Le Couteux, 
90, June 1, 1773. From the Playbill for King 's Theater, in 
Stone, op; cit., 17311 Lombardini-Sirmen sings the l eading 
role in Piccinni's La Buena Figliuola at a Benefit for her . 
"La Buena Fi gliuola, Buena Figliuola--Sga Syrmen, first 
time, ?? 1 Comment. Benefit for Sga Syrmen." 
This would also seem to be the last time for Lombardini-
Sirmen in the role since Stone offers no further mentions. 
91, July 29, 1773, From the Playbill for Mary-le-Bone Gardens , 
in Stone, op, cit., 1735: the summer stock company sings 
a novelty program . 
"A concert of imitations of the French, Italian , and 
German singing styles ," 
This program is given again on Sept, 23, 1773. 
92, 1m~? The Title page of the second Napier editi on of 
Lombardini-Sirmen's Six Concertos reads 1 
osed b Madelena Laura 
1773-74 4 1 
Lancaster Court ./S trand , /Ashbv Sculn: 11 
93, 11.?l~ The Title Page of the third Napier edition of 
Lombardini-Sirmen 's Six Concertos, in the Giordani 
keyboard transcription, reads 1 
94. 1773/1775?!' RISM (Recuei ls Imprimes XVIIIe Siecle, QQ? 
cit., I, 295) item for the Sirmens' Six Quartets, pub-
lished by Napier , reads, 
"Six Quartettos for two violins a t enor and bas s ?? ? ? 
by L_! Syrmen and Lombardini.--London, W. Napi er, [c. 
1775J! Parties in-fol ." 
95; ?.7.J! From Journal de Musique Par Une Soci ete d ' Amateurs . 
Annee 1773. No. 2 (Parisr Chez Ruault , Librairie , rue ? 
de la Harpe , 1773), 15-291 Fayolle 's trans l ati on of 
Tartini's "Letter" to Lombardini-Sirme n is France's first. 
"Lettre de Feu Tartini a Madame MaP-deleine Lombardini , 
0
servant de l e9on importante a ceux qui ,iouent du violon." 
96, Nov! 5, 1773~ From 's Gravenhaegs e courant, cited in 
Johans son , Humme l Catalogues , op, cit,, I, JJ1 an adver-
tisement for Lombardini-Sirmen 's Six Duets, published as 
Op~ 4 by Hummel in Amsterdam~ Text is unavailable to me, 
97~ 1711.. The Title Page of the Hummel edition of Lombardini-
Sirmen 's Six Duets reads , 
Sirmen. Oeuvre 
Prix f3 .-" See 
98~- Nov~ 11, 1774~ From Bouquet , Il Teatro di Corte, op~ cit., 
3681 Lombardini-Sirmen (Schi rmen) requests and receives 
permission for another appearance at Teatro S.A.S, di 
Cari gnano~ 
Torino, Archivio Storico Communale, Ordinati, Vol, 8, 
carte 275, 291, 305, Texts are not available to me, 
1275-77_ 42 
99. ~:oril 1775. From Mercure de France, p. 184, as cited 
in Bouvet, op~ cit., 42, and Johanss on, French Music 
?ublishers ' Catalogues, on. cit., 1551 a notice of the 
p~blication by Venier in Paris of Lombardini-Sirmen's 
Six Duets! 
"S ei duetti per due violini. composti dalla SLgra 
Mada lena-Laura Sirmen, Op! vA Nuovamenata  Stempata a s ece di G.B . Venier. Prix liv.4S. Paris chez 
Vanier si c ." A similar ad is in Affiches, annonces 
et avis divers on Oct; 19, 1775, according to the sam; 
s ources~ 
10..0.?  RISM title card for this work reads,'~irmen (Maddal ena 
Laura Lombardini Sei Duetti er due violini; ; ? ~ 
Nuovamenta ata as ese di GB Venier~ 
Ri chomme ." 
101 ~ Fall 1772,~ Torino,' Archi vio Storico Communale, Ordinati 
Vol~ 8, carta 3581 Lombardini-Sirmen is chosen to sing ' 
the part of the second woman in the most important opera 
production of the 1775 season in Turin's Teatro Regio, 
the cantata L'Aurora by Gaetano Pugnani and Gian Domenico 
Boggio~ Others chosen with Lombardini-Sirmen were Lu~re-
zia Agu jari or La Barna sconi, first woman; Ranzini, first 
mani and ottani or Pini, tenor~ Only Agu jari actual ly 
appeared in the production, according to Bouquet, on. cit. 
J69~ Texts are unavailable to me. ' 
102~ 1775-77~ Lombardini-Sirmen's Concertos Nos . 1, 2, and 3 
are published in Paris by Borelly~ Cecil Hopkinson , A 
Dictionary of Parisian Musi c Publishers, op. cit~, 16; 
puts Borelly at the same address for these years. 
a) 
b) Title Page for Concerto No~ 2 reads .' "Deuxi eme Concerto a ??. 
Violon Principal Premier & Second Violon Alto & Basse. Haut-
bois & Cors ad libi t um. Com ose Par Madame S rmen Oeuvre 
III . Prix Jth.12f. A Paris. Chez le Mr . Borell rue et 
vis vis a f erme de 1 Ab aie t. Victor. Et aux actresses 
Ordinaires. En province Chez Mrs. Les Mde. e Mus ique 
Grave par M e. Hyver ." 
c) 
1775-78 43 
Mus ique ~/Grav~ par Mlle Hyyer, 11 
lOJ, 1775-77~ In A Catalogue of Vocal & Instrumen tal Musi c 
~ngraved, Printed and Sold Whol esa le and Retail by 
John Welcker No. 1:a arket opnosite the O era House 
London Library of Congress Call No. Jl'ILl 5. A2, w ,-
a Welcker edition of Lombardini-Sirmen's Six Concertos 
would seem to have been ~ublished , although no copie s 
have as yet been located~ ' 
"Six Concertos by Madam Svrmens @ Js6," 
104,'' 1Z1.?6~  Catalogue Des Li vres de Musique tant Vocale-
gu 'Instrumentale , - qui se vendent chez ,Tean Julien Hummel 
Marc hand au grand Magazi n de Musiq ue sur le Vij endam, ' 
a Amsterdam & chez Burchard Humme l au grand Ma P."az ine de 
Musique dans la SnUvstraat, a la Haye, 1776, as cited 
in Johansson, ' Hummel Catalogues , op, cit,, III , 16, F 11-
121 Lombardini-Sirnen's Six Trios, Six Concertos, and 
Six Duets appear here and in a l most all of the subse -
quent Humme l Catalogues through 1814, as Johansson shows . 
l7]_z 
lo5~ lZZZ~ From Journal de Musique V (1777), 40-41, as cited 
in Bouvet, on~ cit. ?,? 15z this is a late and curious men-
tion (if it is correct) of Lombardini-Sirmen 's association 
with the opera compos~r Pie~ro ~uglie~mi and his wife, 
Mari a Lelia ('".La Archiappati 11 ) in Venice at I Mendicanti 
and in London with the Italian Opera~ 
"C'es t de ce Cons ervatoire [I MendicantiJ quo sont 
sorties l es Signore Guglielmi e t Magda l ena Lombardini 
Sirmen , qui sont reyu en Angl eterre de si justes ap-
plaudissemensl " 
121?_ 
106 , Aoril 12-20, 1778 , From The Lette~s of Mozar t and His , 
Fami ly, 2 vols., ed. and trans , Emi ly Anderson , 2nd ed ~, 
eds A Hyatt King and Monica Carolan (London z Macmillan 
1966), II, 777: Leopold Mozart write s ~is wife and s on,' 
who are in Paris , about a performan?e.in . Salzburg of a 
violin concerto composed by Lombardini-Sirmen. 
"After the symphony Count Czernin playe~ a beautifully 
written concerto by Sirmen alla Brunetti ,_ and do~o una 
altra sinfonia Count Altham played a horrible trio, no 
one being able to say whether it was scraped or fiddled 
' I ? If 
? ? ? ? 
1778 - 80 44 
107, ~~ In A CataloP,:Ue of Vocal and Ins t rumental r.1usic 
Engrav'd Printed and Sold Wholesale Retail and for 
Ex1?ort<;1tion, by John We lcker, Music Seller to their 
MaJestieS & all the Roval Family, Removed from Gerrard 
Street Soho to No~ 10 Haymarket, London, NBt Great 
Choice of Forei n Musi c and ever Article that is 
Printed in England may be had as above Library of 
Congress Call No~ Ml619;A2C6 ), a Welcker edition of 
the Six Concertos may have been published or, ? perhaps 
Welcker merely sold editions published elsewhere, ' 
l08~ Circa 1778~~ From A Catalogue of Music Printed for Willm 
Napier, corner of Lancas t er Court, St rand,' London, ' 
Lombardini-Sirmen's Six Duets appear along with her 
Six Concertos (in all three editions ), Six Quartets/ 
and Six Trios! Schnappers (BUC) gives 1773 as year of ori gin, 
"Duettos/Madame Syrmen/7 r 6 ~?,, 
109, Circa 1778~ Title Page for the Napier edition of 
Lombardini-Sirmen's Six Duets, ? dedicated to the Duke of 
Gloucester , r eads, 
"Six /Duetts/for two/Violins/Most humbly Dedicated to his/ 
Roval Hi ghness the Duke of Glocester, by his Royal 
Hi ,hness~s devoted h~ble Servant Madelena_La1;1ra S rmen,/ 
r s , ~ ~6ndon; Printed for and Sold by William Naoi er 
at his Mus ic Shop/the Cor ner of Lancaster.Court Strand,/ 
Where ma be had Com osed bv the above Au~hor I Solo 
Concertos for the Violin--Ll,sl,O The Harns ichord art 
of Ditto Sinz le, o, : Ditto ada ted for the Harnsichord 
b Si , Giordani Ll :sl, 0 VI Quartetts ls 10, , " 
1279-80 
llo; ; 1112.; Charles Burney , trans; (See No; 61); Burney 's 
trans lation of Tartini's "Letter" is reprinted for the 
first time~ 
llL 1779-80~ From Barry s~ ? Brook, The Brei tkonf Thematic 
Catalogues, on, cit~, Supp lement XIII, 1779-80,_p. 677 , 
Lombardini-Sirmen 's Six Duets appear for the first time , 
"VI Duetti da Maddalena Lombardini SYRMEN." 
112~ Circa 1780~ An anonymous Rondo ?ong, dedi?ated to Lom-
bardini-Sirmen during her stay in London it seems , is 
given three different !.'.!di tions ,' at lea~t two. of_ which 
are at variance~ The Song for so~o voice, viol~n obbli-
gato, ? and string quartet ac9ompa~1ment, has an !n~tru-
mental introductiop and beg~ns.wit~ the wor?s'. Co, 
fl e b1?1 1?  1 amen t?1  , co? doloros1ra1. , co dt oloros1? r? a1,?  c'o  
d o 1 oros1? ra1? , p 1? et'a mi c hiederai, ne roverai pieta , etc ? " 
Circa 1780 
,,, 45 
a) Rondo de l Sip.:, N. N; in Londr a Per la Si ~ a . Madda l ena 
Laura Lombardini Sirmen Stamnato a spese di Lui i 
Marescalchi in Venezia Frezzo in?? 
Claudio Sartori ,? Dizionario Degli Edi tori Musicali Itali -
~ (Firenze I Olschki, 1968 )., 96-97, mentions an anony-
1!1ous song , "Pi eta per amore ,?" published by Mar escalchi 
in Veni ce in 1782 ,? which was believed to have been compo s ed 
by Millico (the first singer with the Italian Opera in 
London during Lombardini-Si rmen's period of singing , 
r ather than playing in the orchestra , but which now seems 
to be the work of I gnaz J oseph Pleye l (1757-1831)~ 
b) 
This print is preserved in the Bibliotheque Nationale 
(Call No~ ? L!290 [58] [Bis]) and has what appears to be ~he 
si gnature of possibly another Parisian publisher of the 
time , De Roul lede, on the title page , and a paste-over 
l abe l of the firs t imprint! 
c) From RISM (Recueils Imprim~s XVIIIe si~cle), o~~ -cit,, II, 206~ 
Journal d'arietes, scenes et duo traduits, imites OU paro -
dies d' l'i ta lien. Par M.D.C~ amatuer , Dedie a S.A.R, 
M,gr ~ le comte d'Artois, , , , Paris, De Roullede de la 
Q_hevardiere, 1782-1783, In-fol,, partition et parties~ 
Hopkinson, A Dictionary of Parisian Music Publishers ,- QQ, 
ill,, 34-37, states that ~he publisher De ~oulled? "is 
one of the greates t mysterie s of French musi c publi shing 
history ,?" that he may hav~ been the son-in-law of, or ~yen 
the same man as , or a business partner of De La Chevardiere 
(Louis Bal thasar ) ~: The first Catalague publi~hed by De La 
Chevardiere in 1779 included the Journal d'ariettes 
italiennes , which was . dropped f:'om lat~r Catalg~e 3:-,. ac -
cording t o Johanss on, French Musi c Publishers , op, cit,, 84, 
Count d'Artois to whom the French publications above are 
dedicated was' the son of I.cuis XV and Marie-Josephine of 
Saxony wh~ became Charles X, King of France, in 1824, He 
rec,, eived the title , Comte.  d'Artois, when he married Marie-
Therese de Savoy in 1773, 
DRESDEN, Saxonv, 1780-85 46 
113. 1780. From Dresden, Haupts taatsarchiv. Acta "Die 
Schauspiele und Redouten auf dem ChurfUrst, kleinen 
Theatre bei t." Loe. 908 1 VII, 48, 54, 128ff. 1 228 , 
~1 Dresden court a nd public theater documents 
~elating to the organization of the Italian Opera 
in Dresden under Antonio Bertoldi, e. g ., sin~ers?_ 
salaries, as cited by Richard Engl~nder , "Zu~ Musikge-
schichte Dresdens ge gen 1800," Zeitschrift fUr Musik-
wissenschaft IV (1921-22), 199-241. 
Text is unavailable to me . Engl~nder and other Dres-
den court historians, such as Robert Pr~lss and Moritz 
FUrstenau , mention Lombardini-Sirmen's high salary . 
114. 1784. Johann Adam Hiller, trans. , "Brief des Joseph 
Tartini an Magdalena Lombardini enthaltend eine wichti ge 
Lection fUr die Violinspieler," PP? 278-85 of Leben- _ 
beschreibungen berUhmter Musikgelehrten und TonkUnst-
ler ???? Leipzig, Im Verlag der Dykischen Buchhand-
lung, 17841 Hiller publishes the first German transla-
tion of Tartini's "Letter" to Lombardini-Sirmen. 
EARIS, France, 1785 
ll5. Mav 5, 1785, From Annals of the Concert suirituel , as 
compiled by Pierre, op. cit., 3291 Lombardini-Sirmen 
begins a series of three return engagements in Paris 
as a violinist once more, after an absence from the 
Concert spirituel stage--now in the Salle des Machines 
of the Tuileries--of nearly 20 years. Her performances 
may have been arranged as an audience-building match 
between Lombardini-Sirmen and the younger French 
virtuosa, Madame Gautherot nee Deschamps. Charles Bouve t 
ou. cit., 37-38, attribute~ su~h ~ motivation to the then' 
Concert spirituel Director, Legros. If so, Lombardini-
Sirmen was bested; and ? her career abruptly closed. 
"Item 1159. 5 mai (asc.) Nouv. symph.; [C. Fr.] Abel--
Air ital. ch. Mlle Buret afnee.--Conc. von comp. et ex. 
Mme Sirmen.--Motet, Schuster, Lats.--Conc. clar. comp. 
et ex. Soler~--Nouv. hier~ (paro les de Moline), Le 
Preuxr Rousseau.--Conc. von.~qmp. et ex. Mme Sirmen.--
Rondo ital. ch. Mlle Buret a10ee.--Symph., Sterkel." 
116. May 5 1785. From Journal de Paris, 5 mai, P? 509, notice 
of Lo1m bardini-Sirmen's performance, probably. Text is 
not available to me. 
117. May 5, 1785. From Affiches, annonces et avis ~ivers, 5 
mai, p. 1199? probaoly another performance notice. Text 
is not available to me. 
47 
118. May 7, 178 51 From / e cure de France , p . 761 a review. 
"Mme Siremen , qui s'etoit fait entendre ici sur le 
violon , il ya quatorz ? ans , a reparu de nouv eau; ma is on 
ne neut dissimul e r q u la sensation qu ' elle a produite 
n ' a1 t etait moins fav orable . Madame Siremen a conserve 
l es principes de l ' exc ellente Ecole de Tartini , peut-etre 
trop oubli~s aujour ' ui , une charmante qualit~ de son , 
de beaux doi g t s , un j e . p lein d'interet et de grace , au -
que l l es grac e s p r t i c ?lieres de son sexe ajoutent encore , 
mais son style , l e me me qu ' elle avoi t il ya quatorze 
ans , es t eaxt r~mement v ? ei lli; depuis qu ' on a substitue des notes des son , de s tours de force a des traits de 
chants , on ne veut n l u qu ' ettoner, et Mme Sireme n peut 
bien charmer l ' oreil l , mai s elle n'ettone pas , Ceci est 
loin d ' e t re une crit ue de sa maniere ; mais enfin, puisque 
~ttemaniere n ' es t p u de mode , nous croyons devoir lui 
conseiller de j ouer es concertos d'un stylf plys moderne , 
et nous ne doutons pas qu ' alors elle ne ramene autant de 
suffrage s qu ' e l le e n a obtenus autrefois ." 
119. May 15, 1 78 5. From A .nal s of the Concert snirituel , 
compiled by Pi erre , on , cit ,, J29 1 the second Lombardini -
Sirmen performance in the series , 
"Ite m 1160 . 15 ma i ( Pent .) I) Symph., Haydn . --Air ital . 
ch , Mlle Bure t atne e . --Son , pfe ex . Mlle Willi e aume (11 
ans , Ire~ fois) , a v e c ccomp . de von obl . par n'irne , Gau- ,,., .. ,? 
therot ain~e . --Mote t , Schuster , Lars (2e fois .) -- II) 
Symph~ , Hayd n , - - Sal ve Regina, Maio ch . Rousseau . --Conc . 
vonl Viotti e x . Mme Sirmen.--Air ital . ch, Ml le Buret 
a ~nee ." 
120, May 15, 1 78 5. From Journal de Paris , 15 mai, p . 549 1 
possibly a perform nee noti ce for No. 119. Text is not 
available to me , 
121, May 15, 1 78 5, From Affiches , annonce s et avis divers , 15 
mai, p. l JOJ : pos ibly another performance notice for No. 
119. Tex t is unav ilabLe t o me. 
122, May 17, 1785. From Jo~rna l de Paris , 17 mai , p . 588 1 
text is not a v a ilab l e to me. 
123, May 26, 1 786 . From Annals of the Concert spirituel , com-
piled by Pierre , op . cLt., JJ01 the final Lombardini-
Sirmen performance in the Paris series . 
"Item 1161. 26 mai ( Fe te Dieu,) I)Nouv, symph ., [C.Fr.] 
Abel; - -Air ital . ch. Mlle Buret a tn(e. --Conc. harpe , Krump -
holz ex . Mlle Roze,--Ode (paroles de J . B . Rousseau), Leseur, 
fragments1 La rs.--II)Symph,, Haydn.--Air i tal, ch. Mlle 
Buret atn~e.--Conc. von Vietti ex Mme Sirmen.--0 Salutaris, 
Gossec ch. Rousseau, Lats et Cheron ," 
1785 - 86 
124. May 26, 178 5. From Journal de Paris, p . 601 1 pr obably 
a notice for the per forman ce on this da te ( No . 12J). 
Th e text is unaval able t o me . 
125. May 26, 1785 . From Aff i ches , annonces et avis divers, 
n. 1423, a pr obable no t ice fo r Lornbardini-Sirrnen's per-
form ance on t his da te ( No. 123), The text i s not avail-
able to me. 
126. 178 S, Musi ca l publications nrinted and sold b Lonrnan 
and Br oderin a t the Anollo No . 2 , Cheanside and No. 13 
Haymarket, London, The Gi ordani t r anscription of Lornbar-
dini-Sirmen's Six Concertos appears in the Longman and 
Broderip Catalogue that is printed wi t h Willi am Evance, 
Harns ichord Conc erto, preserv ed i n t he U.S. Li brar y of 
Coni?;r ess , Music Divi s i on (Ca ll No. ML 145 . A2L?6 ). T-he 
Longman and Broderip address s ugges ts 1785 f or t he pub-
lication date ; however the Library of Congress t i t le 
card indicates 1789. 
127. 1785-87 , Fr om Barry s. Bro ok, The Breitkonf Thematic 
Ca t a logues, on. cit., Sunn l ernent XVI , 1785- 87 1 a Sonata 
for Violin a nd Bass a t t ributed only to "L," Sirrnen is 
the only s uch work to be included , 
"Violino Solo con Basso. 1. Sonata da L, Sirmen . a 
Violino e Basso , Vienna (p lus i ncipit)." 
128 , 1776-1 786? , Ti t le Pa ge for _oossibly th~ l as t of 1r m n 
publi cati ons r eads, '' Sonata er i l iolino e Bass o del 
Sigr. L. Sirmen In Vi enna nresso Art aria Cornn . _C .P.S.C. M./ 
0. Xxv .__'' 
129 . 1786 ~ -- Ar-t aria & Cornn~ . Ca t a logue for ?1786, as edited 
in a modern edition by A. Weinmann, Vollst~ndiges 
Verlagsverzeichnis Artaria & Cornn . (Wi en, Krinn, 1952 ) 1 
the unuSualpublication of a single sona ta s eems to have 
been edited by Tranquillo Mollo (who is also s hown to be 
Artaria ' s editor for wor ks by Joseph Haydn) . The Ar-
taria Plate Number given is No . 94 , Another unus ual as-
pect of the publication of this Sonata for Violin and 
Bass (No. 128) is that the Catalo gue clearly a t tributes 
authorship to Lombardini-Sirrnen , but the title page it-
self credits authorship to "Sigr . L. Sirrnen," which 
could easily be presumed to be Lodovico Sirmen. 
Hannelore Gericke , Der Wi ener Musikali enhandel von 1 00 
bis 1778 (Graz, 1960 , 92 , shows that the edition was 
published in 1776, See p . 122 . 
130?. 1786 . Arthur Pougin , Le Violon ??? (Paris , 1924), 104 , 
mentions a Hanover , -Prus sia , edition in 1786 f or Tartini's 
'~etter" to Lombardini-Si rmen in a translation by Rohrrnann . 
No other information on this edition is available to me , 
1788 - 99 
131. 1788. Catalo gue des Oeuvrages apuarenans ~ Mr.Boyer, 
rue de Richelieu, a la clef d'or. Passage de l'anci en 
Caf f? de fox, as cited in Jo hansson, Fr ench Mus ic Pub-
lishers, on. cit., II, F99 (1 788 )1 Boyer may be a 
fourth (and second .Parisian) _publisher for LQ~bardini-
Sirmen'i ? set bf Six Duets, in addi t ion to B. H,ummel 
(The Hague, 1773); Venier (Paris, 1775); and Napier 
(London, c. 1778). 
"Lombardini-Si rmen, Six Due ts ." 
132. 1789. Charles Burney, A Ge neral Hi s tory of Mus ic From 
the Earliest Ages to the Present Period, 4 vols. (Lon-
don, 1776-89), new ed. in 2 vols. with cri t ical and 
hi s torical not es by Frank Merc er (Ne w York, Dover, 1957), 
II, 8801 Burney's criticism of Lombardini-Si rmen's per-
formances in London during 1773 ( See Ncs. 82 and 83) was 
widely diss emina ted as wa s Burney's wi de dis s emi na tion 
in turn of the unflattering report of Lombar dini-Sirmen's 
1785 appearanc es at the Concert spiri tuel in Paris (No. 
118). The following is a footnote in t he first edition . 
"In Sofonisba and the Cid, Madame Syrmen, the 
scholar of Tartini, who was so justly admired for her 
polished and expressive manner of playing the violin, 
appear ed as a singer, in the part of the s econd woman ' 
but having been first woman so long uuon her instrument , 
she degraded herself by as suming a character in whi ch, 
though not destitute of voice and taste, she had no 
claim to superiority ." 
This footnote is curious for its harshnes s and its lack 
of context in Burney 's report . It may have originated 
in one of his columns of music criticism, for instance 
in The Monthly Review. Neither Burney 's music criticism 
itself nor scholarly studies of them by Benjamin Christie 
Nangle were available to me for this thesis . 
133. 1789-99. RISM title card reads 1"S men Ludovico 2 esem-
lari Sei Duetti A Due Violini di Lodovic o Sirmen 
enezia dalli Si ? Antonio Zatta e Fi le dal Sir. 
Franco Colino Libraro a Ravenna e dal Au- tore peri l 
rezzo di Pavoli die e s d 2 facs. di cm x2 1 viol I, 
viol. II . G CD BE AJ: another set of Violin Duets , 
published in Venice and attributed to Lodovico, does 
not seem to be the same as the set attributed to Lom-
bardini-Sirmen (See Nos. 96, 99, and 108). According to 
Sartori, Dizionario Degli Editori , op. cit., 171, Zatta?s 
son joined his father's firm at the end of the century . 
112.2.. 
1J4. 1799~ From Sartori, Dizionario, ibid., 961 the Venetian 
nublisher Mare scalc hi brin~s out v et anothe r 50 
editi on of the Tarti ni "Letter" to Lombardini -
Sirmen. No further information on this edition 
is available to me . 
1760-99 , Rio~ranhica l Comrnentarv 
Y._enice 1 760 
Problems of Identification of an 18th Centurv Woman Mu sician 
The first known appearance of Lombardini-Sirmen in docu-
ments is in the Tartini "Letter ," written when she was about 
2 5 vears old and published whe n she was abo ut JS years old . 
Dr. Maria Francesca Tiepolo , Director , Venetian State Archives , 
has informed me that to he r knowledge no research on the com-
Pos e r has been conducted in the archives of I Mendicanti Con-
servatory. Petrobell i (~i useppe Tartini , le fonte biografi che, 
Q.P , cit., 84) shows that she is called Madda lena Lombardini 
in the L'Eurona l etteraria publication of the "Letter " (Chap -
ter II , Document No. JJa). Burney informs abou t the additional 
married name, and subsequent secondary biographical sources 
keep the Burney model (Document No . 61). Fetis first states 
that she was born about the middle of 17J5, and a gain subse-
/ 
quent secondary biographical sources keep to the Fetis model 
(~iographie l.l.rliverselle des musiciens et bibliographie generale 
?._e la musique [Paris, 1866-70], VIII , 48). Mari on- M. Scott, 
Writine on the compo~er in 19JJ ( Musi c and Letters XIV , 148-6J) , 
theorizes that she added "Laura" to her own name as an act of 
homa~e to Tartini whose devotion to the Venetian Renaissance 
hard , Petrarch, and his beloved Laura, is l egendary . However , 
Eitner ' s observation of the presence of the additional g iven 
name Laura ( Biogranhisch-bibliographisches Quellenlexikon ??? 
51 
[Leinzie: , lR0~-1qo4J, IX-X , 184- 85) i s re i nf or ce d by t he 
presence of the second given name on about half of the prints 
and manuscripts l is t ed in Anpendix II . Tartini ' s sa l utation 
in his "Letter" may indicat e eithe r a marri ed woman whose hus -
band's famil y name is "Madda l ena ," or a n unmarried adu lt, or 
even a nun wi th the requisite assumed saint 's name in reli-
gi ous life. (Tarti ni does send re gard s to three of Lombar-
dini-Sirmen 's coll eagues at I Mendicanti, who clearly are 
nuns, in the closing of his "Lette r" (Document No . 1). 9apr i 
refers to he r a s "La Lombard ini," perhaps a soubrique t common 
for the time ( Giusenne Tartini [Milano, 1945J, 365- 68 ). 
Bouve t ( Une leyon , op. cit.) specul ate s descent from t he 17th -
century priest-poet-librettist , Antonio Lombardini. An nals 
of the Italian Opera at the Mi l a nese Court list a Mad dal ena as 
a princ ipa l woman singer in Niccola Piccinni ' s La buona fiFli-
uola maritata (the sequel to his La buona fi ~liuo la) and other 
works during 1762. The possible confus ion of names and nick-
names is fuelled by the example already cited of LaLande 's 
identification of Baldassare Galuppi (Il Buranello) as Galuppi 
Buranello (seep . J, footnote 5), and by the 18th-century 
practice of calling privil e~ed students of famous teachers by 
the teachers' name or nickname ( especially if the pupi ls hap-
nened to be nameless ?orphans). As we have seen (p. 15), Tar -
tini himself was called "the Lombardic violinist" by no l ess 
an authority than Quantz. Another custom of the time was 
for the English to call all northern Ital i ans by the ~ener-
ic label, "Lombards ," raisine: the possibility that "Lo rn -
52 
1760-69 
bardinih may not have been an actual name for the composer 
any more than the name Maddalena , In s hort , any discus sion 
of the composer's name and birth at this juncture must remain 
inconclusive, 
TURIN 1768 
The economic decline of Venice led its best musicians 
to become travelling perfor mers . Turin was the first musical 
center for those entering Italy from the North and the last 
for those leaving Italy and destined for, say , Paris . Turin 
was the home of several distinguished musicians who fi gure in 
Lombardini-Sirmen's biography , including the Besozzi (Somis) 
family with members of which Lombardini-Sirmen performed at 
the Concert spirituel in Paris . Felice Giardini (1716-96), 
with whom she played in the pit orchestra of the King 's Thea-
ter, London, was a native Torinese . Of special interest is 
Count di Sant, Raffaelle (Bevenuto , comte de Rafaele) , one 
of Tartini's students, who was a composer as well as Minister 
of Education during the reign of Carlo Emanuele III (1730-1773) 
(see Document No . 25). If Lombardini-Sirmen played a concerto 
at her Turin concert in 1768, she would have performed with 
some of the 53 members of the orchestra at Turin's Teatro 
Re gio. Williams. Newman, The Sonata in the Classic Era (New 
York , 1963), P? 36, mentions the direct link that existed at 
the time between Turin musicians and the Concert spirituel in 
Paris, 
1:..,ARIS 1768-69 
Members of the Concert spirituel orchestra who 
1768 - 6 2_ 
53 
would have accompanied her in the concertos are reported by 
Adam Carse in The Orchestra in the XVIIIth Centurv (Cambrid ge , 
1970) as including Oboist Jerome Besozzi , Jr. (?-1785), Bas-
soonist George Jadin : French-hornist Molidor: the Oboist 
B~rault, and the Violinist Venier (dates unknown). In addi-
tion , Jean Georges Sieber (1734-1815) played in the Paris 
Opera orchestra and taught at the Royal Acade my of Music : 
Jean and Charles N. Le Clerc were part of the f ame d "24 Violons 
du Roi ." B~rault , Venier, Sieber; and Le Clerc were all ~lso 
music publishers who brought out one or several of Lombardini-
Sirmen's compositions , 
LONDON 1770-73 
Lombardini-Sirmen apparently lived on Half-Moon Street in 
London ' s then suburban village of Piccadilly, according to the en-
j 
try fo r her in Grove's (5th ed.) ,? ~ D. Jerome , "The Qboe Concerto and 
Virtuosi of the 18th Century," Wom en 1n the 18th Century and 
Other Essays (Toronto, 1976), offers an explanation for why 
Lombardini-Sirmen and her male colleagues, such as J.C. 
Fischer , were to be found in pit orchestras rather than as solo 
virtuosi as the symphony grew in popularity in London (p. 193-
94 ). Limited opportunities as an instrumental performer, in 
addition to the several cabals among musicianly factions in 
London, may have persuaded the composer to launch (or return 
t o) an operatic singing career. Lombardini-Sirmen was obvi-
ously an intimate in the circle of Italian musicians in Lon-
don who were noted for participating in humanitarian social 
causes, such as the benefits for hospitals and foundling homes . 
She also moved in the more elite Bach-Abel circle of friends . 
54 
Fi gure 6~ Lombardini-Sirmen performed both as a singer 
and orchestra musician at the King 's Opera House in the 
Haymarket as a member of the Italian Opera Company during 
the London seasons of 1770-1773, The interior of the 
King's Opera House, shown here as it appeared in the 
second half of the 18th century, is reproduced from Philip 
H. Highfill et al., A Bi ographical Dictionary of Actors, 
Actresses Musicians Dancers Manage rs & Other Sta e 
Personnel in London, 1 0-1 00, vols, to date Carbon-
dale, Ill,, 1973--), II, 485, 
55 
Sirmen's modernist qua liti e s as a c omp os e r would inevi-
tably have led the publishin~ h ouse of Napier to commi ssion 
a transcription of her Six Concertos to the most popular 
instrumental family of the time--the keyboard . Tommaso Gior-
dani (1740-1806) was composer to the Court at the time and 
may have had his patroness , Que en Charlotte Sophia (1 744-1 8 18), 
an amateur harpsichordist , in mind in makin~ the se tra ns-
criptions, prints for which are pre served in the royal music 
library.* rriordani was also director for t he I t alian Opera 
at the Kin~'s Theater durin~ the 1 770s and compos e d works 
for performance there . In all, he composed 50 operas , an 
oratorio, church music , keyboard concertos , chamber musi c, 
and song s for Richard Sheridan 's The Critic. It is tempting 
to speculate--and anything but speculation is impossible for 
the time being--that , when Lombardini-Sirmen performed as a 
cembalist at a Bach-Abe l Benefit concert for herself on 
April 15, 1771 (Carl Ferdinand Pohl, Mozart and Haydn in 
London [Wien , 1867 J, I , 161?, and Ei tner , Que 11 enlexikon , on ? 
.?li.), she performed Giordani's reductions of her own v i olin 
concertos . Sacchini had become the favorite composer at 
the King ' s Theater by 1772-73 when Lombardini-Sirmen endured 
* S;e Charles Robb Haa!s , " The Ke:yboar? Concerto:' of Tommaso 
r,1ordani ," Master's Thesis, University of California-Los 
An,i;rn les, Los-AnE;l es , Calif. , 19 53 ? 
56 
Burnev ' s scathin~ c ommen t s . He r singing o f second woman 
rol e s with ou t exceution ra i ses t he question of t he quality 
of her vo i ce. If she were a c ontralto , for i ns tance , a 
v oi c e practi c a lly unknown i n En~land then , she would have 
had to sing such s e condar y parts. I f she we re a s oprano, 
she woul d have b een in competi tion with such no ted _I t alian 
castrati as Millico who joine d the Italian Ope ra i n 
Londo n about the time Lombardini - Sirme n b egan sing ing 
ins t ead of play ing t h e violin . 
The re may b e s ome possibl e significa nc e t o the c omposer's 
dedi c a t i on of he r Six Duets, Op. 4, Nap ier e d iti on, t o Will iam 
Henr y , fi r s t Duke of Gloucester (174J-18 0 5 ), the favorit e 
brother of King George II I. The Duk e mar ried t he i lle gitimate 
dau ~hter o f S i r Edward Wal p ole. This marriage l e d t o the 
enac tment of the Ro yal Marri a ge A.ct, sti ll i n effect, whi c h 
f orb ids r oyalty t o marry with out the King 's permission. Th e 
works were publ ished c,1 778 , the year the Ki n g recognized 
the Duke 's 12 year o l d sec ret marri a ge a nd p ermitted the 
couple to r eturn to London afte r their exile a b r oad, c hiefl y 
in Italy . The Duke of Glouce s ter co-fou nded with Charles 
Burney t h e Nobleme n and Gentl emen's Cat ch Club and col la-
borated with Burney in the effort to found a Ve neti a n-style 
conservatory at London's Foundling Home . 
?_ALZBURG 1778 
Le opold Mozart's comparison of Lombardini-Sirmen's 
style with that of the violinist Gaetano Brunetti (l ?SJ-18 08) 
57 
is si gnificant , c om in? as it does from the author of t h e 
classic study on the v io lin . Brunetti studied with Pi etro 
Nardini , Lombardini - Sir n's rival as first violinist of 
Europe for a time and . older fellow Tartini pupi 1. 
Adam Carse (The Orc hest a in the XVIIIth Century , p. 86 ) 
identifi e s Brunetti as a castra to and a member of the 
Salzburg orchestra who ? ~ures fr equentl y in t he Mozart 
family correspon d ence an d for whom Mozart fils c omp osed 
violin concertos . Brun etti was the composer of symphonies 
and sonatas , but his works have not yet been a nalyzed , 
accordine to Newma n ( So n ta in the Classi c Era [New York , 
196JJ, 249) . Alic e unz l Bel gray ' s unpublished dissertation, 
"r.aetano Brunetti , An Explorator y Bio-Bibliographical Study " 
(lTniversity of Mi ch i P- n , 1970 ), distin~uishes between two 
contemporary musici ans n ned ~aetano Brunetti . The first , 
/ 
the son of Esteban Ga e ? a n ) who was bonn in Pa no, Italy, in 
1774, spent most of his lLfe in Madrid in service to the 
Spanish Court, and di e d t~ere in 1798, is the subject of 
Releray ' s study . The second , whom she identifies as the 
son of one Antonio Br u net ti, is said to have been born in 
1753, to hav e studied under Nardini , and performed in Salz-
burg with the Mozarts. 
However, Be l gray 's ~esearch does provide information , 
otherwise unavailable , pe~taining to the biblio graphic study 
of Lombardini-Sirmen ' s wo~ks . As music director at the 
58 
Spanish Court during t he rei ~n of Carlos V, Br unet ti (the 
I 
son of Es teban from Fano ) orEanized s pecial musical per-
formances by ensembles, whos~ participants included the king 
himself, who was a well-traine d violinist, accordinE to 
Be l e ray. This Brune tti was also in c ha r ge of music ac-
quisitions at the Madrid Court during the last quarter of 
the 18th century. Thus , it would seem that he was the 
person responsible for placin~ Lombardini-Sirrnen's Six Trios, 
?...ix Duets, and Six Concertos in the Ro yal Musi c Library ( see 
~han terJII and Appendix II). Bel e ray shows that King Carlos 
V played second violin under Brunetti, the first violinist, 
in the royal ensembles . It may well be t hat the King per-
formed the Lombardini-Sirrnen works, copies of which are now 
in the Biblioteca Nayiona l, Madrid. 
J2B.ESDEN 17 79 
Domenico Ci marosa (1749-1801) rivalled Giovanni 
Paisiello (1741-1 8 16) as the chief composer of Italian 
operas in the late 18th century, but his twelfth opera, 
~taliana in Londra, first produced in Rome in 1778 , was his 
first success. L'Italiana in Londra was also the first 
Italian opera produced by the newly reorganized Itali-
59 
an Opera Company under An to ni o Bertoldi on Oct . ~ , 1 780 . 
A p roduction of the onera also took -ulace in ~urin in 1 779 . ~ 
According to En l inder , Lorrbardini - Sirmen was already on 
contract t o the Italian Op era in Dresden on Oct . 9 , 17 79 
(Doc ument No. 113). ~obert Pr~lss , Ges c hichte des Hof-
th e aters zu Dresde n von e i nen Anfangen bis zum Jahre 1862 
(Dresden , 1878 ) renorts t ha t she was en ga ge d as a singe r in 
178 0 with a salary of 1 , 700 Thaier , far more than _any of the 
othe r singers in t he comp any (p. 829 ). 
PARIS 1785 
No evid ence has as v et come t o li ght to support the 
statement by some of the secondary biographical sources that 
Lombardini-Sirmen returned tg Italy after the unsettling events 
connected to he r performa nce s in 1 78 5 at the Concert spiri-
tue 1 . From this time onward , , r..: addalena Laura Lombardini-
Sirmen becomes a l ost Renaissance woman in an era wnen the 
transition from baroque to classic to romantic styles wa s 
being completed . 
Lod ovico Sirmen of Ber aamo 
Nothing is known about Lodovico Sirmen except . that he 
played the violin , served a s a church musician , perhaps at 
the basilica of St . Mary na jor or at St . Mary Magdalen church 
in Bergamo and/or Ravenna a~d Bologna . None of the literature 
on music in Bergamo is he l p ful for locating Sirmen . The vari-
ous spellings of Lombardini -Sirmen ' s married name , however, 
60 
(Sirmen, Sirman, Sirmin, Sirmien, Sireman, de Sireman, de 
Seriman Syrmen, SYrmen,' Schirmen) resemble the several 
' 
spellings of the Venetian-Armenian noble family of Shariman 
(Sc eriman , Seriman, de Seriman) so closely that consideration 
is required of the possibility that Lornbardini-Sirmen is 
connected in some way to that family either directly through 
marriage, if not birth , or indirectly through descendants 
either legitimate or natural . The most likely link would 
be to the elder son of the family during its second genera-
tion in Venice, Zaccaria Seriman (1709-84 ), who had two 
titles1 Abbe and Count. D~ Maxwell White wrote a biography 
of the Venetian priest , journalist, publisher , church histori-
an, satirist, musical dilettante, and all-round mysterious 
figure in 1961, which makes clear Zaccari a Seriman 's close 
connection with r Mendicanti conservatory and its personnel. 
Seriman is also treated in standard 18th-century Italian re-
ferences and in modern reference works. His younger brother , 
Count Paul An?con Seriman ( 1714-89), was a Maj or-General in 
the Venetian-German Countess 
the Austrian Army; he married 
they were parents of 12 daugh-
Loa ov?i co Neuhaus and together 
ters, according to Ritter von Tannenberg Wurzbach, Biogra-
-rl?, _Sches Lexikon. ? ? (Wien, 1877), XXXIV, 220. 
D. Maxwell White shows how the Serimans, considered 
"the Rothschilds of the 18th century," emigrated to Venice in 
l?Ol and played a vigorous role in secular and church affairs 
in E Zacca-urope as well as in the Armen?i an c h urc h.i n Ve n.i ce . 
ria?s schooling was with sons of the best Venetian families. 
61 
Fig . 8. Portrai t of Za ccaria Seriman in the persona of Enrico 
Wanton , fr om his The Vi ag~i di Enrico Wanton , as r eproduced 
in White , Zaccaria Ser iman , f r ontis?p~(ce . 
He studi ed the violin in Bol ogna , as did his colleague Fer-
dinand o Ber t oni , wit h whom he composed in 1769 t he celebrated 
La Re g~i a di Cali oso orator io f or I Mendicanti . Perhaps he 
was , like Bertoni , a student of Padre G. B. Martini in Bologna . 
Seriman ' s most famous work , v ? 2ggi di Enrico Wanton (Venice , 
1749(.~ern , 1764 ) , was an anon~mous i mitation of Gulliver~; 
Travels by England ' s Jonathan Swift , a book on the Index of 
?orbidden 3ooks , 
Seriman was the 391st membe r of tle still-existing 
Acc ademia degli A~iati in Rovereto , whi c h was founded by 
Gi useppe Vannetti and his wife Bianca Laura Sai bante in - 1 750 . 
His correspondence includes ex c ha.r:ges with Giuseppe Gennari , 
vrhose eu l ogy for ~artini in 1 770 first brougJ-,t Lombardini -
Sirmen ' s name to pub lic notice . (s ee Document 26, p . 26) , at 
l eas t, in known docum ents; with Count Francesco Al : ar6tti , 
the Venetian di~ l o~at at Frederick the Great ' s Court a nd the 
author of one of the best- ;:1 oim musical documents of the 
time ; and w{th Count Vanneiti, patr on of at l east one Tar -
t ini scho l ar mentioned in Tartini ' s correspondence , His 
circle of fri ends included members of the most renowned Vene-
tian?families and tho se not r enowned , such a s Tacq ues Casa -
. - . 
nova , The little-understood international brotherhood of 
. - .. - . 
Freemasonry, that fi12Ures ~in the intellectual history _of the 
last hal f of -the 18th century, also claimed his interest . 
S eriman ' s texts were set as operas by traetta , Grua (see p,5), 
Giuseppe Puppo (1 749 -1827 ), and Andrea Lucchesi (1 741-1801), 
al l of Venice , Se riman seems to have composed music , as? wel l. 
His literary a ctivities includ ed book publishing , editing 
periodicals , and operating book stores in Venice and Bologna , 
Almo s t all of his writings were published under pseudonyms 
or anonymously , It is not known whether he was a member of 
the Jesuit or Benedictine orders or whether he was an or-
dained parish priest , 
63 
No information is avai lable for Seriman ' s activi ties 
f rom the 1760s to his death in Venice in 1784 , except for 
the fact that he appears to have been estranged from the 
rest of the Seriman family in Venice. The period of nearly 
25 years corresponds roughly to the period of Lombardini-
Sirmen's touring--for at least part of the time with he r 
husband ~ D. Maxwell White cites a contemporary of Zaccaria 
Seriman 's who termed these years "the beginning of a t er-
rible period " for the writer-priest . 
A Seriman Family Tree, compiled by a desc endant, 
Fortunato Seriman,in 1850 and preserved in the Mus eo Correr, 
Venice, makes no mention of Lodovico Seriman nor of any natural 
son or nephew of Zaccaria Seriman, Fortunato Seriman also 
composed a biography in manuscript of both Count Abb{ 
Zaccaria Seri man and his brother Count and Ma jor General 
Paul Anton Seriman. The latter was published in Venice in 
1849; unfortunately , the manuscript of Zaccaria Seriman 's 
biography, although included in the catalogue of the Muse o 
Correr, cannot. presently be located, 
64 
Chapter III 
lBTH-CENTURY MANUSCRIPTS AND PRINTS 
OF THE SIX CONCERTOS 
i(zNeo tes as.i? n Chapter II, no effort has been made to standard-
froms~~lling or punctuation. This information has been copied 
itle pages or library t itle cards exactly.) 
~i e-la Librarv Sources 
B-Bc Brussels , Bibliothique du Conservatoire de Musique 
CS-B Brno , Czechoslovakia, Hudebni oddelenf Zemskeho Musea -
D-BRD-Tu ~ilbing~n , tiniv~rsit~tsbibliothek 
D-DDR-Bds Berlin , Deutsche Staatsbibliothek 
D-DDR-WRz Weimar, Zentralbibliothek der Deutschen Klassik Nationale Forschungs- und Gedenkst~tten der Deutschen 
Literatur 
D-Muu MUnster, Universit~tsbibliothek 
E-Mn Madri d, Biblioteca Nalional ? 
F-Pc Paris, Bibliotheque Nationale, Bibliotheque du 
Conservatoire Nationale Superieur de Musique 
F-Pmeyer Paris, Collection Musicale Andr~ Meyer 
GB-Ckc Cambridge, Rowe Music Library, King's College 
GB-cu Cambridge , Yoiv~rsitl Library 
r.B-Lbm London, British Library, Music Library 
GB-Mp Mancheste~ public Library 
I-An Ancona, Biblioteca Comunale Luciano Benincasa 
I-Be Bologna, Civico Museo Bibliografico Musicale 
I-Ge Genoa, Biblioteca del Conservatorio di Musica N. 
Paganini 
65 
I-Mc Milan , Conservatorio di Musica Gius epp e Verdi 
I-Ne Naples , Biblioteca del Conservatorio di Musica 
"S. Pietro a Majella" 
I-Os Ostiglia, Biblioteca Musicale Gre ggiati 
I-Pea Padua, Biblioteca Antoniana, Cappella Antoniano 
Basilica del Santa, Archivio musicale 
I-Ria Rome, Istituto Nazionale di Archeolo gia e Storia 
dell' Arte 
I-TE Terni, Istituto Musicale G. Briccialdi (formerly 
Civica Scuola di Musica) 
I-Tra Trent, Archivio di Stato 
I-Ve Venice, Conservatorio di Musica B. Marcel lo 
I-Vnm Venice, Biblioteca Nazionale Marciana 
NL-DHgm 's-Gravenhage , Haags Gemeentemuseum 
S-H H~rnos~nd, L~nsmuseet 
S-SK Skara, Stifts-Och Lansbiblioteket 
S-Sk Stockholm, Kunliga biblioteke t 
Stockholm, Kunliga Musikaliska Akademiens Biblioteket 
S-Skma 
S-1 Lund, Universitetsbiblioteket 
S-M Malmo, Stadsbiblioteket 
S-Str Str~ngn~s, Roggebiblioteket 
SF-Ts ibo (Turku), Sibelius Museum Musikvetenskapligo 
Institutionen 
Ann Arbor, University of Michigan Library, Stell-
DS-AAu 
feld Collection 
New York, public Library for the Performing Arts 
DS-NYpl 
US-We Washington, o.c., Library of Congress, Music Division 
66 
Thematic Index 
The following format for presenting bibl i ographic 
information about Lombardini-Sirmen's Six Violin Concertos 
is a d opted from Shelley G. Davis , "The Keyboard Concerto s 
of Johann Georg Lang ( 1722-1_798 ), ". unpublishe-d d'i ssertati on 
(New York Un 1. ve. rsit.y , . 1971). On the left side , readin~ down, are 
Concerto number and key, an outline description of the con-
certo ? a n 1. nc1. p.1 t for the various movements, and remarks, 
followed by a listing of manuscript and prints sources. 
Cross-r e f erenc1? ng is provided by th e paren th e t 1? ca1  i? nsertion 
of the document numbers of all corresponding editions at 
the b eg1. nn1. ng of each entry and of specific edition and dates 
in th e 11? brary prints holdings. (The sigla for libraries on 
Pp, 64-65 app ly also to the Thematic Index for Other Known 
Works of the Sirmens contained in Appendix II where incipits 
are . 
given only for the opening tutti of first movements.) 
In the outline descriptions, the movement number, key 
(for second and third movements), tempo, meter, f orm, and 
length i? n bar numbers for each concerto are exp 1 ai? ned, in this 
order ? Key relationships within indivi?d ua 1 cancer t os- are i? n-
a? 
lcatea with bracketed . Roman numerals, with the minor mode 
:t'ep 
resented by lower-case Roman numerals. Abbreviations are 
those commonly used throughout thi. s thes?i s, i.e., measures 
( rnrn ) 
? ? number (No.), and Fi gure (Fig.). 
f9n~ ert~ I !'fo . 1 I in B b T,~a .i or . Corresponds to Op . J, 'fo . 1 
t~ l,he l, hr:e Tlap~er editions (Do? u1;1 ents no s , _Ba~ 9!! ~nd 9]; 
t 0 Op , 2 , 1fo , 1 in t he Humme l editi on (Do c um en t No , 78), and 
Op . 2 in the Borelly edition (Document Ho. lc;52a). ' 
Ir Allegro mod erato , 4/4 , rounded bina ry , 155 
II , [VJ, Andante , J/8 , binary , 65 
III , LIJ, All egro (All egr e tto) , 2/4 , rondo with J epi sode s , 
142 
~ : Principa l violin , strings , obo e s ( flutes ), and 
cornes - de c hasse . The M1Inster manuscript, listed 
below, may have belonged to Queen Charlotte's family. 
~I 
~ -----
I-Be 
I- Ge Ms KK ,1 26 . Desi gnated "No . 4" M, Jb , 24 , 25 
D-Muu 
I-Tra Ms 726 (varianc e in Jrd movt J "Duke of Mecklenburg Collection" 
1-Vnm N,749/x ,l.J, N,17 Cod.It.IV, 1524(~11472) 
~ - -
B- Bc 
E-Mn T,5810 (Hummel, 1772) 
M709-716/9 ( Hummel, 1772) 
.G?B::.tb ?- M688 - 899/1 ( Napier, 1773?) 
I~v~ro . R, M,17,J.4(14) ( Napier, 177J?) Incomp lete 
NL-D}i 
S-s}-~ Nr. 3946,75,B, Muz ( Hummel, 1772) 
lJS ' a ( Bore 11 y 1. 7 7 5- 7. 7. ) ) 
Ds-A.A.u Ml040 . B29 ,C7J ?cNapi~r , ? 177J? 
-We Ml012,S99:op~J-.P:Case ( Napier , 1772?) 
Ml 012 ,S 62 ,0p ,J.1 770 ,P ( Napier , 1773?) 
68 
Q..?.neerto [ No . 2 J in E Maj or . Corresponds to Op. J, No . 2 
~n the three Napier editions (Documents Nos . Bq~ 92 , and 93): 
0 Op. 2, No . 2 in the Hummel edition (Do cument No. 78): i nd 
to Op. 3 in the Borelly editi on (Document No .1Q2b) . 
I r ~.ll~gro , 4/4, concerto-sonata s truc ture, 168 
IIr [IYJ , Andantino , J/4, rounded binary , 73 
IIIr lI J , non tanto alle gro, 2/4, rondo with 2 episod es 
TTr , 
-=--- .1 
~. ~- --- -.r?, ? - ? 
: ~ -- ?- ?_- _:-
I-Ne No. X.198J (No title page ) 
~ 
- ? - . - -- . . 
B-Bc 
E-Mn T.5810 ( Hummel , 1772 ) M709-716/9 ( Humme 1, 1772) 
GB-Lbm M688 - 899/2 (Napier, 177J?) 
I-Ve R.M.l?.J.4(14) (Napier, 177J?) Incomplete 
NL-DHgm 
S-Skma ? Nr. 3946.75,B, Mu z (Hummel, 1772) ( Humme l, 1772), No . 2 only 
lTS-AA.u (Borelly, 1775-77) 
Ds-wc Ml040,B29.C73 (Napier, 1773?) Mlo12.s99,op.J.P,Case (Nap~er, 1772?) 
Ml012,S62,0p,J,1770,P (Napier, 177J?) 
Ml012.S62.0p.J.No,2.P.Case (Borelly, 1775-77) 
~certo I ~o ._ 3J in_A_ Maj or . Corresponds t o Op . 3 , No . 3 in 
t e three Napier editions (Document s Nos . so; 92- and ] ) ? 
to0  00p . 42 , _No . J in the ::ummel ed i ti on (Do cument"??;fo . ?89/; 'd p . i n t he Borelly edition (Do cument No . 102d). an. 
I : A~l egr o , 4/4 , concerto - sonata s t r uc ture , 173 
I I r l iJ , Adagi o , 2/4 , r ounded binar y , 48 
III r lIJ , Allegretto , 2/4 , r ondo wi th 3 episodes , 118 
J. I 
s - - -
~ r 
~ :-?.. - 
I - os 1ss . Mt SICHE B. 2795.* 
~ ? 
B- Bc 
E-Mn T. 5810 (Humme l, 1772 ) 
M709- 716/ 9 (Humme l, 1772 ) 
GB-Lbm M688 - 899/J (Napier, 1773?) 
I-vc R. M.17.J.4(14) (Napier, 1773 ?) I ncompl ete 
NL-D H21n 
8- Skma Nr. 3946 . 75 . B. Muz (Hummel, 1772) 
l1S-A.A. u (Borelly 1775- 77 ) 
Ds -wc Ml 040 . B29 .C 7J (Napier, 1773? ) 
Ml012 .S99 .0p.J.P.Cas e (Nap~er, 1772 ?) 
Ml012.S62 .op?.3.1 770 .P (Napier, 1773?) 
if. 
iR srstM t?i tle card r eads, Concerto di?  v?i o 1i ? no con d i? versi?  
1 1ru menti obli gati della sig.ra Maddalena Sirmen. Anno 
2~; !La magg.)r 11 Parti mss. del ~ec. xirrr, cm. ~2 x 
10 viol. princ., viol. 1? obbl., viol. 2 obbl., viol, 
., e 2? di rip., Ob. 10 e 2?, Corno 1? e,,2?,_2 B. Sul: Br 
sDe1 sig . D. Gio. Ferrari di Castelnovo. Thi s manuscript 
aso u"rsc?e  is unique for the appearance of the CJmposer's name ... igra. La ura Sirmen" on the Ba s s par t ? 
70 
Concert O 1 4 J . . ~th , o . in C MaJor. Corresponds to Op . J~ No . 4 in 
to O r ee Japi er editions (Doc uments Nos . _Bo .._ __ 92 .___a nd _.93 J and 
p . J, -'o . 6 in the Humme l edition (Document No . ~7 ; . ? 
It 
II , tl~egro, 4/4 , concerto-sonata structure , 169 
III : viJ, Largo , 4/4 , incipient binary , 37 
lLI , vi , IJ , Allegretto , 6/8 -3/4 , r ondo with J 71 episodes , 
., 
89-D, AB (Designated "No. lO") 
Ms . vor 1807 , 25 . 
Sam l . Kraus 450 ( No . 4 only ) 
P:r ? 
~ 
B-B 
_. . E~M~- . _ T5Bl l _ ... {Humm.ii, -177] )_~. Incomplete 
GR:..1,h . ---. M688- 899/4 -( Napier, 1773? ) 
Nt-DJ,rn R. M.17;3~-4(14)" -?( Napier , 177J?) I n complete 
S-?SJkgrn Nr. 11J21.Jl.JO.B. M-R-5 ( Hummel , 177J J 
S-sk ( Hummel , 1773) 
S-st;a (Hummel, 1773) 
Ds -AAu ( Hummel, 1773) 
DS -wc? Ml040 . B29 .C 7J ( Napier , 177_;3?) 
M10l2 . S62 . 0p .J.l 770 . P ( Napier, 1 77J? ) 
... 
71 
~certo LN o . 5J in Bb  r.1a .i or . Corresponds to Op . J, No . 5 
ln the three Nani er editions (Documents Nos . 80 , . 92, . a?nd .93) 
and to Op . J , N~. 5 in the Humme l edition (Document No . ~?) . 
I : Maes toso , 4/4 , concerto - sonata_ structure , 197 
II , LIVJ, Andante , 3/4 , rounded binary , 49 
III, LI J , 3/4, r ondo with 3 episodes , 181 
~. 
M.filluscri nti.'2: 
Uone 
~ -? 
B-Bc T581 1 (Humme l, 1 773 ) Incomplete 
E- Mn 
GB -Lbm M688 - 899/5 (Napier , 1773?) R. M.1 7. 3 . 4 (14) ( rapier, 1773 ?) Incomplete 
NL-DHgm Nr . 11321 .31. 30 . B. M-R-5 (Humme l , 1 773) 
S-.Sk 
S-Skma ( Humme l, 1773) 
S-Str (Humme l, 1773) 
US-A.Au (Hummel, 1773) 
US-We Ml040 . B29 . C73 (Napier, 1 77}?) Ml012 . S62 . 0p . 3 .1 770 . P ( Napier, 1773?) 
... 
72 
0
~ ncer t o r 0 6 . . 
J. .n t h t h ' ? 1n C Ma 1 or . Corresponds to Op . 3 , ,Jo . 6 
to Op e 3 r~e J2pier editions (Doc uments 'Nos . Bo., 92 , ~.cJ.nd 93 ) a nd 
? , -~o . 6 in t he Eumme l edi t ion (Doc umen t :?o. 87 ) . 
ri : t~l egro , 4/4 , con c er t o-s onata s tructure , 1 73 
Irr , L J , Andante , 3/4 , inci n i ent b i nar y , 58 
I J , 3/4 , r ondo wi th 2 coupl ets a nd 2 episodes 
T5Bl l ( Hummel , 1 773 ) I ncompl e te 
M688 - 899;6 ( Napier , 1 773?) . 
R. M.17 J 4(14) ( Napier, 1 773? ) Incomp l e-ce 
Nr. 11j2i.Jl.JO. B. l\(-R-5 (Humme l, 1 773) 
( Humme l, 1 773) 
(Hummel, 1773) 
( Humme l, 1 773) 
Ml 040 , B29 ,C 7J ( Nap ier , 1 77:;? ) 
M10 l 2 .S62 .0p .J.l 770 .R ( Napier , 1 773? ) 
73 
?', ._ . 
?' t? .. - ; 1 ? ? 
( ~ ?.,, .,. 
. .. .. . ?. ?~?- . ... , . 
. ?.  } .-: 
? . ? ? . t-': ' ?. .:  ....~  . 
<~~f'~ 
.., ' ; ..  .-...  .'  .. . .,.  ~ . . . : 
'1 ?? 
? ? ? ? .,. -~ . f& 
, .. 
t . . ' 
~ ., 
.. ?. . : . 
. ?, . 
?~-::::-..::E:-.....,: ::-;;:-..=--..=-..=-.=-.=-.=--=:?? ?:.rv~t?<~:}? \.  
?--.---------- -.. ?. , ., .. I(_ 
I, . . . . .\ " . ,_;,? ) 
. ('. . 1 ') ~ ( . ?, ::. ? . ' 
. . ' .. I;,',) ""'! ;,,/"\ ? ? . . I 
Figure 9. Title Page of Lombardini-Sirmen's Violin 
.Q_oncerto No. J in Bb Ma jor in the manuscript preserved 
in MUnster as part of the private collection of the 
Duke of Meck l enburg, brother of Queen Charlotte of 
England. 
74 
, .,iOLI-XO PRINCIPALE, 
VJo!ino P.1:i1110 & Secondo, 
A l to & 13asf'c . 
.7 &'taiou cf: ~l'n?'Je/ (Y ad- :&iaUll : 
CoJli'OSEES 
l ' a r 
/ 
~ -~It._.( .Y \ / L /(. <!:' 
M . L . SYR]/i: E N. 
Fi gure 10, Title Page of Lombardini-Sirmen's Viol i n 
Concertos, Op, 2, Nos, 1, 2, and 3, published by J.J. 
Hummel (Amsterdam, 1772), 
75 
:~gure l 1. Title Page of Lombardini-Sirmen's Six 
-:-l2.l_in Concertos in the first Napier edition (Lon-
don, c.17 72). 
76 
A Keyboard Transcriution of the Six Violin Concertos 
E,gmarks . Th ~re may have been as many as three different editions of Torr~aso Giordani's keyboard trans -
criptions (S ee Appendix IV ). The only edition 
for which _a copy is as yet available is ~apier (Lon- No, 
do~~ .1773?) ( see pocume~t No. 9J ). However , Document 
103 in Chapter II indicates the existence of a 
Welcker edition of the Six Concertos ; Document No 
107 similarly suggests the existence of a We lcker' 
edition of the Keyboard Transcriptions (both, 
London , c.1715-78) , It is possib le tha t other 
edi tions of both works were mere ly being offered 
for sale by Welcker in its catalo gues . A more? 
serious case can be made for a possible edition 
of the Giordani transcriptions by Longman & Broderip 
(Documen t No. 126 ) since at l eas t one concerto manu-
scri pt title page bears th e "L,B," (Longman & Bro-
derip ) imprint which i ndicates it was hand copied 
from a print of the Longman & Broderip editi on. 
The British Union Catalogue of Earlv Mus ic (London 
1957 , which locates a Longman & Broderip print in' 
The Rowe Library of King 's Coll ege, Cambrid ge, may 
not be reliable , 
RISM indicates 1770 or 1773 as approximate ? dates 
for the Napier edition (Document No. 93). BUC gives 
1773, The Library of Congress in~icated c,1775, 
Neither the us-We nor us -NY. p l copies of Document No . 
93 includ es parts for any instruments other than the 
keyboard, The unusua l manuscripts for the keyboard 
reductions of Conc ertos Nos , 1, 2, and 3, howev er, 
do include complete sets of ripieno parts, including 
two oboes two horns and bass, This Weimar manu-
script co~ld turn out to be Giordani's auto graph 
( see Fi ~ure 12). 
-M..a. J:W.scrin t Source 
Desi gnated "oeuvr, IV" 
D-DDR-WRz LB Mus IIIc119, 
P--r.c?l :Dts Sources 
GB ... Lbm (Longman & Broderip, c,1785) 
GB -Lbm R.M,17,C,4(14) (Napier, 1773?) 
\JS-we Ml0ll,S64,0p,3,G5,Case (=Ml011,S98.Case and 
=M37,s,case) (Napi er, 1773?) 
lIS-NYpl 158620A ( Napier, 1773?) 
77 
, --------- ------ - -- - ---
- . ._ ) ~ --.- _- -- _-:_-..:-:= -~-----=:-.::: __- _::: ::.._- . ...:. __ ?~?-?? -?- . - - . ----- --- -- ------- -- ? - -- -- - - - ----- - .... ------ -- - - --- - - --- ---- ----- - ?- ? -- - ---
/ 
~?' . : -? : ' l , I 
~~ -==---=__-_-_--_-_~___-::_ -!: ,I:.- _--~---~-?-- --------------- -_-_:_:--~:::-~-=====-==-==-==-=--= 
, ? 
( {( // C{ /' T!J .,-.-.., ..-  
P? 
tsl~l?"mll"een ?s1 2, ~. Title Page of only known manuscript of Lombardini-
he keyb Y3,.olin Concertos, Nos. 1, 2, and J, as transcribed for 
.. oard by Tom~so Giordani (D-DDR-WRz LB Mus IIIc 119) ? 
78 
Fi Rur 1 . . 
tr~nse .3 ?. Title Page of the.Tommaso ?1or~an~ keyboard 
(Lonacript1on of Lombardini-S1rmen's S1x V1ol1n Concertos 
on, 1773?). 
79 
Chapte r IV 
STYLISTIC ANALYSIS 
Analytical Me t hod 
Th e system used to desi gna te concerted sound groups, 
them es , subphrases , sonata form components, and fi gures uses 
th e f ollowing symbols , most of which are borrowed from She lley 
Dav i? , "The Keyboard Concertos of Johann Ge or g Lang (1722-G. s ? 
1798 )," Unpub li" shed Ph?D?  ,~....i sser t a t?1 0n, Ne w Yo r k Un ?i versity 
(New York, 1971). 
Tutti or ritornello secti ons 
T1 
s ' T2, T3 ' , s2, Solo sections S3 Principal themes stated in the tonic 
lP, 2P S~condaiy th~me stated in the dominant 
1S - ?Transitional or modulatory theme s 
lT, 2T 
K Closing theme Antec edent phrase of a theme 
a Consequent phrase similar but not id entical 
a ' to antecedent phrase 
Consequent phrase (s) in contrast to ante-
b,c,d, e tc. cedent phr ase . 
Exp. Exposition 
Dev. Deve lopment 
Recap. Recapitulation 
* Solo cadenza 
Coda Coda 
Intro. Introduction 
The concerto-sonata structure which aptly suits the 
formal outlines of most movements 1? n Lombar d"i ni? -s?i rmen's Six 
~Co-nc-ecrt ertainly , a. l l of the first movements--is depicted 
:i.n a standardized diagram for analysis . The diagram is based 
on Heinri. ch Christoph Koch 's treatment of the three-tutti 
modirl? ed concerto fo-rm in M;isikalisches Lexikon (Frankfurt , 1802 ) 
( seen . 94 ), The analysis , borrowed partially from the model de-
"eloped by Jan La Rue Guidelines for Stvle Analysis ( New York , 
' -
8 0 
1970 ), discusses the five a s pec t s of the conc ertos--I nstru-
mentation , F orm, Harmony , Melody , and Rhythm--in genera l ' 
first ' and then, more speci? f?i ca 11 y , as t hey apply to the 
three individual movements . 
The Violin Concerto in Transition 
Lombardini-Sirmen belongs to that f eneration of compo-
s ers who experimented with new forms of instrume ntal musi c 
and whose v.i olin conc ertos brid ged the s pan from s uch baroque 
and pre-classi c composers as Viva ldi, J,S, Bac h, and Giuseppe 
classical masters , Haydn , Mozart , and Beetho-
Tartini to the 
ven. Me mbers of her peer generation inc lude J.C. Bach, 
Joseph Haydn, Giovanni Mane Giornovichi , Gaetano Pugnani, 
C,D 'von Dittersdorf, Pietro Nardini, Lui e i Boccherini, 
Tomrnas G.i ordani, J.G. Lang, Antonio Lolli, and Josef Mys-0 
live?e.,/ ek, all of whom wrote violin concertos. Nardini and 
Lombard1? n1. -Sirmen, as violin virtuosi, are among the bes t-
know n representatives of Tartini's celebrated performanc e 
method ? Nardini alone, however, is the accepted standard-
bearer of t he post-Tartini genera t?i on, Ch arac t eri? s t?i cs of 
Tarti n1.  ' s compositional style are identified by Boyden in 
his h"i story of the violin, by Dounias in his study of Tar-
tini? s concertos, and . by Duckles, Elmer, and Petrobelli , in 
on Tartini's paduan School, These characteris-
their work 
tics area three movements, frequently in the same key; homo-
.. nho rn? c, rather than contrapuntal, textures; long melodic lines 
including leaps of three octaves, technically demanding and 
Complex ornamentation; and ? expr~sstvi~y. Contribution~ to 
81 
form either by Tartini in his lJO-odd violin concertos or by 
acknowl edged students are limited , for the most part, to the 
add1' t?i on of tutti? ri? to rne 11 os to so lo sonatas, the technique 
used b Y the young Mozart in his first seven concertos, the 
only ones he wrote for t he violin.l 
"~):;'i' ghteenth-century transitional composers, including 
Lombard i. n1. -Sirmen, built on the work of their mentors , in the 
f as hion , by experimenting with the concept 
best Enli ghtenment . 
of unity and variety in the one musica l form that in itself 
serves as an analogy for the concepts the concerto . 
This i nd ividual character was to be expressed 
through a var i e ty of rhythms , figures , and 
t~emes followin g one another in rapid altera-
tion--continuing the kaleidosc opi ? ten?encies 
of Per golesi and Tartini . As variety increased , 
however, s o did the need for l arger , stronger 
f orms that could gather up the more va:ied 
rhythms a nd themes into a broad but still com-
pe lling unity . Composers found their way to-
ward these forms through a clarification and 
refinement of the sense of keys they brought 
the kind of tonal order built of triads to a 
peak of e fficiency . 2 
Lombardini-Sirmen Style Traits 
It would be foolhardy to try to make a case for Lombar-
dini - s?i rmen's six vi ol in concertos as being either the best 
concertos written in their day or even among th e b es t ? None -
theless , 1? t can be stated that these cancer t os h e1- pe d pr epare 
the way for the best concertos composed in the Cl assi? c period . 
;? -Ed-w1? ------------------------XX n J . Simon , "Sonata rnto Concer t o, " A_c ta  .M,, usi? co 1 og?i ca 
XI (1959 ), 170-85 . 
2? Richa d . f M si?ca l Style ( New York ? McG r L . Crocker , A History o u , , 
raw-Hill , 1966), 355? 
82 
Suupor t ing t his statement abunda ntly a r e many p r o gress i v e 
p rocedures in Lombardini-Sirmen 's compositiona l s t yl e , such a s 
the consi s tency of her thr e e-movement , f a s t -sl ow- fast overal l 
d esi gn; he r demon s tration of embe ll ishment technique b a sed on 
Tartini ' s methods in slow mov ements s he r use of diffe r e nt ron-
d o forms in he r third mov ements ; he r abi l ity t o contro l l a r ge 
t ona l p l ate aus , a~d t h e a pp earanc e _of we ll-de l i neated c a denzas , 
fr equent chroma t ici s m, notationa l innovations , inve n t ive har -
monies including maj or -minor a l ternation, and harmoni c p r o-
gressi ons ranging from secondary dominants t o s ev enth c hords 
i n the cycl e of f~ ~1s , 
I ns t rumenta tion 
Lombardini-Si rmen's e nsemble is the one Donald F, Tovey 
c al ls the "little old orchestra,"3 The c omm only used instru-
me ntati on for the time wa s s trings, obo e s or flut es, and corno 
di caccia. He r orchestral color, for the most part, is a blend 
of a me lodic group of i nstr uments--vi olins , including the s olo 
violin, and obo e s--and an harmonic group made up of the b a ss 
(cello) and the continua, violas doubling the b a ss (except in 
rare instances wh e re they a re g ive n a melodic or con t rapuntal 
function), and horns reinforcing the harmony and providing 
nunctuation. This typical 18th-century grouping would have 
been altered and enlarged in performa nc e s where possible, for 
example, by the addition of bassoons, perhaps, in Turin and 
Paris, played by members of the Besozzi f a mily, This ensemble 
e xceeds those ?used for Ha ydn's concertos, Unlike Gio r nov ic hi , 
J. Donald Francis Tovey, Concertos, Vol, J of Essays in Musical 
Analysis, 7 vols, (London, Oxford University Press, 1944), 28, 
BJ 
who wrote mainly ad libitum parts for oboes and hor ns in his 
orc hestra l tuttis , Lombardini-Sirmen uses oboe s to double 
fir s t violins generally . Occasionally oboes take ove r the 
top line . Horns are similarl y indispensab l e a t times because 
they are the only source for midd l e harmonies , as , for in-
stance , i n cadenza preparation points. 
Ritorne llo sections are frequent l y contrasted with 
the thin texture of three-part writing of solo se ctions in a ll 
three mov ements . This is especial l y pronounced in middle move -
ments where in Conc ertos Nos . 1, 2, 3, and 6 , r i t orne ll os con-
sist of mere opening and closin~ sections . I n t he middl e move -
ment o f Concerto No. 4 the r e i s an opening tut ti but no clo-
s in~ t u tti; i n that of Concerto No. 5, t he re is no tu t ti at 
a ll. This absence of a bass as the s olo viol i n is accompanied 
by the first and second v io lins only , which is c haracte r isti c 
o f some of Lomba rdini-S irmen's s olo s ections, results in a 
b oldnes s of textura l contrast t hat appears in works by such 
o l der - ~enerat ion I t a l ian compose r s a s Vivaldi and Tartini. I t 
i s c har a c te r i stic, too, of s u c h p os t-Tartini c omp osers as Giur-
nov ichi and Lolli. The hi g h d e gre e of t e c hn i c a l competenc e 
d emand e d of the solo violinist in t he se con c e r t os ma rks the ir 
c ompo s e r as a true descend a nt of Tartini, the ori gi na tor of 
th e orname ntal tradition that led to new levels of viol i n vi r-
t uosity. Domenico Ferrari, also a Tartini-pupil, traveling 
virtuoso, and composer of instrumental sonatas, was am on g the 
f i rst to indicate the use of harmonics, but th e manu s cript of 
t he composer's Concerto 3, which he may have owned, calls for 
the hi ~he s t re gister short of harmonics on the newer violin and 
84 
wou ld have called fo r harmonics definite l y on the old e r in-
strument . Such individual treatment for i nstruments extends 
to tutti v i olins, which are never 1n uni son , and to h orns 
(in Bb, C, and For E# ), as well . Except for a f ew con t ra -
puntal e xchanges between string s at cadential points , tex-
t ure s in all the con certo s are homophonic , as is typi cal of 
wor ks composed by Tartini 's d es c endants . 
All eFro Movements , The urincipal violin foll ows the 
standard practice of th e time in p l a~ing along with the or-
c hestral tutti . Oboes climb hi gh, even to the top of their 
range , d' ' ' . In Concerto 1, where both horns and oboes have 
hi ?h notes , oboes also play almost c onstantly for 27 bars in 
thirds and sixths, Such demands on performers lessen in later 
conc e rtos, suggesting either a stylistic simplification by 
t he composer, a loss of the hi gh ly skilled oboists for whom 
she wrote ori g inally, or an inaccurate chronology for the 
published works . The fact that one type of texture prevails 
through out a section, general l y , thus polarizing sonorities 
into larg e tutti or solo blocks of uniform sound , demonstrates 
that Lombardini-Sirme n ' s style is not without its re gressive 
traits . The accompaniment in solo sections is by violins only , 
omitting even basso and eliminating the need for fi guration 
which appears elsewhere , The rewriting of the first and se-
cond violins, required by this reali~nment of roles if a three-
uart harmony is to be preserved , has first violins following 
the melody in thirds and the second violins actin~ as a com-
uosite of bass and viola parts (see Example 1 ). 
Slow Movements , A pronounced feature of all the concer-
85 
Example 1. Changes of Instrumental Se ttings From 
Opening Tutti to Opening Solo Exposition in Violi n 
Conc ert~ No . 1, in Bb Maj or. 
CONCERTO IN Bb MAJ OR, OP. 3, NO. 1 
All egro Moderato 
2 Oboi 
2 Corni 
in B 
Vi olino I 
Violi n o I I .,. I :_,I 
Viola _: !-,\~~?~~~~~[@~~~-~~~~~~ 
i;@'-~~~-~tE~~~~I ~-~-=-~--
_,'t1  _ I ' , 
Bass o 
Violino 
--:r-?~ I  --~-Principale 1: 
=j: 
Violino I ::~?r--
1 ~ I._./ 
=. :=., J i)~  . 
Violino II -, :, ? ? 
8 6 
tos is tha t ; except f or Concertos 4 ahd -5 , midd l e ~ ov emen~~ ar~ 
nl aved mos tlv by the solo v i oli n accompanied by uppe~ strin~s . 
Brie f open1ni a nd closin g se c tions a re p erf orme d a s t u tti s , wi th 
v io l as a nd bass o joining in . 
Rond o M~veme n t s . Th e f ina l e s show a con t i n u ous a l te r -
nat ion of tutti and so lo textures t hat does not occur in 
other mov ements , Vari ety o f texture s increas es a s n ew in-
strume n ta l settings a re g i v e n t o each r epe tition of the me . 
Wh i l e t utti writing for stri ng s on l y doe s occur, th e re are 
al so examp l es of short tutti -solo dialo gue , l a cki n g e l s ewhere 
i n Lombardini-Sirme n ' s ins trumenta t ion. 
Form 
During the 1 76 0 s the so lo violi n con c erto resp onded 
to t he cha n g ing c onv en t ions of t he class ical style, This r e -
sponse on the par t of c onc e r t o composers inv o l ved the gra d ual 
ab s orp tion of sonata , t hr e e-part structure , and thematic 
a nd s imp l e r harmonic contra sts int o the stand a rd tut t i-solo 
al ternati n g f orm. As Cr ock er has observe d, t he c ompos itional 
tre nd i n the sec ond half of the 18 th c e ntury was t owa rd 
lar~er, s t ronge r , unifying forms in which composers would 
exe rcise t heir sty listic individuality. This obse rvati on 
hold true for Lombardini-Sirmen's concerto writing me t hods. 
Th e concertos reflect the three-movement (fast-slow-
faster) p lan, with conc e rto-sonata allegro fir s t movements 
and rondo finales , which Charles Rosen says beca me the model 
87 . ... . ., . 
most used by the v?i ennese mast ers. 4 &camp 1 e 2 , shown be low , 
i l l ustrates Lombardini-Sirmen ' s f ormal p l an , including detail s 
of k ey , tempo , and meter , for the 18 movements in he r six 
concertos , 
Example 2 , An Organizational Chart for the Six Co ncertos . 
!'T O ? 1 :gb 
"3r ~:a ,i or F 
All p cT O AnnRntP 
All e c--rptto 
J/q 2/4 ? 
4/4 Rondo 
Conc Pr t o- Ro1J. ndPd -binary 
sonata 
~ "a ,i or A Anrlan t ino AllP ~ro n on ta nto 
AJ.J. ppTO 2/4 
4/4 J/4 RoundPd- Rondo 
ConcPr to - binar y 
sona t a 
A 
A tna.i or a MJa a io Al l PFTPtto 
All Pc:r r o - ... . . ~? ?/4 ~/4 
4/ 4 Round ed- Rondo 
ConcPrto - binar y 
sonata 
G C 
r, Majo r Anr'i ant P All PO' re t to 
All Prr o -j/Jnci; 6/8 - J/ 4 ci -
Hl;cPrto- Rond o wi th 
s onat a bina r y two minuet couplets 
F.b Bb 
'3b i,~ajor l\0da g- i o/ Andanteno dPsi .aw tion 
i\laPstoso 2/4 J/4 
CIJo/ 4n cPrto - ? R ouhde?d..:. : Rondo 
ronata binary-? 
a C 
C r?.~a .i or T,ar O'() Al l egr etto 
AlJ. paro 4/4 3/4 
4/4 Round ed- Rondo 
Concerto - .. . binary 
sonata 
4? Charles Rosen . The Clas sical Styles Havdn, Mozart, Beetho-
Y.EU:l (New York; Norton, 1972), 134. 
88 .... ' ,? 
The .general trend during the transition from t he galant to 
?the 
mature Classic~l ?tyle of concerto Wr iting was toward ex -
Perimentation with ritornello-sonata form, and first move -
ment s tended t o increase in size drama t i cally . 5 Example J, 
Shown below , sho ws t he range an d proper t i? o?n  o f th e t hree 
movements of each of Lombardini-Sirmen ' s known concertos . 
I-t 
Will be noted tha t the opening movements gr ow by 42 bars or 
over 20 . . . 
per cent ; slow movements shrink i n an irregular but 
no less c lear pattern of corresponding change ; and finale s, 
like f ? ? 
irs t movements, grow. What is hi ghly signi f i cant about 
Example J. Lengths of Movements 
Ac cording t o Number of Measures i n 
Concertos Nos . 1-6 . 
M-o-ve-m-en-t # of Mm. 
---- Concerto -No. 2 No. 3 No. Av. 1:1, No. 5 No. o No~ 1 Lgth . I 
155 168 173 173 197 173 172.5 
I I 
66 73 48 58 49 39 
--Irr
55.5 
-- -- 142 135 118 172 181 171 153.1 
the 
? concertos as a set is ~hat all s i x have first movements 
that ?a re la?r ger in t erms of numb ers of meas ur es th an the 
Closi? ng movemen t s, suggesting t hat the?i r composer f ocused 
on the new conc erto-sonata form. In Concerto No. 1, for 
5
? Shelley G~ Davis, "The Keyboard Conc e:'tos of !ohann Georg 
Lang (1722-1796):' Unpublished Ph.D. dissertation, New 
York University, New York, 1971, 208, 221 ? 
89 
instance , th e number of bars in the opening mov ement is 155 
compared to 142 in the finale , giving a 44.5% - J9% domi-
nance to the first movement . The ratios prevai l throughou t 
the set , except for Concertos Nos. 4 and 6, which are nearly 
id ent,;~? cal i. n numbers of measures. 
While the ritornello structure is the applicab le form 
for a 1 1 movements, the tutti-solo relationship is l es s that 
of equal participation in a dialo gue than that of a master 
Of c erernonies introducing a celebrity. Syntac tically, 
Lombard?i ni? -Si?r men's four-plus-four phrases t hat paus e in 
half and full cadences like cloc kwork take her search for 
form into the extremes of formalism. 
The principle of unity and variety controls the hi gh clas-
sic arrahgement of the thfee-movements1 a concerto-so~ata first 
movement , a slow, through-composed aria-like middle movement 
With a rounded-binary tonal structure, and a rondo finale. 
Si~ ns of energetic experimentation with formal pri. nciples 
range from the use of an introductory theme as a unifying 
device to a set of six finales , none of which resembles the 
other ? 
First Movements . The first-movement concerto plan 
Used by Tartini was a five-tutti , four-solo structure , ? 
7? ?inos Dounais Die Yiolinkonzerte Giuse ne Tartinis 
ZUrich1 Moseier Verlag WolfenbUttel, 19 , 21 . 
90 
Shown be l ow in Examp l e 4 is a t abular in ter pr etati on of Tar -
ti . ' 
ni s f i rs t - movement concerto Dlan, ba s ed on Do unias ' s tudy . 
Examp l e 4 A Table Showing Tar t i ni's First- Movement Concerto 
Pl an , Aft;r Dounias. 
Section : n:1u t ti 1 So lo 1 T? S? T--:i s-~ Tu Su T,;--
Theme Tra nsi- A A 
' ABC ti on or BC TA B T B B ' Cadenza T C B' 
Key 
' I I I V V V I I I 
'\ A - / ___ B ___ __/ - /\ A 
Tarti ni?  , s tn, ree - part ABA struc t ure has thr ee themes and tran-
siti? ona l materia l as we l l a s a resta t ement by T2 of the second and 
t h ? 
i:rct sub jects presented in t he tonic key, a ll comprising 
th
e firs t A sec tion whil e t he middle or B secti on is enti r e l y 
in the dominan t key for the r e turn of themat?i c and transi-
tiona l ma terial. The closing or second A section r eturns 
to t he toni c f or the r eappea rance wi t h alterati on of t he 
f irst t wo _.~__ hemes onl y .,  The tutti s ecti. on i. s gi. ven all the 
thematic mater ial, a nd mainly transitiona l material is a l ot t ed 
to the so lo s ection/ with the cadenza interrupting the fina l 
t utti. 
The standard p l an by the 1760s wa s the four -tutti, three-
solo desi gn us ed b y Lang , Gior novichi, and Carl and Anton 
Stami t 8 
z ? Example 5 s howi ng the conventiona l firs t - movement 
Concerto p l a n a t about the time Lombardini-Sirmen wa s com-
Pos ? 
l ng her concertos is derived from Simon's r es earch. 
8 
? CEdwi n J. Simon, "The Double Exposition. in th~ c1a ssi? 
oncerto," Jour na l of t he American Mus1 co 1 0~1ca 1 8 oc1ety 
IX-X (1 956-57), llJ. 
91 
Examnle 5. A Table Showing the Firs t-Movemen t Concerto Plan 
Circa 1760, Based on Simon. 
Section s Tl 81 T2 S2 T3 S3 T4 
Key 
Majors I I V V I 
Mi nors i l III v?I III V i l 
Example 6 on page 92 shows that Lombardini-Sirmen's first-
mov ement sonata-con certo structure is invariably the three -
tutti , two-solo one in which the first t utti either mod u~ 
lates to the dominant briefly (as in Concertos Nos. 1 and 2) 
before returning to the tonic or r emains in the tonic after 
which the s olo exposition effects the move to the dominant. 
The second or central tutti opens the development in every 
case and remains in the dominant throughout . In two in-
stances--Concertos Nos. 1 and 6, thematic materi al introduced 
by the solo exposition in the dominant returns in the reca-
pitulation in the tonic key. Additional tonal contrast is 
p rovided by the se cond solo section which continues the 
development and carries the brunt of the recapitulation. In 
the latter three concertos' opening movements, the tutti 
section has a smal l share in the restatement of thematic 
material before being interrupted by the cadenza. Overall, 
the tutti proportion of the first-mov ement's action is l e ss 
than 40 per cent putting Lombardini-Sirmen among those con-
certo composers alluded to by E. Chappell ?white who helped 
bring about the evolution of the modern concerto.9 
9. Chappell White, "The Violin Concertos of Giornovichi," The 
Musical Quarterly LXVII (1972), JO. 
92 
E:xampi e 6. . A Cc:n:iari s on of :h.e "'irst :iave::iPnts , 
ConcPrtos ;,cs. 1-6 . 
'!'1 * S-:_ ':z 
Sz - "-' J 
SPction 
_ T 
'.:oncP r to Ho . 1 V- V v-v i 
: - vi-I ::: 
151- 5.5 
I I - V-I I - V q" -1 0" 107- 51 Kevs, 
I 27 - 15/J 
~ 9- P/o 1S , 21' ' ::;oda 
=ars, 1- 2? lP lP 
The me s, lP , 1 T, l?, 
lT, K 
1S , K 1S, 2T, 
1( 
v-vi :i: - ! I -I 
"'" on.c Prto "''o . 2 '/ - V 
:- ?;-I I - V 104- 2,e: 125 - 15 1 
161-68 
KPVS I 
1-Jo Jq _?q 
"0 - 10) 
K, 2':' lP , 2P Cod?. n~ r s r lP, 1~ . 
?:' ...., P mP S 1 lF , l~ , l!' . 
2P , 
2P, K 
?!) , '2 ~ , 1( . JT 
K 
-
! -I I - I 
-: o:1cP rto 'lo . J I - V V-V 
v-v iJ 
l Z" - 65 165-,J 
Kev s , I - I '30-1 00 101- 2? ?i 36-'>0 2? lP , T, I:itr o . / ?1 : - L 
'Oa rs1 ?- lP , ) -?' 2P , 2P ~P . :ode 
Tht>r.iPS I r:-:to ., T, 
lP , T , Irita ., 
Intro. 
2P , K l.S 
-
-
?,r-vi-I I-I I -I 
S~ncPrto :?10 . 4 I -V V- 'I 00.:10\ 105-43 14J-64 
161.;.:? tf 
KP V S I I - I 33- 88 LP((() 
",irs , 1-32 ; I (p[4) . t P(a.+-C' I e(1;,-?,) 
T~.E'ma s 1 4 p <~+I/) I PC..11.) -
1 ? 
- I I 
I - I 
v- v-I I 
": oncp rto 5 'I-V l :'0- 90 191-0'j' 'TO ? ... 
Kevs 1 ~-I 
I-V qc - 124 125- 10 Y. 
1-u.6 2?- "5 l? , n- ? lF. 2? 
K 
'?'lrS 1 
l? . lP , 
2P , J ' 
~;,.crnPS 1 ,..- ~ r. I K ' 
2P , - I ? ! 
1( 
I : - I 
! 
V- V v-v i 
I - I 
No . 6 I-V .,6- 04 q5-136 
1;7-62 163-r? 
CcncPrto 
Ke ,,s , I-I 2::; - 7 5 K lP(a), 
lP , K, lP 
lP , 
:Ja;"S 1p (;, -.\1 ) 
zp(a ), T 
t l P , 2P , 
Tr.Pmes , lP(a+b) T , K T, 
K 
2P(a+b; I 
K 
-
ii, 
Seep. 79 for key to abbreviations. 
93 
The first movements blend sonata form with concerto 
ritornello structure in the sense that there are t hree dis-
tinctive s ections1 exposition , development, and recapitula-
tion superimposed on the tutti-solo alternation, with the 
tonic re turn of the recapitulation coinciding with the re-
statement of expo i ftional subjects . They cannot be defined 
as sonata form , however , in the ex-post-facto sense of 19th-
c entury understandings of the term . For example , the re-
currence of subjects introduced in the dominant key in the 
recanitulation in the toni c only appears in two of the six 
Lombardini-Sirmen first-movements . The composer's disp er s al 
of themes , as shown in Example 6, shows that the tonic-
dominant-submediant or relative-minor harmonic plan prevails 
for her concertos as it does, say for those of Giornovichi 
and many of contemporary composers. --?_.. _. .. .. .~  .. 
Example 7. A Comnarison of First Movements ' Statistics 
Showing Lombardini-Sirmen"'s Methods - of Blending?sona~a ahd 
Concerto Forms. -
~o nc rio rt o ~'o . l =-:xoo s i t ion J i;:v <;?l onment "ec a p:.i:ula -:i on 
,!.',' O. of :1ars , ':CJ J9 48 
of ~ ovt., 4J 25 J2 
TIS no r ti ons1 27 ,41 1, , 20 46 ,2 
r;onc Pr to ~,o . 2 
r?o . of bars, ?9 48 J9 
~ of >.lovt, 1 46 28 26 
'!'/S portions , . JA 141 24 , 24 35,4 
r: o r.c 0 rto Mo . ) 
: ? '.'.) , o: 'Jars , 79 4., 40 
of " ovt, 1 45 2~ 23 
'i'/S po r t ions , J6,4J 20 12? J R , <j 
- - ?--
~o nc 0 r ~ o No. 4 
,..,' o , of 'ia::-s , q7 
o:: ovt., so 55 Jl ' 4
"' / 5 Jl 19 nor t i ons , J2,S4 l61J9 20, 11 
~0'1C P!"tO 1\! o , s 
, 10 ? of bars , 99 Al 
--: of '1ovt,, so 17 42 ?a 
'!'/S nortions, 46 15) 25,55 11,6 
'; on C" 0 r t o ~'o . "-
,r.r, n . of r,ars, "5 "-0 
o: ''ov"t., Jl'J 4) 
Ti s JlL nortions , ?c:,47 2J l's ,42 2'3,10 
. ,,.;,?) 
' ..... 
94 
Openin~ tuttis usually presen t three or four distinct 
sub ? 
J ects--princi pa l, secondar y , and closing- - and transitiona l 
themes ( 
? Concerto No. 4 is the excep tion in that i t s sub-
jects are made 
up of ten different motives which I have 
cate ~oriz ed as a sing le principa l th eme group .) Like Gi o-
novichi ' s 
second themes , Lombardini-Sirmen ' s are in the do-
minant. 
i n Concertos Nos . 1 and 2, with the third subjec t 
st
re- e ablishing the toni c. Like Gier novich i again , her . 
so lo . 
sections modulate to the dominant , usual l y after having 
Stated the f'ul l . 
main subject in the tonic. Central tutti 
Sect ? 
ions are small er by about half on the average t han 
0 n' e ni? ng tutti? s . The proportion of' the first and second 
tuttis is J4.8 bars to 18.8. Second tutti sections use 
sub ? 
Jects from the tutti exposition. It seems si gnificant 
that L0 mbardini-Sirmen's first movement desi gn most nearly 
corresponds . 
to H. C. Koch 's descripti on of' c onc erto first-
movement f' . . 
orm whi ch he published in 1802 and which is dis-
cussed by Jane R. Stevens . 11 
.,. .. .. 
P~1amrspt le 8 ?'  H.C. Koch 's 1802 Descri? p t?i on o f Co ncer t o 
- Movement Form, After Stevens . 
R? 
ltorne110 1 
Solo 1 
_J 
I -- V 77I 
Repetition of' 
"principal melodic 
parts of' the whole 
movement" 
Jane R. Stevens "Theme Harmony , and Texture in Classic-
Romantic Descri;tions 0 } Concerto_First-M?vement Form ," 
Journal of' the American Musi colo ical Society XXVII (1971+), 
- 2 
95 
S low Movements . As Andante, Ada gi o , a nd Lar go move -
ments se t between t wo f aste r moveme nts , Lombard i n i-S i r me n ' s 
middle movements , s i n ce t h e y a re in a slow t empo , c ould be 
sa id to mor? or l e ss eq ua l t h e first a nd l a s t moveme nts in 
time c onsume d i n t he ir performa~ce . Sp ecific ~ura -
t ions for the ev ent ua l c ompari s on of al l the mov eme nts mus t 
a wait th e i r f irst p erformance in mod ern time s . Unlike the 
f aste r mov ements , howev e r , th e mi ddl e movements a re n ot 
easi l y ana l y z e d for t h eir forma l de si gn . Al l six d o have a 
b inary c onstruc tion i n whi c h the re t urn of the tonic re -
inforc e s the tona l contra st in t h e mann er of s onata form , 
b ut the ritornel lo id e a fa lls b y the ways id e a s the soloi s t 
p erforms se eming l y i mprovisatory d isplay s of emb e lli shment 
te c hnique s . Thes e s eeming l y improvisatory displays r e call t he 
myr iads af variati on technique s d ev e l ope d by Ta rtini as part 
of his theor y of orname n tation.12 Lomb a rdini-Si rmen's slow 
movements a ct a s tra nsition s f rom the firs t t o the l as t mov e -
me nts , both of which a re hardier movements, in a ma nne r ap-
pre ciated even by Mozart. Thus, in their intensity of ex-
press ivity , in t heir use of me lodic var iation t hroug h em-
bellishment, and in their technical display, these ~iddle 
mov ements link Lombardini-Sirmen unmistakably to her Paduan 
heri tage. 
12. Tartini's "Adagio," in J.B. Cartier, L'art du violon 
(Parisi De combe, 1798), Appendix, could well have served 
as a p oint of departure for Lombardini-Sirmen's slow 
movements. 
I 
I 
96 
Finales . Lombardini-Sirmen's six rondo movem ents 
predate those of Giornovichi whom Chappell White describe s 
as one of the first to realize the suitability of the rondo 
form as a last movement in the concerto genre . His rondos 
are mostly of the thr ee - episode type , but also incl ude four-
and five-episode comb inati ons . ~iornovichi 's Concerto No . 15 
presag es the- Mozar t . Piano Concerto in Eb (K271 ) hv havinu fi-
nales in rondo and minuet forms . By contrast, Lombardini-
Sirmen's reliance on third-movement rondos should be con~ 
sidered within the time-frame of the 1760s when rondo finales 
were stil l a new idea , with the exception of the finale of 
Conc e rto No. 4, which combines rondo and minuet forms . 
As Malcolm s. Cole has shown , use of the rondo as a 
closing movement did n ot become a clich; til l 1773, well 
after Lombardini-Sirmen ' s composition of he r Six Violin Con-
c ertos.13 Example 9 on pag e 97 gives the schematic desi gn 
for the six rondos . The finale of Concerto No. 1 is a seven-
part, ABA'CA''DA''' structure in which the tutti and so lo 
share in the statement of the rondo subject. The finale of 
Concerto No . 2 is a five-part, ABA'CA'' structure having only 
one subject whose working out d epends on a dialo gue-like 
sharing of the two fu_ll statements of the subject over a 
r emarkab ly broad toni c tona l plane. The finale of Concerto 
No. J breaks down into seven tutti-solo sections plus ca-
d enza, but the simplicity of the repeated thematic material--
13. Malcolm S. Cole, 'The Development of the Instrumental Rondo 
Finale," Unpublished Ph.D. dissertation, Princeton Uni ver-
si t y , Princeton, N.J., 1964, J4. 
97 
Exampl e 7 . Formal Structures of Lombard i ni -S i r me n 
Concert o Rondo Fina l e s ** 
Con certo No . 1 in Bb Ma,jor 
St r ucture r A AB A.~ CA' ' A D A' ' ' Coda 
Section I Tl Sl * T2 S2 T3 S3 T4 
Measure s I 16 8+25 15 25+-8 8 25 8 4 
Keys I I I .-V ;r: v i -I T T I I 
Theme r lP lP lP l}: 
Conc e r t o No. 2 in E Maior 
Structure s A A A A A B A' C A' ' *Coda 
Section r Tl S1 T2 Sz TJ 
.~e asures I 28 12 8 4 4 i4 T4 10 i~ T5 28 6 
Keys I I I I I I-V V V-vi vi/VI I I 
Theme I lP ( a t b +a ' 2 a b a ' a' a' a-tb a-'ib . b .\-a 
Con certo No . } in A Ma,jor 
Structures A A A B A' B' A' ' * Coda 
Section r S1 
ii+ T2 S2 TJ T4 t, ea s ur e s r 22 10 18 10 ~~ 6 4 
Keys r I I I I I T I I 
Theme : lP (a~b2lP lP lP lP bta a b 
Concerto No . 4 in C Ma,jor 
St ruc ture s A A' A'' A' ' ' ' A''''' ?,1- Coda 
Se ction I T2 
r,easures I ih ~4 40 24 19+16 6 6 
Keys I I I i-vi I I I I 
Theme I lP ~a+b2 lP lP lP a a +b b b 
Concerto No . ~ i n Bb Ma,j or 
Structure a A B A' CA '' DA ''' EA' ' ' ' * Coda 
Section I ~4 S1 S2 S4 T5 Me asures 22 i5 JO i6 ~~ i~ 22 3 12 
Keys I I I-V V-I I vi-I I I I I 
Theme I lP lP lP lP lP lP lP lP lP 
Concerto No . 6 in C Ma,j or 
Struc ture s A BA A? CA A' ' DA''' *Cbda 
Section I Tl T2 82 T4 
Measures I 43 fb 9 27 i6 ~~-12 6 6 
Keys I I -V-I I-V-I I i-I I V I I I 
Theme I lP (atT+b) lP a ,tT a+T a,tT a.+T I b a 
** See p. 79 for key to abbreviations. 
98 
all in the tonic --is unusual . ~ars ?5-10? of the third solo 
section illustrate the comnoser ' s formu laic phrase structure 
where the materia l is arranF- ed in grouus of f our - and eight -
bar l en~ths . The last movemen t of Concerto 4 uses paired coup -
l ets , one of whi ch is a 12-bar siciliano-like theme ; the other 
is a 24 - bar minuet . The single moment of harmoni c con tras t 
e r e takes p l a ce in the second portion of the so lo se ction. 
The re is a total absence of the us ual tutti-solo alternation 
since the tutt i has just 24 bars . The formal layo ut of Con-
certo 4 bec omes an ABAB ab A~A ABB rondo des i ~n. Concer to 
S ' s finale is a nine-part structure, unless the ABA' sections 
are internreted as a rondo with in a rondo or sonata rondo form, 
wh ich is p ossible eiven the tonal transition to the dominant 
i n A' . The closing of Concerto 6 uses t he s ev en-part struc-
ture a ~ain with thematic stat eme nts shared by the tutt i and 
so lo . The t wo-part t heme is spliced b y a four-bar transition 
that r epr esents the onl y use of t ransiti onal materia l in any of 
the six rondo movements. 
Cadenzas . The cadenza , notationally indicate d by t h e f e rmata 
and the tonic six-four c hord , has been a distinctive fea t ure of 
th e solo concerto at l east from Tartini ' s time . Tartini, in 
fact , is known to have written out some of his cadenzas . 14 
All but one of Lombardini-Sirmen ' s 18 concerto 
14 . David D. Boyden , The Histor y of Violin Plaving From Its 
Ori ~ins to 1761 (New York s Oxford Unive rsity Press , 1965) , 
462-66 . 
99 
mov ements have cade nzas indicated by the fermata and either 
a real or implied toni c six-four chord. In Concerto 4, the 
cadenza arrives on the p enultimate chord or , in other words , 
at a very late moment . The presence of the six-four chord , 
however , seems to guara ntee that a cadenza was indeed in-
tended by the composer. In general , cadenzas are p lac e d 
very late to ensure release of tension at the very last. 
Preparation f or cadenzas follows a re gular pattern of unison 
or octave arpeggiation typica l of style ga lant. 
As shown in Example 10 below, the finale of Concerto 1 
d eparts from Lombardini-Sirmen ' s general practi ce by pos i-
tioning a chord which could be analyzed as either a half-
diminished seventh chord built on the seventh de gree or as 
an implied dominant ninth chord with the root missing . The 
addition of notes to the dominant chord in the keyboard 
transcription by Giordani (s ee Appendix III) suggests that 
the latter interpretation is probably close r to Lombardini-
Sirmen ' s i ntention . One other instance of the use of a 
dominant preparation for the cadenza occurs in the first move -
ment of Concerto 2 . 
Example 10. Cadenza Cadential Routes. 
Mov ements Concerto 
No . 1 No . 2 No . 3 No. 4 No . 5 No . 6 
I unison V unison I? I? I? 
II I? I? i? I? I? I? 
II I viiv or I? I? I? I? I? 
V9 
1 00 
A writ ten- ou t c a denza for the first movement of Concerto 
1 is appended to a manusc ri p t b y an unknown c opyist . The 
manuscript is preserved in the Civico .,1u seo Biblio e-rafico 
Musicale , 3 ol gna . The written- out cadenza do e s not appear 
to be anything more than elaborate fi guration , As Re inhard 
G. Paul v observes , the need to astonish listeners ' ears did 
not disappear from concerto composition unti l Mozart com-
uosed his most mature keyboard wor ks . 1 5 
Harmony 
Lombardini - Sirmen ' s harmonic v ocabu l ary is the t ypi ca l 
one for the period. It inc l udes augmen ted sixth c hords, 
niv ot chords i n enharmoni c modu l ations , and-- rare l y-- the 
Neapolitan ch ord a nd de c ept ive c a d ence. Chromatic nuanc e s 
appea r qu i te frequent l y in a n o t herwise diaton i c ambie nce. 
Examul e 11. Tona l P l ans fo r the Si x Concertos. 
Concertos 
Movement s No . 1 (BU) No . 2 No . J No. 4 No .~ No . 6 
i n E in A i n C in B i n C 
I I -V-vi-I I -V- I-V- I - V- I -V- I -V-
vi-I vi-I vi-I i-V-I vi-I 
II I-V-vi-I I -V- i -V- I-V- I -V- i -V- i -
I -vi- VI-i I I - i i i - ~II -V-
I I I/ I i 
i ii -I 
II I I -V-vi-I I -V- I-I I -V- I -V- I /i-
vi- I I/i-V- vi-I vi-I 
I 
15. Reinhard G. Paul y , Music in the Clas sic Pe r i od , 2nd e d. 
( Engl e wood Cli f fs, N. J .1 Prenti ce-Hall, 1973), 1J2 , 
,, 
101 
Lomb ardini-Sirme n ' s choice of keys extends from C 
( Concertos 4 a nd 6) to Bb (Concertos 1 and 5) to keys with 
three s harps (Concerto 3) and four sharps (C oncerto 2) . 
The re is no evident planned dis tribution of keys among the 
six works. All are in the major mode; all have the usua l 
l as t mov e ments in the same key and mode as the ft~st and , 
excent for __ Concert o 3, all have a middle movement in a 
contra sting key . The slow mov ement of No. 3 moves t o the 
u ara ll e l mode ; those of Nos . 1 and 4 are in the dominant; 
those of Nos. 2 and 5 are in the subdominant; and Concerto 
6 uses the relative minor. On this s core, Giornovi c .hi 's 
harmonies are similarl y predictable. Lombardini-Sirmen's 
method of 1 eaving the re la ti ve minor __ topaJ_i_ty ;:;_u_d_den.Jy . 
and returning to the tonic without any modulation, however, 
...... 
are not part of his style. Except for Boccherini, most 
late 18th-ce ntury concerto composers wrote in major keys; 
Bu gnan i favored the key of Bb, as did Lombardini-Sirmen ( see 
Appendix II). He r interest in the minor mode would have 
been inh erited from Tartini whose emphasis on the need for 
expressi on is well- established. The minor mode is explored 
significantly in the development sections of 16 of the 18 
mov ements, where Giornovichi's expressive rang e, say, is 
si gnificantly more limited. Eleven of the movements follow 
the tonic-dominant-relative minor (I-V-vi-I) pattern; five 
use only the tonic major and/or minor plus dominant har-
monies, and sing le movements use the subdominant tonality 
and the minor key-relative major to dominant tonal pattern. 
102 
Melody 
The re is little differenc e in Lombardini-S i r me n ' s 
approach to me lodic cons t ruction from one co n c e rto 
to t he n e x t. Nevertheless, Mar i on M. Scott 's descr iptfon 
of he r th e me s as ''ha ir-dresser~s b l ocks " d oe s not s eem t o be 
justified . 16 The t ypical ly shor t mo t i ves , trea t e d t o a l-
t e r natin g triadi c and stepwise mot i on, res emble thos e of 
J .C. Bach and ev e n Mozart a nd Haydn , although such style 
ga l ant traits as trip lets , circ le s around the toni c, arp eg -
giated c l osings, and repeti t ion of t heme s a n oc tave lower 
are a l s o pre sent . The typ e of individual i t y that Bo c cheri n i 
p ut into his me l odies , fo r instance t he use of double stops 
for second t hemes, is not pr e s ent in Lombardini-Sirmen's 
mel odi es . Howev e r, hi gh notes, espe c ially f or the p r inc ipal 
viol i n, a re used strateg i cally t o give f orma l and dra ma tic 
intensity to sev era l movements. This integr a tion of sonority 
with l arger c onsid e ration of me l odic and structural d e si gn 
adds to the h i storica l inter e st of Lombardini-Si rmen's c onc er-
tos. J a n La Rue u s e s the term "concinnity " for the increased 
integration of musica l e l ements that 18th-century c omposers 
gradually l e arned to control and the n exploit. 17 There is in 
these melodies both a promise of the pyrote chnics of Paga-
nini and t h e Mozarte an ide al of b a l ance, s ymme try , and inte r-
play of soloist and ens emble. Probably the most advanced pro-
16. Marion M. Scott, "Maddalena Lomba rdini, Ma da me Syrmen," 
Music a nd Lette rs XIV (1933), 155. 
17. Jan LaRue, Guidelines for Style Analysis ( New York, Nor-
ton, 1970), 16. 
1~ 
c e dure is t he return of thema tic material from the exp os i-
tion at t h e recap i tu l ation a t the s ame moment as t he tonic 
tonality is r e - establi s hed. The simultane ous return of 
themes and retransition to the tonic t hat delineates cl a ssic 
form is n ot full y a c h i e v e d in Lombardini-Sirmen's concer-
tos , o f c ourse, s i nce s he r e li e s on the abrupt c hang e f r om 
her middle harmonies--usually the relative minor (vi)--to 
t he t onic without mak ing us e of a n harmonic t r ans i t i on. 
This a b r u p t retu rn to the tonic with the r e capitulation is 
a procedure that occurs throughout the set. It is not a pro-
cedure that can be found in t he c onc ertos of Giornovichi, 
Boccherini, or early Haydn . The sing le surviving violin con-
certo of Pugnani , who may have studied with Tartini in addi-
tion to being a p roduct of t h e t eac hing masters of Turin, 
does emplo y t he same recap itulation procedures as Lombardini-
Sirmen. 
First Movements . The first movements have me lodies of 
bravura character. Strongly accented movement combines with 
chordal and linear melodic outlines for main theme s, more 
l yrical secondary themes , and transitional and closing ideas. 
There are instances in Concertos 1, J, and 6 of new -thematic 
material being introduced in the solo exposition eithe r as 
transitions or as additional ideas stated in contrasting 
tonalities. True to the demands of sonata form, themes re-
cur, although not with the completeness or re gularity found 
in the authentic sonata allegro form. 
lM 
The melodies of the first movements have piquant rhy-
thms , chromati c i nterest, and even a vivaciousness that is 
not always t o be found in those of her peers , even including 
J .C. Bach. Inevitably, though , these me lodies tend to rely 
overmuch on dotted fi gures . Theme s come in comp l ementary 
sets of three (Principal , Secondary , and Closing ) with tran-
sitions . Each of the sets includes theme s that are syntac~ 
tically , dynamically , and textural l y contrasting . Princi-
pal themes are inva riably ei ght-bar units , as Marion M. 
Scott l amented . They may be of the old-fashioned motivi c 
web, as in the tutti expositi on of Concerto 4 (mm . l-J2), 
or of the two-bar motive r eworked into an opening develop-
ment section~ la Haydn, as in Concerto 5. Secondary themes 
in some cases provide mood c hange, Closing themes have a 
special horizontal , recitative cast that seems to offer con-
trast to the alternately rising and falling melodies--often 
over a two-octave ambitus--of the first two themes . The 
Mannheim-like syncoped , second-beat cliche use d by Stamitz fi.1.?. 
and Ha ydn , among others, is a constant feature of Lombardini-
Sirmen 's melodic cupboard . The use of anacrus is is another. 
Opening tuttis function as dispensers of most of the 
melodies. All are closed, coming to a decided pause before 
the entry of the solo and usually acting as a fanfare for it. 
With the exception of Concerto J, all of the solo sections 
in the exposition enter with the same thematic material as 
the tutti opened with. Themes are treated to genuine devel-
105 
opment by way of motivi c rearrangemen t or transformation . 
Harmonic variation in one part of the central solo section 
contrasts with idiomatic fi guration up on the themes in the 
second par t of the central sol o section. There is no se t 
pattern fo r the use and reuse of g iven themes in developments. 
In Conc erto 1, the main idea is the only thematic material 
in the enti re d evelopment for both tutti and solo, while the 
second , closing , and transition themes r eappear in the re-
capitulation without the main idea. The composer's most -
unusual melodic d evice is the use of an introduction in 
Concerto J that reappears repeatedly to announce each new 
subject as it is stated throughout the movement. 
Slow Movements . ThemESin middle movements emphasize 
l yrical content and expressiveness even if they can be ex-
plained away as mere self-reproducing linear statements of 
the underlying harmony or melodies varied with ornamentation. 
A distinct theme and variation character (by way of embel-
lishments) is noticeable in the through-composed, aria-like 
movements. 
Finales . Rondo themes r eveal an inclination toward 
the classic 36-bar idea, especially in Concerto 4 where the 
statement is 16 bars long and has a first part, a transi-
tional theme , and a second part . 
Rhvthm 
The rhythmic fabric of the concertos is post-Tartinian 
in . its variety and complexity . Generally , various alterations 
106 
o f r hythm found in works up to 1760 as s pe cies of unwritten 
ornamentation are not a p roblem in Lombardini-Sirmen ' s works , 
At least , based on avai lable sources , grace s would seem to 
have their time value corre ctly indicated, In Concertos 1-J, 
me lodies v ee r through the up-and-down p itche s in clusters of 
no te values from eighths to sixteenths t o thirty-seconds , and 
in reverse order. In addition to a general slowing down of 
rhythmi c textures in the last three concertos , the composer 
d emonstrates h e r ability to move from one rhythm to anothe r 
so that a f ee li ng of transition rather than of sheer contrast 
p r e v ai ls~ 
Mos t of Lombardini-Sirmen's t hemes start incisively, 
intensify, th e n finish with a sudden slow-down at the cadence . 
A dominant trai t is to finish a phrase with a fast turn 
around the toni c then to drop an oc tave , The anacrusis up-
beats, syncopati on including trills on weak beats, quarter 
no tes tied to eighths, triplet~ and an instance of sextolets , 
are other f eatures. Rhythmic accents and contrasting points 
of articulation abound, although the engravers' and copyists' 
pers ev e rance in notating these important si gns is less than 
notable. The a rchaic braking formula still prevails in most 
conclusions of movements, As with her forays into experimen-
tal harmonic procedures, Lombardini-Sirmen gives the horns in 
the first movement of Concerto 6 an unusual opportunity to 
preview a new rhythmic pattern that shortly afterward is given 
full play by the ensemble, but the procedure is never tried 
-
again. Not unexpectedly, dance rhythms--those of the gavo~te, 
?bourr,e, and possibly the siciliano--can be found in the rondos. 
107 ? 
CONCLUSIONS 
The attempt to evaluate Maddalena Laura Lombardini-
Sirmen?s contribution to the history of the violin concerto 
has been more succ ess ful in clarifying the bibliographic 
con text of th e concertos t han in c larifyin~ the biography 
of the comnoser herself , unfortunateLy. As William S. Newman 
so convincin l y d emons t rates in his work on the sonata com-
posers , att empts to understand a composer ' s sty les and in-
flu e nc e s p r esuppose knowledge of what the composer actually 
wrote , whe n he or s h e wrote it , and in what order. Know-
-
l edge of t h is sort for Lombardini-Sirmen _ras barely be gun to 
be discovered . Even this mea ger claim for scholarship is too 
much to say for the study of the composer 's life, much less 
that of her h usband , Lodovico Sirmen . 3y all available ac -
counts , both Mad dal ena and Lodovico missed having encounters 
with Charl e s Burney in Venice and Paris , with Mozart in his 
Italian travels , with the young J .C. Bach in Turin , and with 
_ ayd n in London--encounters t hat might hav e secured for them 
a sure r nlace in the annals of 18 t h - century music . Neither 
of the Sirmens ' names appear i n R.-Al oys Mooser, Annales de 
la musique et des musiciens en Russ ie au XVIIIe si~~le ( ~ene -
va , 1G4R - 51 ), nor are they included in Taddeo Wiel' s account 
of Venetian theatrica l performanc es , Catalo~o delle opere in 
mu s ical rannresente nel secol o XVIII in Venezia (1701-50) 
(Venice , 1 A92 ) or any of the later accounts I have s een . Nor 
does the name Sirmen (in any of i ts various spellings) fi gure 
108 
in anv of t h e c ~nsus sta~istics or travel lo ~s f or l , S . entr y 
in trie rr , s . Arc h ives or f or U. S . residence in the Tl , S . Librar:v 
of ConPress . Avai la le bioPr aph ical documents add to the con-
fusion about Lombardini-S irme n more than they clarify basi c 
facts about he r life as a trave l ing virtuos a . For e x ample , 
she is sa id to have arrived in London to make he r debut as 
a viol inis t in ear l:v 1 771, but Burney , writin~ hi s 1 77 0 travel 
diar:v , says she is already celebrated in London . No informa -
t ion has as ve t come to l i~h t about t he possible significance 
of her four or five noble uatrons in. Italy , the Ne therlands , 
:.ng land , and Franc e . No consid e ration has been ~ive n to the 
almost assu r e d involvement of the composer in the 18 t h -century ' s 
Enli Phtenme nt-born traffic between social classes and musica l 
amateur and professional groups , which in Venice alone l ed to 
a cross-indexing of names from the conservatories to the ec -
clesiastical establishment to the Council of Ten . to Tar-
tini ' s circle of intimates in Padua . 
Considering the lamentable fate of many of the leading 
ladies of Italian Opera in the 18th century such as Caterina 
r-abrielli and Theresa Imer Cornelvs who either went mad or 
spent t he ir old a ge in the poorhouse or prison, it may have 
been Lombardini-Sirmen's g ood fort une to have gone more or 
less unnoticed on he r travels through Europe. But n ow , two 
c enturies later, the threat, noted in thG Preface, t hat he r 
life ma:v have been more interesting t han her works, seems an i-
dle one - -- based on a close study of her six v iolin concertos, 
i"f not as yet the study of all her works. Even though evidence 
is still inadequate , even without the careful sifting of ar-
109 
chivP.s prerequisitP. to a proper scholar l y reconstruction 
of t h e e v ent s of h er life , enough information is nonethe -
l es s available for me to conclude that Lombardini-Sirme n 
was well-nrepared for he r multi - faceted p r ofess i ona l c a reer 
and t hat both he r life and her works are a cr edit to such 
fuilow mus icians as Galupp i , Bertoni , Tar tini , Sacchini , Piccinni , 
Vento, and p ossibly even Gluck , all of wh om f i~ure in he r 
career as a violinist , singe r , and compose r . 
110 
APPENDI X I 
A Lette r From the Late Si ?no r Tartini 
to the Si ~nora Madda lena Lombardini 
( Now Si Pnora Sirmen) . Published As 
An Imoortant Lesson to Performers On 
the Violin . (London , Printed for R. 
Bremne r in the Strand , 1771. Re -
printed 1779 , 1879 .) Landon i W. Reeves , 
1913; Ne w York 1 Johnson Reprint Corp., 
1967 . The followin ~ text is a copy of 
the reorint in 1967 of the 1913 Reeves 
editi on. 
111 
A LETTER, ETC. 
LETTERA, EC~ PADUA 
l ? 
SIC. M,\.DDA1.E:NA )!IA Stnt.ATISSl:U,.. ~ 
MY V ay :\lo rn Esrmn:D SIGNOU MAl>D.Uili'A, 
t 
PADOVA LI 5. /,/auo. 176o. .L. FINDING myself at l=gth ?-disc,g,a~ ~ _::the 
F INALMENTE.. 'l"'zndo a Dio t pi.ociuto,,..; soao _ ~ 
. ...: weighty bnsincss whidl las so long ~ -
slrrigaJo da ~'.tlla rrm?, occ><l'asionc, du fi? qad t '..' from ~forming my ? promise to you, a? pnm,ir 
,,.; lu, impcdilo di ,..a,rfartrle I.,, mia ? p,o>nLSStJ, t - which ..-;u .ma.ck with too =ch !iina,rity foe my want 
stbbcn ~-~Ju ho/po mi sta.?a al c" ore. poc"3 di _f all~ ;. ? of ptmct=lity 'oot to afllict me; I shall begin the in,. 
,,,i trfflig&~ __la  maAUVUJZ di le>1<f0- f 11 ronaWJJMD f ~ yoo ~from~ by ktto-; and if I sboald 
dMnqll~ u,[ ru,~~ ,ii Di11 f>..c- r ftf.l rra /. r . SC qllllnl!. pi_.. _.: .  ? ~t. not explain mr-,elf with sufficient ~ -1-~i. - :"'-.;oa 11>:tell me your~ and di!f,cii!_~ ;.,~~ ? 
~ I ?,.i,.,,11 DO! fail to~ " "m-a -~ -.irttr.6 -
:, 
,f. ; -. , . 
,? 
___ 'i. J ,;.~-- . ? -....: t: . 
TA.RTINJ'S LZSSON TO -VJOLINlST!I. . 
esp.?rr, r11a? ,..,,,? iuau/c al,bartaJISJZ, . Ki scm,: ~- ? ? Y JUr principal pr...ctitt and ,;tndy sbo,,Jd, at pn:,,cDt. 
~ spu:asimu tli huto cu, ch'"':" ~nuk II ~ confmcd to the asie a.od power- of the bo.,,; ?in ~ 
, ' di la ~cisitr. e mulio Jri,u:ipak dnl asar r mco to !D?-ke yoorsclf ~ly mist:n= in the.c:ui::u:tic.i a.nd 
,.-rc-o~ cosicc..U eU. u ,u f,z,a;;. po,/.r01la lllSl1l"'4- ocprcssiorr of wbzltYer can hr pJdycd ~ -~ within ? 
? ~C &SO O ~ D ~ - p,.;_;, rnuJu the COaipa55 and ability - of your? i.mtill!Ddrt.? Y~ 
d.n:' ~ r,,,-,,.&P-' Mau~ a, la umu?? riffattll- first study, thcrefo~,' shoald hr the ~ ~ of 
_, ugzioo, c.u il friao /risafio .u/14 -~u, clu n holding, balancing and p=sing .tbe bow lightly; but 
c~ Ji. c,wu .. i,t,:t.l, ? .i. cllaL araa J,cictrs.14 a Z.. ? steadily, apoa the striags; in sncb a manner ;15 that it 
ca,tl.a.. Cnui.su iJi uirccua di p,ols-. e uc !'o~pm shall seem to brc:athc the lint tone it gjves, wbich.mn:st ? 
sabiJo f,r:,cat,, 40/><J r "ttotpo, mforuau/o/a '{"'DUD proc,,rd from the friction of the string. and not from 
ri -;n.Q/L.'.,tcci} dor f ?t,,o&fo lcsriao """ ri i fii, percuss.ion, as by ? blow gm:n with a bammo- q,oo it. 
~ t!i ,a~aaz. e cnuu:aa. Di q11csro afpo~ This depends on laying the bow liptly w:poo the 
c,si l,grico du IUTl,e fan jadr01la"' tr-ilDllf1U siu striags. at the first coabd,' and 00 gently pressing it 
ddf ITCD; $UI a aua, SUI srru aPaui., e ~ =- alt.awards, ... bich. if done -~dually, an .drcr haw: 
~ c,,. r IUUIU ;. ri., e U'S r trrcau UI pi,. Pa- 100 moch fortt gj V'Cil to it, bee.use. if the tor,;, is bcg1m 
,., p,1u i. t~ 1. """' s4'.a """? r au:ar.inaa u1J.a ,vith. dcli<=y, thett ? i5 little <Uni:tt of 1t.ndumi: ii 
afterwards either roar.ae or harsh.~ .,. . 
\ . . 
Of thu 6.m coat:act., and delicate manna.of fieein. 
nine a tone. you should make yoUDClf a ~cct .mia-
tre3S in ~cry sitaallon .and ~ of the bow, as ...-en in ?? . 
the auddle as at the extremit:it:s; and ;-;; ino~ ?i t ~ 
' . . ..,:" 
, -: . , 
112 
,. r 
TAJI.TINI'S W SON -r,t \"JOLIN15TS. 
. -, .. ? - ~ 
1'fCS]a di VOC~ JO.f>ra"1D1a .corda t/1/'t,;;,_, ~~ ~cm pio toj)rd. as :a-di as in dnwing- ,t down: To- 11niu ..all ? ~ 
ta ruorida "'*'. j a1;,,.,ar.? sr irrc,-,,i, iti dar p;,;;,;s""!..; 
. c,_ucnuf.,S:.u;,p-,:4.Jmco ??alJa tlDUa?i~ c:4,, ii a,;;;;; -,,,. -! ?1a.borio11s puticu~ into aoc lcssoc, my advice~- that ?yoo,..f=t c=n:isc yo=.Jf in-;: swell upon aJJ open 
?, forJiJrimo , -~ ~lo ,1";,,Ji/'d~ fa,ri ?tJUJlw.c1tle d; string, ? for ?oamplc, apon ~ scmnd or 6~ n: 
1' areola "'-ti.f; i CD-;, r ?,,;,,,,a ;,i?s.:i . . Ezii ffl! D~ thn yon bcgm fi,ui.s.si,,,o, md iDCTCa; the tooc by 
r,(biJ.,, ? 'J= sJudio, : r ? ai Jt"71tfn? tt!Ju110? 111'0 OTO fU slow dcgn,,,5 to it, fo,tissi.~; a.no this stndy should 
.(ior?o: -, i11tn,01ta/ )I'! fo;o la "'41_fi'lf.a, .,,. ;,,co-14 !? be cqna.lly made. with tht mot.ion of the bow up, and 
/rm ; , ?,i ruo1di ?l,e,,e, ?,A~ ~tct/D.J ?ii,_, :.,,ji.4 fii, uu~ - ( down. ic .,.-bich extteise you shoo Id .spend at la.5t an ? pcrta"i.r, , pi,> diffi cile ,di fuJti. Q na?do fa,,{faui,tnuJ ? boar every day, though at different times, a little m 
di q11esto, le f ara a.J/ora f aciJ, 1a ffU.UO di r>OU, ru ?o the morning. and a little in the evening; hning con-
i11ro ,rri.CU, dal pin,,iJri.""o, i?n ai. fo;,u;["'-"? t 1onta 1rl f - su.ntly in mind th..t t.hu pi..c:tice ill, o(:all ~ the 
pitmi,;;,.o, 11,/la st,s.sa areola : le fa,d facile , .nc1t1D 
r Ol/-"'U) n;poggio ddl" auo .oUa conia, C 101,d fa,, ., 
ro/ .ruo a:rco 1,,11,;" qlfdu clu ,-,,ol.L. ' P" acqwtar-poi? !.  most difficnlt, md the most esscntia?I to-playing wtlJ OD the -nolin. Whrn yon arc a perfect mistn:ss of this_ part of a good perf~;"-a 5Wd( will be ~ ea.sy t; 
q,u..rta lrggu,na di 't ouo, da o,i w,c, la ;aa,ita ddr you; beginning with the most minute soltness, inc:ras: ? 
m co; :.O,a cosa otti .,,,,, dr, 1110,n og1ri .(iorrrp 9'i<f1ich, ? ing the tone to its loudc5t dcgttt. and d immishi~ it ? 
........ . .,. - - -
~ ' ? to ~ point of softness -..ith whidl yoa ~ 
t r and ?ill_t his in the =nc strokr--o{ the bow. Ewry . -.,.degree of- p=.surc upon the &trine, which the cxpres-
~ gon .'?f; a_ _n otr or pa.ssagc shall n:qu.ire, will ''by _this 
~-~~ b: _=sr ? ~ certain; =ii you will ?be &1>~' \.o -
-? 
~?.: 
- .. . :. ..: . 
~ .- ,, 
:-- ?-? 
-unm's USSON ro_. VlOI.ImSTS. ? . 
!?ta del Co,dli iiilta di se,mcro.), , -~cste ?tur~ : -;,.~_;with yom ~ wb~ ;~?--pl~ . ~ 
so?o tu ad/' Ojc,a_gruaJa? f ~V iomu, :saw, . mui 1.,s? ?? this; in.-Orda ~ ~ that. l.y:bt pnl?1i=~- play - . 
!Jima , ndl4 pr;-, .r01t/%Ja pc D/.asaLri7-:' Eli,,. a ;,,co of the wri..ct,.-from whe,xr velocity in ~ arixs;.-#,-: 
nlla. volJa detJt: suo,un/t:, ,-,,.pre" pii,._.p,ato ~ -- c~ w,lJ be best for y01t to pnctise. every <h.j, ~ -of-the 
onr..,; a rM011a1l, co11 '!"Lila ta/ velot:iJa.. .e4c? u _s ia fi,). allt:pos, of which ~ arc three in Cordli't-,o"9.;'- ? 
ftnsibiu. . Mo iuopaa tr~CTlfU dut: <OJt: : ,;;,,.,. di which art.in,Jy nxm, in scmiqu.ann. _n,tfu:st--is? in D. 
n,o?aTU CD11 f rr1?Q. tft1/fUCa/o: cioj /TmulC, t: co_? ,m ic playing which yon should uttl<ntc the mobCD? a" -
;,,co di t'<ICJto_.JTfl ,,;.,, 110/tt, t: r f1l1,a. Saia sen/It: ,ul little each time. till you arri..-e .u the gro.tcst dqn,r 
"'au ug11nue : of swiftness possible : bnt two precautioos att ~ 
sary in this cxcn:isc; the first is, that yon play the 
notes stauato, th.at is, sq=-atr and dmd,cd, with a 
litt:k space bctwttn every two : for t:boagh they .arc 
? ? ... - I - ? ~ ' - ~'  ? ? ? ?- ~ written thns : 
~,. Ma si dcvo110 S1U1#4!4, 10111e fo.ss~,o scr_.f!'! .: .:'"t . 
I 
-~ ?~ ~ ?--:...? :- ? . . 
- ~~ -=~ ~M ~- . -. they shou.ld be played.as if tha-c was a rest aI~ ntty 
notr, in this m:umcr: ??'- ,:-. . . . 
...~ ??..-  . -
. ,.... ' 
.... - ;.?. _,..:, : _?~ ., .. "-, ,;;::., 
113 
T.UT!S!'S U SSON TO \ ' JOL1NIS1S. 
0
IC,_ Suow 'i.l i ,..,,.; ;,lt ;; ,.,,,,,. di a,co nd fri~cifio The sccoDd prcaotion is, th.at you fi~ play with the ~ ~ 
di q,,trto stMliu, .a ltn q1U1?do i pa'dro?,u{j faru 6nu pomt Of the bow ; and ..h en th.at becoa:,c,. easy b)- ~ 
i,, FJUII -di .tw,o, alJq,4 i"'Otr.inci a farlt . t:o? piil is -that y011 ~ th.at part of it which is bchrttn the pomt 
/arua, .a en 1/,uil,, /><Jr~; d'a,co, cir' i"'t,a -Ja irmta, t and the middle; and when you uc li.kcwisc mistness of 
iJ -m,uo dill auo; , .q,uz,u/o sa,a p,a,ir"114 ascJu_ di this part of the bow, that you pn.ctBt m the same 
q,usto rilo dtll' tnco,- aJL#?,,. lt_s11ui; a,llo stustt- ..,,do manna with the mMle of the bow; and above all. ? 
;., wuuo dtlf a,co; , sof"<>-lullo ia qutsti 11,u/; ri you must r=bcr in tht:sie studies to begin the 
a,rico,di d'iuom.?&r lt f ugu ora c01r r area/a in alkpos or flights ,omdimo ,.;th an up-bow, >.Dd 
ritl, ora coa f area/a i,, sll; t si g,uvdi daJr i 'l&COIIQ.II? 50!Ddirnc1 with a down-bow, cardn  11 y a voidini,: the 
aart ,,,.pr, J>e1 f ;,, p . Pn acq11fs1,zr q,,uta ug1e- habit of ronstantly p~ng one way. In ordt:r to 
,cu.a d'111,o tiiva isft,tila tnntlt ii sa/ta, _,, co,da di acquire a greater facility of cxr:cut~ ,.,.;ft p,assa.ges 
,.a.so, , 11.diar f111hL di stmicr#,.., fllllt i? fUSI# in a light aod neat nan~. it will be of great ~ if 
11UJdo: yon accustom youndf to skip o~ a strini;: bctrccn 
N 'O quick not~ io d ivisions, like thc!le : 
,._, 
u . di q"ut~ ,lill 11 ,u p,,4 fart ? ,africcio ptmJ, 
:,11olt, 1 /ff 'l,,,J;,,.'l", ht01lo, t w,tJMnJ, so,u l<IW, i Of such divisions you may play exttmporc &S ID2DY.: 
?ttusairL 7?i.s1t1to foi ~ IIUttO~ld ~" ,._ cosa u 'you p le2sc. and in .,-cry ?1a,y, _wb.ich will be both 
02fol and occcssary. ?. 
' ? 
, ?-
TARTP.iI's u :sso:,; Te> : nou!\,;rrs._. ? 
,. .-
sola l, ,acco11ur.Nio t!i st tufiarc, la qua.le ha,14 j>er htli;,, With reg.rd to the fini,:,--board, or ca~g-c of the 
cd ~ qt,n14.. . P,acda ,=l>a1q1U pie di Viou,u 11 left hwcl, I have one thing strongly to ~Tl?""?d to 
pri.,o, o uco,u/o; ri,, di ,;,,u,to, sia di ~ -y u.m, ? you.,  which will suffice foe all, ~ lb, .a. t . is, the b. k-.mg.  a , 
o Sal""', oc,ri ,osll scrw. Panga la._o .. ..,,._ti-,..,. ? Tiolin part. 6thcr- the . fust or ?~ - of.~- ~ 
.,.. 
luozo, _ _, . .uua n,uz,aca/z,r11, ciot col fri"'4 diJo;., sonata or song, anythiog will scrn'? ~ -~ -?~  
Gsolrt11/ s,d canli?o;-, /cru,u/o UMfrt la .mco? ia 141.1 pLaying it upcm the ?balf-4.ift. tbt is;' :wilh the~-
..s1N1nica1u,a suoni 1u11a qwtlu pa,u dd Violi?o, .,,. finger up00 ?G 00 the first ~g. and ~~; ~ -
?wvacdo ffUli la r,uz110 da ,;sul rito, u ?o? clu o f/U4UO ing trpoo this shift. pLaying the whole piece without 
dtnna loua, a/ar,u,i SIi la qua.,ta COftUI., D t!tnnA ,ou;;; moving the h=d from this situation, unless, :A on the 
dtlasolrt sul ca11ti1UJ, 7'IQ jHli lorwi co? la """'? .U. fourth strinr be ..,=ltd_ oc D np cm ~ . ~ ; . ~t.1!', 
slcssa ,.,tnti,a111,a ,Jj fn1114, ,u ,,.,.; al uu, go ""flD'tlU. that ~ you should aftz:nva.rd.s ~- ag,.ili to .the 
Ella faccia 9ttcslo nudio fl? ,u t sioua ;,rffaJto di b.alf-shift. without ""' moring?.thc b2nd down.t o the 
s,u,,.,,, 9wzl1111q11c -pa,tc di Vjoli?o (11Da ohhlitaJo ? oatma.l position. ' Thu practice should be cootinncd ? 
soli) ,. fWin,a tJi.rla. A/.1,,,a riri ;,.,,a,ui la nu, ,..,..;. till yon. can execute wjth facil_!::y apo11??~ ~f-4.i~ ? 
u,/va ia alaMirJ col pn"'o dito rul ta?lau,, , faccia ii, any vio)in .part. .not mtcldcd an.'solo, at_~ gilt. . A.ft= 
fJ?Csta 11:co..da saa-.icalura io stcsso st~ssi.s.rimo shuiia this, adv=a: the hand on the' 6.ngc--boa:rd to tbc whole 
fallo s11 la /ri-.. Divnz,,;,,.. si.c,uo aaclu di q,,uia, shi~ with the first fmgcr upon A. an the fu5t strin:;? 
~d ?accustom yoW'IC1? ~ ~ -pc,sI~ till ?you -~ 
_ =o :ecate cvcrythi.ng upon thi ?w:boJc ?shift.......ih ~ much 
- ~- callC as- wbcn'the'h? and is -in. its~ --sit=tioa;? ~?  ? ?I  
... ~  a< ,vbcri ttrt..un of this, advance to. ~ twci>!e 'shilt..wi.th ?. ?, 
? ? . . ._ ~ . . . .- .,,? . J. - : . 
' ' '! ' 
..?:- ..-?  ... .... 
114 
,-1- 
:? 
TARTLNl'S U:SSON TO VJOUNlST!(. ? .;::,-
the ~ finger upon B. ~ -~ ? 6.nt ~; .md ,.;~'- ? 
f'<Usi a1la 1,na tmtt;;;talttra to! primo dilo i,, 8ml sul _ 
stJre _o!_:u,at liJ:,:wisc. pas.s to the:. fourth po,rition of qie? 
ru ;,lnw, t 1 e ?? turicuri ,u/lo .rtuso ,.,odo~ A .rsi~"aia 
h=d, =kine-' C with-tht, fu-st ~ -:a;xz;:~ ~~ 
/<Usi ol/.4 ;,jua7ta ,~/ pri,no dito in C--.,o/faui'n J id,,-
,-M.,, S,oi,, ;,;~',,,.,,r:?, ?; - strine-; and indttd this is ? ~ in ;..~ ?wbc:n yoa tiuo; , i? sor,?_,..,, q11~ta dfsm11
,ad-;,,--;.;,, ,iuo-d;;;:i / are fum, you nuy bc -~ d ID be ~ .of' tl,e-~i:""~ rai qlilludo ti/a u"iu?,;;r f11t ta 
board. This stndy: is ,o t>Ca:5SU)', tltat I~ .,.;: 
e$str pnA,oR,i d~( wurn.i.co.' -O~;s,o studi~ ') nLcii$ari~. -: 
ocstl y rccommcnd it ID your ? ttmtioD..- ? 
t tlic ? lo" ,aaom,:.;zdo. - Pd;;~??,u /tr~ tit' e ii irillo. 
.:,du,;,,,, I oow pus to the third ~ part of a e-ood.~ -IO da lri lo voguo?-,ard.t,, /r<.rlo, ~{h a/Iulo 
former on the violin,. "'h.icb is the m:ucint a ? good 
fTdacio, 1r.cdio~re.rnl,: e f,?,sla?u?11I~; t in P,a1ica si 
sbal<r. and I woald h.ve yoo p~ it slow, 'IDOdtr-
.4a ??ao buog,ro di quuti ' iril li ?d.iflttcali, ,.o? ? usnitl? 
atdy h.st."a.nd quick; th.it is, with the two ?notc5 sue-
v tro; du l o ste.s.ro trillo, ck s,rot fa . .,. g1avc, d,.bha 
- ettdine- c.ich other in tbcse thttc. dq:re,es of- ada/4 
uur lo st,s.so tri/10?, du ur:,, per .,,,' allegro. -Pi, for 
due .rtruii i? muz o?iU111Je and ;,csto; and in pr.icticc ?J'OCl:-naw: ~ volta ?co? ""fl ?.rola ? frrJic~ . ?,IL, -;,.: 
occasion _f~r these dilfcratt kinds. of ~ ;)Ol' ~ 
<~!'U11 ci ?;o,,t "~ co~ll,,- truo'ta, SU,? Li "sccondtr, sia iJ 
snne-shili will n<rl ~,;th~-- ~ f;._ ?a 
c,11Ui,ro, cit' ~ tuJl111u,-; u11'aJi.aJ0 roslt?uJa com,- uM 
slow movement as fo,: a qtrick cmie"; ~ to..~b oth: 
:11.essa di TJoc t, ?, Woll1Unci il 1.,jJ/~--adtJcio,-a.dap-;, ..~.  ?? 
at_~ - ..,;th the same troobk, bc:tm"w-ith an' ~ ? 
/oc o a.Ila ~?oltt1 ,C~ grad.i iut?iibili l o ~?ado ,idc,nrd.o,._ . 
~l p,uto, ,11,.., :: . strini eitho- the fu5t or scrond, it .,.il] be ~ ;_;-_ v,d, qwl ulr~t1n/,,o.: . -
~- f~l ;:: susta.in the note in a swcll, .and ~ ~ shak? 
.:?:.ttr)'.:~siaw, ' incrcasint ? in ~> b,; _~ -
., ~ till it~;; r.ipiciin"tbe_~!~I~-~-
_, 
.:: " 
..... ? .. 
- ?~- ,.,: 
-: . -
T.\RTil?.,'s LESSO!( TO VIOUl'llSTS. 
.? ~ 
but yon mast not ri1,:orously mo-.e ,irnrrrdialr:ly.:-frolll 
cc. Ma cl.la 1101' ;;tia O ;.;g~rc Sit '{Ut.TIO u~fio, U1 Oft S<:ID"}naven to demi=iquat'C"S, as .in~ csampk. or . 
d.allc ;;#UCTD,.., .ti passo ;,,.wuJiotamnitc oJk ? bis- ? from these ID the DCXt in ~ that WOllld be 
tro,,u, r da ~It aJlc oltrc ,Ju vo,rlio?o la ,.,d,t re. doublint the velocity of the ~ all at cox, which 
No, 'l"ulo sarch6e st:l.to, c ?011 grado; .., du I' woold be a slcip. not a ~tion; bat yoa a.n imqine 
i-1'<l1gi,u tlu Ira u u,rutrolfflL, t -Zc bistro,.,, .,; ria,,o bctwttn a scmiquavcr u,d a dcmiscmiqt,aTtt intr:r-
.u,, 1101, i,r mLJUO, tAC vaglio,ro ...n,o ddu .rcxicro#U, mediat.c dee-,tt> of r.ipidity, quicker than the: one, aJX! 
c ~ de/le bi.rcr010&t, ,..,, ? clu ,a,1,,.,Iosi tLaJ1, se,,o- slower than the other of these chanct.cn, you att Ihm> 
cro"" rio,co di volDTe possi,,u, all, stwricro,ru, ,e fore to increa.!IC in .-eloc:ity, by the same ~ in 
suo11do du va.mo iJUUZ?si, .rc:ap,t ,u vada,co a,,vici,,. pnctis.ing the shake, as in loudDC:S5, when you =la: a 
a11dosi al valor, dclu bi.rcro,;.,, ft,cc/,) a~ ,uJ swell You mast att.cnti-.ely and usiduomly pa? .. 
CS.Ser verc bi.scro..u, e ,o.ri a po,Orrio,u trtl le birc,0..,, ~ in the practice of this =hclli.shmast, u,d bci:m 
, le nucusivc, clu vo1lio?o la .ut.it. Qac..rto st.di,, at 6.nt with an open s~, upon which. if you att occc 
lo fau./aa ,o,. ,usidllita., , altcJU:io?c, c as.rol,u~e ablt: to make a good shake with the first f::ni:er, yaa 
lo i.suoai,,if sofTa anw cord,, v,u,to, ~,c/u l'cl/4 ani- Wlll with the gnat.er facility acquire one with the 
vnd ? farlo? hau sopa aaa cord,, :n,014, ?olu .uilu' !CCODd, the third and the fourth or little ~ with . 
lo ftUi col u,o,.,Io, ul ler~ dilo, t tVICU col 1/,unq, 'wruch yoa mast practise ~ a ~cular m.uiner, as 
a_'!? bi.sop,1 for eurcisio?._f><Dtuol4re, faclu j il fiw more fd>lt: th=-tbe rest of its lmthttn. ? I~ at 
r 
115 
TART!hl'S LESSON TO VIOLINISTS. 
pir<io/o dr_u tio fnudli. /i.Nlt allro pu Ora ?u pro- prc=t. propose oo otba studies to _your ;ipplintian, 
'io?_go da j111d i.are; ?;;.,, ,;u.,,o t ':~-;, , , ai,a~.a, ,;?=,,do wh..t I have alre.dy s.ud i5 more th.n suf!iciret, ii 
dla -:,otlia dn in .,;,,.,, ,;;-za ;,,,, pa,,,. ,;,..u ?;,, "'ti:. - . your =.I is ?jll?l to my wishes for yom improv=t. 
diio j,; p,jrlt mia. Mi ri.r porlffrra, u k -ha, ;,,,uo::~ I hope you will sincaely icform me, whdba I have 
',"'!_~to qui le lo 'j,oposlo,:. , inla..nlo ?,asu;,.,,ndou; _-? ? -? cxplaint-d rnyst:lf clearly thns ia.r; that yoo will aa:cpt 
,,,;"a? ri.rpmi, co,n,: la fi,gu "di J ti, ~r -waa ,,,,,, olu,. ~ of my respects. which I liktwis,:- be:: of you_ to pn=t 
Sir. Pn"o,;., al.k Si;-. TmM: e CJ.imo,1.a.1i, ;;.i, Pad- lo tM Prioress, to Signor., :.Tat.Sa :a.nd? lo Sigi:.arz 
ron.,:, ,,,; t0,i/rn,,o u mprt ftiil Cbw-a, for ;ill " ?bom I bave ;i sinca~ regard; a.nd ? 
- bel ieve me to be, .. ; 1b g=it affcctioc, 
Di I ' . S. M o/. lll,mrt. 
Your obedient ;icd most bumble servant. 
D t1Jotu. .~  ftth,o;; S , r.-itow. 
JOSEPH TARTINL 
GI US E PPE TART/NI.:. 
..... , ... 
???:- --= ' 
116 
APPENDIX II " 
T:-{S~-'IATI C INDEX OF OTHER KNOWN WORKS 
OF Lort SARDI NI -S IRMEN AND LODOVICO SIR 1rnN* 
"addal ena Laura Lombardini-Sirmen Lodovico Sirmen 
Six Trios for Violins and Bass Six Trios for Violins a nd Bas s 
Six Sonatas for Two Violi ns Six 1Duets for Violi ns and Bass 
Sonata in A ~ajar for Violin Violin Conc erto in Bb Maior 
an o Bass 
Overture in Eb Ma.jar 
Flute Conc erto in G Major 
with Vio l i n Obbli ~a to 
Lodovico Sirmen and Madda lena Laura Lombardini-Sirmen 
Six Quartets 
* For full information re garding these editions , the reader 
is referred to the master list of biographical documentation 
incorporated into Chapter II . The complete list of si gla 
for library sources of manuscripts and prints is found on 
- ... page_? - 64:-6 5 which??..rr:itr.o"duc_e _q _hapter "IIl~ _. . ?_ - . ?: 
117 
Other Known Works 
Bv Madda lena Laura Lo mbardini -S irmen 
Six Trios for Violins and Bas s F C D A G and fJ . The 
set corresponds to Op . 1, No s . 1- , in t he J . J . Humme l 
edi ti on (Doc umen t No . JO); in the Welcker edition (Docu-
me nt No .)~); ~nd in t he Sieber edition (Document No . 6~). 
Tr io No . lJ in F Major 
I : ~iusto , 4/4 , round ed binary , 87 
II 1 lIJ, All egre tto-Minuetto , 6/ 8- J/4 , 81 
Trio LNo . 2J in C Ma jor 
I1 VivacP. , 4/4 , binary , 51 
II 1 LI-V-IJ , Smor fioso , minuet-trio , 45 
,r 
Trio L. o . JJ in D .ajar 
I 1 All e gro Cantabile , 4/4, rounded binary , 84 
II 1 LIJ, Minuet-trio, 48 
III1 LVJ, Alle gro a ssai, 2/4; menuetto [IJ, 149 
I . ' Trio No. 4 I in A Ma jor 
I 1 Andante , J/4, rounded binary , 104 
II1 LIJ, Smorfioso, 2/4, rondo with J episodes , rP 
liB 
Trio LNo . 5 I i n r. T"a ,i or 
I: Alle ~ro mod erato , 2/4 , rounded binary , 114 
II : LI-IV-IJ, 2/2 , r ondo with J minuet epis odes , 142 
Trio LNo . 6J in F ~inor 
I s Lento , 4/2~ , binary , 74 
II 1 LI J , Menue t to Alle gretto , J/4, incipient ternary , 101 
Remarks , Trio [ ,fo . JJ in D Ma.i or may correspond to t he 
oopy of a Tri o in D by the composer and published 
by Le Clerc (Paris , 1 769 ) , apparently preserved 
at Florence (Document No . 15 ). There is no evi-
dence for a Napier edition of t he Six Trios ex-
cept fo r their- inclusion in the Napi er Catalogue 
(Document No . 9s ) . Trio LNo . 4J in A Major is 
Sources , sometimes attributed to Lui gi Boccherini di Lucca , 
anuscripts 
D-DDR- Bds MS-5186 -5191 S- H No . 39 
I - Be . l\_Kl26_ ( Nos . J and 5 onl y) S-Skma WJ-R 
I - Os MS . Mus iche B. 2797 S-1 Saml . Kraus J 86 
I - Ve Cart . Mus . 24 
Prints 
B- Bc ??-?? v ?.2 6 . 84J (We lcker , c,1 770) 
__ _v . 7052 (Si eber , 1771) 
E- Mn No . 154 , int . ?4 (We lci ke r , ? c.1 770) 
F- Pc K. 5170 (Sieber , 1771) 
GB - Ckc Rw . 224-4(6) ( Humme l , 1770 ) 
Rw . 19 . 219 - 221(1) (We lcke r , c,1770) 
l"'!B - Lbm G, 4 71 (Welcke r , ~.1770) 
r. }3 - i:p (We lcker , c,1770) 
S- Skma ( Humme l, 1770 ) 
s_ -Ts ( Hummel , 1770) 
S - ';le rr;.351 . s 65 . op . l . Case . (:_ mme l , 1770 ) ) 
: ?.351 . s56 . o .l. Ca se . (We lcker , c.1770 
119 
S ix Sonatas for Two Violins ~b D ~b ~ A and C ? The 
se t c orrespond s to Op . , Ilo s . 1- , in tr:e B. ::umme 1 
edition ( ~h e ~ague , 1 773 ) (Document No . 97 ) ; to Op . 5 , 
os . l-6 , in the Veni e r edition (Paris , 1 775 ) (Document 
No . to~; and to the Nap ier edition , n , o . (L pn~on , c , 1 778 ) 
( Document No . 109 ) ; a nd in t he Boyer( ? ) edition (Doc ument No . 131 ), 
Sonata [No . l j in Eb ~aaor 
I t All egro moderato , /4 , rounded b i nar y , 95 
II : [I] , I(enuet to , J/4 , binary , 43 
Sonata [ No . 2] in D Ma jor 
I s Larghetto , J / 4 , rounded binar y , 95 
II , [. I] , Al l egretto , 2/4 , ter nar y , J O 
I I I : [ IVJ , Me nuet t o , J/4 , binar y , 19 
Sonata No , in Bb Ma ? or 
I s Alle gr o , , round ed binary , 68 
II s [IJ , Menuetto and Trio , 74 
Sona ta No . 4 in E Ma" or 
Is All e gro , , rounded binary , 82 
II 1 [IJ , Menuet to and Tri o , 54 
120 
'~iJ'\{f:\/r;Jt"iiJ~:;t~ii~~r2:~t:Jt?~i. :_  ~?,: _41  ' 
.n J?_?u3-?:ir(T er cs 
: :\; :: ~:; :~ '. ,,, ;' '" '.'_ ?jo{ fd /o : _ .?.  ~~~. ..? ?. ?? ?.  ~ 
~- .- ~-: -C~xi9t o!Ri~~ r;::)~  . - ~ 
,, ~~~~~p;;d;Jz;2;ti) {!- ' 
? _-_? Ro-yalBigl1q.efs_t be~e_9f~ 
- ? - l ? ?? - ?? ? . 
:;:. . ~ c .:_::?L >-~--o --:;>c .-,:~P :-~;..  s ,: _r_??E?.: _R -?, 
: <c ' '~;:;?1;:/k~,a)~4~GI ????? .. 
;. ,; ':: (jliJ ;?,, c;,;.t'lf/}rt'~ /2;;;:;lt ?i;f;;.;Nj ; 
:c:?'i'<P~~:p~ieJ1~);z~zf 1, ? 
_:.::?-- -<? :-:-.:.->.~+i~l. \>L ?-?.:..,y:_ O .? .. ,N D . . 0 ? N .; ?_?  . 
? -~Y,:);;;~;'_a:~ff (#f)I #~,;,~,.A9,;;, a-r:/,~,; ~Jl,,,,~l~ojl;; ?_ 
? - ? ?? --rl.ic Comcr or J--u1c::d lcr-Coo:rt ; Sir.md. 
? ?. -??_ ;..,_-U'.J/r.i~,; m""; y ,/,;//,.ad Dm/U?.1rd-& ,""ll,,e. ?. h,,,,- :__c_t,.r/,r,1?,-? ? ~ -< 
Y J .S,~lo \o,n.: t,-ro5. fur 11, r \ "inl in . __ ."f : r ,).  Din;, :1tl;tp;,_-il ft rr 1Lr- T1.1111r1ci l<Jrt! I!?: St; t; it?,n la,~ ':' ?c 
?r ll"? l l,1ri .fi, ?!\nn 1 p;1rt orDj n,, Sin .~ 1"?? " ? ; :r. Y\ /.l :1.::i nd1 :c .. _ ____ . . . . . . _ ... _ - - - . - - : - ?- _, ,,n .ti 
Figure 1~. 1T7i7t8le)~  Pag e of L b d ? ? ? (London, c. om ar 1n1-S1rmen ' s Six Duets , Op . 4 
f, 
121 
Sonata L 1o . 5] in A ~ajar 
I : Andant ino , 3/4 , rounded binar y , 96 
II 1 [I ] , Alle gretto , 6/8 , ternary , 6 5 
Sonata [ Jo. 6] in C Ma ~or 
I : All e gr o , 4/4 , rounde d binary , 112 
II : LI J , Allegro Brillante , 2/4 , theme and variations , 125 
Remarks i The Parisian publisher Boyer lists t hese Sonatas 
in its Cata l ogue for 1788 (Document No . ll_S) , but 
n o othe r evidence for a Boyer edition has been 
di scov ered . The Sonatas are a l s o frequently en-
tit led Six Duets . 
Sour c e s, 
~anuscri n ts 
I - Ge N. 1 . 6 . 6 . (Sc . 17 ) 
I - Ria Ms . 82 4 
I - TE Fons o Falchi 
Prints 
E- Mn M. 1684 - 168 5/ 5 ( Humme l, 1 773) 
F - M e y er ( Hurnme 1, 1 773 ) 
F- P c K. 6077 (Venier, 1 775 
r, B- Lbm G. 42 14 .( 12 ) ( Napier . 1773) 
I-Ve ( Napier, 1773) ? 
NL -DHgm ( Humme l, 1 773) 
S- H No. 36 ( Humme l, 1 773) 
S-Skma ( Hummel, 1773) 
s-Wc M287 . S99 . Cas e ( Napi er, 177)) 
122 
Sonata in A .. :a ior f or Violin and Bass , Vienna , 1785 (Document 128). 
I s r:odera to , 2/4 , rounded binary 
II : LV J , Ada gio Cantabile , 2/2 
I II : [I J , Lento tempo di r. . enuetto, 3/4 
Sourc es, 
.. 'anuscri nts , None 
Prints 
D- BRD-Tu Mk 90 S 5 
I - Ve 
1 S- Wc M28 ? .A2S 4.Ca se 
-
ONATA 
(8M" /d!, 
VIOLiffO E BASSO 
. Q /} 
. de!Y 
SIG: L . SIRN1EN? 
40. ...x. .. ,. 
1' .P . S . C . M . ...,. . 
Fi g . 11, . Title pa ge of Lornbardini-Sirmen ' s l as t known 
c omposition , a Sonita for Violin and Bass published singly 
by Artaria in Vienna in 1785 . 
123 
Six Quart e ts [Eb , Bb , ? , Bb , f , and ~J by Lodovico Sirmen 
and nactdalena Laura Lombardini -Sirmen . The set c orre snonds 
to On . J, Nos . 1-6 , in the Berault edition (Document ~o . 25 ) 
and th e Napi e r edition , n. o . ( Do c?:_ment No . _94). 
Qu a rtet [No . l j in Eb Major 
I : Andante ma con un noco di milto , 2/4 , binary, 127 
II : [IJ , Alle gretto, inci n ient ternar y , 117 
-e b bt  ~1 I r} r 7 ~=I Cr E 
V 
Quartet [No . 2j in Bb Majo r 
I : Andantino , 2/4 , ternary , 104 
II 1 [I J , All egro, 2/4, incipient terna r y , 214 
Quartet No . in G Minor 
I : Tempo 9iusto , /, ternary , 87 
II : LIV/viJ , All e e:ro , 2/2 - 6/ 8 , rondo with J enisodes , lJO 
Quartet LNo . 4 j in Bb ajor 
I : Cantabile , 4/4 , rounded binary , 123 
II : LIJ, Menuetto , J/4, 41 
Quartet No . in F Minor 
I : Lar g o , 2 2 ; All ee:ro , 2/4 ; ternary , 158 
II : LI-IVJ , Menuetto and Trio , 58 
124 
-SEI:. . .??- . .. . . i 
. - -? 
UAP~TE T:T ?1 
_iL\._ \ /iobno l e_ 11 \iol~- e \ 1r~l~n~Jlo l 
. . I . ,/ . . _ I . . 
. . . .. l 
DEDICA17 - : . . . ?j 
~Z J!tu/4~/W . S!Jllor ??? CoJ2t~j 
iJ3ENE,1.r_ANrI01 
. ..  CJz~ _J 'm1, _c ?:. f)7 yf,;db ?. ??  . 
. . -. - . - . 
. . E C0~1P0STI . D~L\... 
.. . . 
~0.Dl7J7Ilt),E _/JLdlJELEj_Y-.Jd L _-il:Rd? SJRi JD{?~ 
. . . . . . . - .. -
.. Pii.""'{: 9~ ... ?? / ~t1' /1~~ Jl_l,- : ? ?. ?.. .: ?. ?. . 
.Ll.P...dI?..IS 
_.y;;Jam2: _lJ;;?illlil _/7/:7'.:- dc)lfr0yl:J: I~~ dL-?k _?J ,n~:z:: F'4ll~~-,:~ 
ae,z;. . Faalva:y .) ! U-t!/'llL~i.- .:Jil, ..D/aL ct,_. l 'h~Tr/lu.7 71~~ . 
? l 
. . 
..E;t;, l tlllir, . t1,lrg(r&"_ orib~z.iu?~.r 
. . l . 
_,J. -1~; .I). R . \ 
Fi gure 1~. Title Page of the Six Quartets, co~composed by 
Lombardini-Sirmen and Lodovico Sirmen and published by 
Beraul t (Paris, 1 769) ?? 
125 
Quarte t LNo . 6 I in .:;: r,~aj or . 
I : Andantino, J/4 , incin ient ternary , lcJ 
II ~ LIJ, Con brio, 2/4 , incinient binar y , lJJ 
~emarks 1 There are discrepancies in the manuscripts , for 
example , the manuscript for Quartet No . 1 , pre -
served in Genoa is attributed only to Lodovico 
Sirmen and the RISM title card for Quartet No . 1 , 
preserved in GB-Cpl calls for a clarinet part . 
S0urces 1 
~anuscr i nts i 
rrn - Cnl Ms . 81 , No . 15 (Quartet No . 1 onl y) 
I - An Ms . J\'Ius . 28 
I - Ge M. Jb . 24 . 23 (Quartet No . 1 onl y ) 
I - Ne Ms . 22 . J . 8 
I - Be KK . 126 (Quartet No . 4 onl y 
Prints -
B- Bc (Be'rault , 1769 ) 
GB - Cu (Berault , 1769 ) 
r,.13- ,cu ( Napier , c . 1 775 ) 
GB - Lbm G. 41J . (Berault , 1769 ) 
GB- ~pl (Berault , 1769 .,--
1 S-Wc M452 . S627 .0p . J . Case ( 5eraul t , 1 769 ) 
126 
Othe r Kn own Works 
Lodovico Sirmen 
Six Tri os for Violins and Bass C A G Bb Eb and F . 
The set c orr esponds to Op . 1, Nos . 1- , in t he J . J , 
Humme l edition (Document No , 58) . 
Tri o LNo . l j in C Major 
I r A.ll e~ro , 2/2 , round e d binar y , 97 
II r LIJ , Me nuetto , J/4 , 57 
Trio LNo . 2J in A Major 
I r Moderate , 2/2 , rounded binary , 86 
II , LI VJ , Ada gio , 2/2 , double period , 31 
III r LI J , 1e nuetto , 3/4 , 41 
Tri o LNo . JJ in G Major 
I r Andante , 4/4 , rounded binar y , 8 0 
II , LI , iJ , Menuetto and Trio , 54 
Trio LNo . 4 l in Bb Major 
I r All e ETretto , 2/2 , rounded binary , 98 
II , LIV J , Ada gio , 4/ 4 , double period , 34 
III : LI , IVJ , Menuetto and Trio , 40 
127 
Trio LNo . 5J i n i:;,b .~ai or 
1 1 Lento , cornmod o con s or dino , 2/2 , bi nary , 70 
11 1 llJ , Grazioso , 3/4, b i nary , 93 
Trio I o . 6 I in F Ma ,ior 
1 : All e gretto, 4/4 , r ounded binar y , 89 
11 1 LIVJ , Largo , 4/4 , t erna ry , 45 
III : LIJ , Allegro assai , 3/4 , rounded binar y , 110 
-z == 
Sources s 
r .anuscri nts -
I -An Ms . Mus . 89 (:::.. No . 5) 
I - Ria , 'IS ? 736 
S-SMm T'i.S . L2 . mnfte des 18 Jh . J 
Prints 
GB- Ckc ( Humme l, 1769 ) LB UC gives 1765] 
Concerto in G Major. Title pa ge )r eads 1 Conc erto/Di Flauto 
Traverso Con Violini Obbli ga to Vi olini Violetta Cornie 
Basso Di Rinforzo De l Sigr . Lodovi c o Sirmen . 
I 1 1oderato, 4/4, 82 
111 LVJ, Ada gio , 2/2 , 86 
III : LIJ, All e gro , 3/8 , 166 
Remarks , Manuscript contains two duplicate principal flute 
parts , one of which has wri tten out cadenzas . 
~anuscrint Source 
I -Pea N. 1 744. D. V' ? 
128 
Conc e rto in 3b 'a .ior . Title pa?e reads : Conc er to/Pe r Vio -
li no Princiua l e/Con Violini , Oboe Obb l igat i Corni da Caccia , / 
Vi o l a , e Basso/De l Si r:r a/Lodovico Sirmen . / 
I : All egro modera to , 4/4 , 218 
II 1 LIVJ , ~aestoso , 4/4 , 89 
I II 1 LIJ , All egro , 3/8 , 1 68 
Overture in Eb r~a j orfor Violins , Viola , Bass, Oboes , and 
Corna di Caccia . Title page r ead s : o. DXVIII . Overteur 
a niu Stromenti .?? ? di Ca cci a Obo e De l Sir . Lodovi co 
S i r me n . 
Manuscript Source 
I-N 11 . 585 . 46 . 5. 
129 
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