An 18th-Century Phenom Arrives at Lincoln Center
The Festival Orchestra of Lincoln Center will play Marianna Martines’s Symphony in C, a milestone for a composer whose music mostly fell silent after her death.The composer Marianna Martines grew up in Vienna when the city was teeming with towering figures in classical music. Haydn was her neighbor and teacher. Mozart sought her out as a duet partner.Born in 1744, Martines began her remarkable career at just 16. At 38, she became the first female composer programmed by the Society of Musicians, whose elite concert series also gave Beethoven his Viennese performance debut. But after her death, in 1812, Martines’s music mostly fell silent, a fate shared by so many female composers of her era.This week, though, the Summer for the City festival at Lincoln Center will perform Martines’s Symphony in C major (1770), a work composed decades before it was common for women to write orchestral music. The performances are a significant step in the reclamation of her music.“It was an easy decision to present this fantastic piece,” said Jonathon Heyward, the music director of the Festival Orchestra of Lincoln Center. “The whole piece is filled with wonderful interplay within the strings and the wind parts.” The first movement, he added, “is light and spirited.”The pianist Sandra Mogensen found similar qualities in Martines’s piano music, calling it “sparkly, wonderful and vibrant.” She and her colleague Erica Sipes have played through all of Martines’s available keyboard works as part of Piano Music She Wrote, an online project they founded in 2020 to encourage performances of public domain piano music by women. Martines’s Piano Sonata in A major (1765) was one of the first pieces Sipes recorded. “It pulled me in,” she said. “Every movement has something different to say.”This past spring, Elizabeth Schauer, director of choral activities at the University of Arizona, led what was likely the first performance since Martines’s death of her Mass No. 3 (1761). When she wrote it, “she was only 17,” Schauer said. “My students and I found it astonishing and beautiful.” Schauer used a new score reconstructed by her student James Higgs from manuscripts. For Higgs, Martines’s style reflects her teachers and supporters in Vienna, who were Italian.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
