The Instrumentalist

Sister Madalena orders Anna Maria to the kitchen, and she is surprised to see Vivaldi there when she arrives. He explains to her that composing is like baking: You must know not only which ingredients to include, but also the correct proportions. Together they make a sweet bread, and Anna Maria is struck by his skill in the kitchen. Later, during their violin lesson, he shows her a piece by Corelli that includes a section that, on paper, very much resembles The Devil’s Trill. Anna Maria is shocked that Tartini would have stolen from his teacher, but Vivaldi orders her to play the piece. She admits that it sounds nothing like Tartini’s. Vivaldi explains that Tartini learned his teacher’s language in order to do something new with it. This process is part and parcel of composing.

He also shares with Anna Maria the news that he has, from the Pietà’s wealthy donors, secured funding to purchase a better violin for her. Although she is only 13, he plans for her to audition this year for the figlie di coro. She would be the orchestra’s youngest member. He is also up for a promotion, and he is sure that they can do great things together.

Later, Anna Maria is summoned to Sister Madalena along with Paulina. A woman sits with Sister Madalena: It is Agata’s mother. Anna Maria is heartbroken and stunned: This woman left a note with Agata promising to return. She and Paulina had tried to caution Agata against getting her hopes up, but her mother kept her promise. Tearfully, the girls tell Agata’s mother about her daughter. After they leave, Anna Maria is crushed. Paulina comforts her, explaining that she didn’t realize Anna Maria still missed Agata.

Vivaldi takes Anna Maria to select a violin. She leaves the Pietà only rarely, and he takes her further into Venice than she has ever been. Vivaldi finds Anna Maria’s obvious joy at being outside moving, and the two erupt in smiles. She recalls their very first lesson and is grateful for his mentorship during the course of so many years. She contemplates his recent lessons on cadenzas, solos inserted into pieces by performers wishing to place their own, individual mark on the music. She wonders what her mark will be when she begins performing with the figlie di coro.

Anna Maria is delighted to find that Vivaldi is taking her to a violin maker: He has not only raised the funds to pay for her instrument (and donated a sum himself) but has secured enough funding to have a violin made just for Anna Maria. Her instrument will truly be her own. She is overcome with emotion, and their morning at the shop is one of the happiest in her life.

Later, when they return to pick up her violin, she is able to play it for the first time. The sound quality exceeds her wildest expectations, and the notes she expected to be red in color erupt in a variety of shades from maroon to russet. She is stunned. Vivaldi tells her that she is destined for greatness and that she belongs in the figlie di coro. She will have to work diligently to prepare for her audition, but she is more determined than ever to succeed.

Anna Maria prepares three pieces for her audition: The Devil’s Trill, Violin Sonata No. 1 in D major by Corelli, and the First Movement of the Concerto in E minor by Torelli. She feels confident with The Devil’s Trill, but knows she needs additional practice on the other two. Vivaldi has been ill with a respiratory condition frequently during the last few months, and she is worried about him. She does her best to practice, even when she must make do with Signor Conti, the other (and inferior, in her opinion) instructor. She also continues to compose. Music comes to her, alive with color, at seemingly random times during the day. When inspiration strikes, she runs to her composition book to record her music.

The days pass, and Anna Maria continues to practice on her own and work with Vivaldi when he is well enough. She learns that his family did not want him to play violin: His destiny was the priesthood, and they were not supportive when he insisted upon choosing music instead.

Anna Maria also reconnects with Paulina. Paulina comes to her practice room and offers to help her through a difficult section. Anna Maria finds Paulina’s advice helpful, and continues to work on the three pieces. Then, one day, there is an unexpected accident: Anna Maria is leaving a practice room and runs into Paulina. Paulina wishes her good luck during her audition, and Anna Maria inadvertently lets the practice room door shut on her hand.

Anna Maria has broken one finger. In the infirmary, the nurse gives her laudanum for the pain. She decides to conceal her injury: She must go through with her audition tomorrow. The laudanum gives her distressing dreams, and upon waking late the next day she realizes that she cannot take any more of it before her audition. She will have to deal with the pain.

At the audition, she stands before a table of 12 men. She did not realize there would be so many judges present, and she begins to panic. She tries to calm herself and starts with the Torelli. To her great surprise, the colors do not come. She struggles through the piece. Next, she plays the Corelli. Again, she does not see the colors and does not play well.

Finally, she begins The Devil’s Trill. Colors explode in the air in front of her, and she plays beautifully. At the end, she adds the cadenza that she has composed, and Vivaldi rises from his chair. The other judges remain silent. Anna Maria is sure that she has failed the audition, but later she finds that she has been given a spot in the figlie di coro. She is ecstatic.

Vivaldi congratulates her and tells her that he has also been promoted. He is now Master of Music, responsible for the entire music program at the Pietà. He has been asked to compose a piece of music and will hold a contest among the girls of the figlie di coro: The best composition will be included in his piece. Anna Maria is sure that she is capable of winning.

Anna Maria has now joined the ranks of the figlie di coro. Of the eight violinists, there are three whom she considers her primary competition: Sanza, Chiara, and Prudenza. Vivaldi dresses more elegantly now that he is Master of Music, and there is a new intensity to his instruction. He instructs the figlie di coro with passion and drive, but he is also quick to criticize the girls. Anna Maria has been given new clothes and eats better food. She is respected in the Pietà and has even been given her own room. Still, she is troubled by nightmares. She often examines her playing card and the note from her mother, telling her that she was loved.

Sister Madalena sometimes observes Vivaldi’s instruction, no doubt to determine how well he is doing in his new role. Tensions mount during lessons, and sometimes Vivaldi makes girls cry. One afternoon, he announces the contest he told Anna Maria about: Some composers discourage performers from writing their own music, but he is giving the girls the opportunity to write something that will be included in the larger piece that he is composing.

Anna Maria sets to work on her entry. Vivaldi’s piece is to honor the army fighting the Turks in Corfu, and she draws inspiration from a young lamplighter she spies from her window: He is just of the age to be called up to fight, and she imagines what his life might be like, what his loved ones would feel if he were to leave for Corfu, perhaps never to return. She brings her piece to Vivaldi. Surprisingly, he is critical. He tells her that it sounds nothing like his music. The task, he explains, is to create something that sounds like his compositions. Chastened, Anna Maria tries again.

Anna Maria, as well as fellow figlie di coro members Anastasia and Bianca, are selected to work with Vivaldi on his composition. The piece, to honor the troops fighting the Turks in Corfu, will be based upon a story from the Biblical book of Judith: The Assyrian king sends General Holofernes to besiege an Israelite town. Judith, a young widow, goes to Holofernes begging for his mercy. He falls in love with her, and then drinks too much wine and falls asleep. Judith beheads him as he lies sleeping, freeing her people. Holofernes will represent Greece and Judith Venice.

The girls pour all of their energy into this work, but Bianca soon begins to complain of fatigue. Vivaldi drops her from the composing project but also from the figlie di coro. Anna Maria is stunned. She was under the impression that once admitted to the orchestra, the girls were secured their positions for life. She vows to work even harder. Later, she sees Bianca in the company of an old, unattractive man. Bianca has been married off, and Anna Maria is horrified.

The Venetian army is successful, and there is a large festival and concert to celebrate. The figlie di coro perform, and the audience goes wild. Anna Maria again feels the intense allure of performing even though she would have liked her name to be listed alongside Vivaldi’s for her role in composing the piece. She does her best to tuck this thought away: Her renown will come later.

After the performance she returns to her room to find opulent gifts from the wealthiest of the concert-goers. Sister Clara also informs her that her first payment has been deposited into her own account. She now has, for the first time in her life, money of her own. Her ambition only increases.

Anna Maria and Vivaldi compose and play long into the night. Anna Maria feels that they are equals, of a sort, and she has never been happier.

Before an important concert, Anna Maria runs into Elizabetta Marcini, a wealthy Venetian and one of the Pietà’s important donors. Elizabetta is cold to Anna Maria, almost disdainful, and Anna Maria is filled with loathing. She must put this aside, however, and play. She is stunned to see Tartini in the audience. She will be performing his Devil’s Trill. She silently wills her instrument to produce the best sound possible, and it delivers. After the musicians finish, Tartini stands and, directing his gaze toward Anna Maria, gives her a thunderous round of applause. After the concert, the orchestra again receives rave reviews, and Anna Maria receives a visitor: Tartini himself. He tells her that she has a unique gift for music and gives her a luxurious cloak as a tribute. She is honored and speechless.

Later, Vivaldi kicks Prudenza out of the orchestra and calls Sanza, Chiara, and Anna Maria to him. He explains that he is holding an on-the-spot audition for first violinist. Anna Maria wins. One of the pieces she plays is her own composition, but she tells Vivaldi that it was in a box of anonymous music. She is not ready to reveal her own works yet.

Anna Maria attends practice as first violinist. She knows that Sanza is envious of her position and feels everyone else’s eyes on her too. She is surprised when Chiara approaches her, congratulates her, and tells her sincerely that being in the figlie di coro is not about competition. Vivaldi, however, hears this exchange and cautions Anna Maria against friendship with the other players: Greatness is achieved through hard work. There is no time in their profession for relationships.

He also informs her that she is to perform alongside him at a special upcoming concert. They must prepare. The concert goes well although Anna Maria is shocked that the patrons speak to Vivaldi disrespectfully, although (they claim) only in jest. In the months that follow, Vivaldi is irritable and withdrawn. She begins to peek at his composition book and add notes to his works in progress. She hopes that her additions will help him.

The figlie di coro holds auditions for new members, and Paulina is accepted. Anna Maria introduces her to Chiara, but then bows out when the figlie di coro girls spend time together: She must focus on her art. Anna Maria also begins menstruating and is terrified that she will be married off. Paulina helps her to hide her bloodied sheets and clothing and assures her that someone of her talent should realize that her position within the orchestra is safe.