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Large-scale form in the symphonies by the Queen of Etruria (ca. 1810–1824) Ana Lombardía (University of Salamanca) THIS PRESENTATION IS A PART OF THE INTERNATIONAL CONFERENCE AND COLLABORATIVE SYMPOSIUM "THE EXPANSIVE CANVAS: LARGE-SCALE FORM IN THE MUSIC OF 10TH CENTURY WOMEN COMPOSERS," CO-HOSTED BY TRINITY COLLEGE DUBLIN AND THE ROYAL IRISH ACADEMY OF MUSIC ON 26–28 AUGUST 2025. Abstract Among recently rediscovered female composers, the case of Maria Luisa of Bourbon (1782–1824), Infanta of Spain, Queen of Etruria, and Duchess of Lucca, is exceptional, both for her noble birth and for the political aspects of her life. Widowed at an early age, she governed Tuscany as regent, but was deprived of her kingdom and imprisoned, as described bitterly in her memoirs, published in four languages just before the Congress of Vienna. Recent studies have shown that she cultivated a true passion for music as a patroness, collector, and amateur performer. Her music library, containing over 2000 volumes with a very modern and varied international repertoire, and bearing signs of use, is particularly outstanding. Moreover, she is the earliest known female Spanish composer of orchestral music, and one of the earliest in Italy, something that has been overlooked so far. The recent critical edition and recording of her four sinfonias or overtures (c. 1810–1824) now allow for their detailed analysis and wider dissemination. This paper examines their compositional and performance contexts, stylistic traits, and probable models. Each work follows a single-movement structure with a slow introduction and an Allegro—rondo form in Sinfonia 1, and sonata form in Sinfonias 2–4. Among the earliest Spanish works to adopt Rossini’s overture model and signature final crescendo, they also incorporate musical topoi such as the march and the fandango, the latter possibly serving as an autobiographical reference. The scoring is rather unusual, with protagonism of the clarinets in Sinfonia 1 and a more colourful palette in the other three works. Overall, these sinfonias offer new insight into early nineteenth-century female composition, Rossini’s reception, and the intertwined musical histories of Spain and Italy.