Although 19th-century Parisian salon music was usually described in feminine terms (not including genius), the roles it played in social and political discourse preclude its disparagement as trivial; the genre should be approached as a social category rather than a formal one. The contrast between María Malibrán’s unconventional public life and her semi-private works is best understood in this context.
Malibrán published four song anthologies as well as many individual songs, which were not, however, composed to show off her virtuosity. These works illuminate how in salon music the authorship of singer and composer recedes behind an unspecific poetic I. Malibrán’s true voice is situated between her virtuosity as singer and her comparatively restrained compositions.
This according to “Voiceless songs: Maria Malibran as composer” by Mary Ann Smart, an essay included in Authorschaft—Genie—Geschlecht: Musikalische Schaffensprozesse von der Frühen Neuzeit bis zur Gegenwart (Köln: Böhlau, 2013, pp. 137–58).
Today is Malibrán’s 210th birthday! Below, her L’Écossais.