Isabella Leonarda (1620-1704) - Messa Prima, Op.XVIII (1696)
Vložit
- čas přidán 21. 08. 2024
- ★ Follow music ► / reciclassicat
Composer: Isabella Leonarda (1620-1704)
Work: Messa Prima, Op.XVIII (1696)
Performers: Solists and Chorus from SchoIa Cantorum of the University of Arkansas; Jack Groh (conductor)
Painting: Paolo Veronese (1528-1588) - Disputa con i dottori nel Tempio (c.1560)
Image in high resolution: flic.kr/p/2jDBWg1
Painting: Sandro Botticelli (1445-1510) - Pietà
Image in high resolution: flic.kr/p/2jDymhC
Further info: www.amazon.com...
Listen free: No available
---
Isabella Leonarda [Leonardi, Anna Isabella]
(Novara, 6 September 1620 - Novara, 25 February 1704)
Italian composer. Christened Anna Isabella Leonardi, she came from a prominent Novarese family. In 1636 she entered the Collegio di S Orsola, an Ursuline convent, where she remained for the rest of her life. A document of 1658 identifies her as music instructor as well as ‘mother and clerk’ for her congregation. By 1676 she had attained the rank of mother superior and by 1693 madre vicaria; in her last years she served as ‘counsellor’. She may have studied with Gasparo Casati (maestro di cappella of Novara Cathedral, 1635-41), who included two of her compositions in his Terzo libro di sacri concenti (RISM 16403). Cotta called her ‘la Musa novarese’ and printed a sonnet by A. Saminiati Lucchese, comparing her musical talent to the military prowess of Emperor Leopold I. Leonarda was a skilful, versatile composer whose approximately 200 compositions include examples of nearly every sacred genre. In her concerted masses and psalm settings, sections for full chorus alternate with solo passages and instrumental ritornellos. Her sacred non-liturgical works frequently have intensely emotional Latin texts, some of which may have been written by Leonarda herself. Four-voice compositions in this genre are conservative: imitative writing is pervasive and the organ provides the only instrumental accompaniment. Works for one to three voices are more modern, closely resembling chamber cantatas in form and melodic style. Many employ instrumental ritornellos and vocal refrains. In her numerous solo motets the sensuous lyricism of the arias balances the intense dramatic expression of the recitatives. Some arias are strophic, but most employ forms utilizing varied repetition. The solo motets reveal the composer at her most expressive: word-painting abounds, and occasional Neapolitan 6ths, augmented 6ths and diminished 7ths enrich the harmonic vocabulary. The vocal writing shows occasional flashes of coloratura, particularly in concluding ‘Alleluia’ sections. Leonarda’s instrumental works (op.16, 1693) are apparently the earliest published sonatas by a woman. Her sonata for solo violin and continuo is one of her most advanced works harmonically, yet it is technically conservative. In five of the ensemble sonatas she varies the texture by giving solo passages to each of the string instruments.
It is a sh ame that this piece is so unheard of.
Muito difícil encontrar mulheres compositoras de música sacra/clássica ou barroca, naqueles períodos as mulheres não tinha oportunidade de serem compositoras porque os homem tinha vez e não as mulheres. O machismo sempre existiu! Muito obrigado por esta raridade!
E secondo lei se in quell'epoca c'era così tanto 'machismo' com'è possibile che addirittura una donna chiusa in convento, quindi donna di Chiesa, potesse non solo scrivere ma anche pubblicare delle sue composizioni? Quante donne compositrici di musica colta conosce dell'epoca contemporanea, epoca in cui secondo lei non ci dovrebbe essere questa differenza? Non è che forse c'è più 'machismo' nella nostra epoca?
I've several music from Leonarda but mot this fine Mass rhat brings fresh new baroque scent into Frescobaldi legacy language
Incantevole
She lived very long to see monteverdi castello so after corelli biber and vivaldi
Some composers in some way were fortunated. For instance, Muzio Clementi (1752-1832) saw alive Mozart, Haydn, Beethoven, Schubert.... Or Joseph Aloys Schmittbaur (1718-1809) saw Bach, Händel, Vivaldi, Telemann, Hasse, Mozart, Haydn, Beethoven.... from Baroque to Romanticism...
@@Reciclassicat clementi also was important for the piano production...imagine living that long
19:50 for someones, this is the scenario of the tragic dead of an innocent man whose only sin was to try to unify people in love and goodwill... For others, it's the unfortunate moment that unchained the vast scenarios of horrible deaths of millions using his name and person as justification: pure politician and psychological Machiavellianism!