F. Martini (1560-1626), R. Aleotti (1574-1646), S. Reina (?-1664), L.O. Vizzana (1590-1662), G.M. Nanino (1543-1607), M.X. Perucona (1652-1709), A. Banchieri (1568-1634), C. Monteverdi (1567-1643), A. Tressina (fl.1622), P. Pace (1559-1622), A. Soderini (XVI-XVII sec.), N. Monferrato (1615-1685), G.A. Mangoni (fl1617-23), C.M. Cozzolani (1602-1677), I. Leonarda (1620-1704)
The Song of Songs, one of the most beautifully sensual texts to be found in the Bible, was also one of the most often set to music in the 17th century, both outside and inside the convent walls, in music written both for and by Italian cloistered nuns.
These women, eternally married to Christ (with, or all too often, without their consent) identified strongly with the florid and passionate imagery of the bride and the beloved, and the poetry of this book represented an important–and ambiguous–allegory with diverse levels of interpretation.
In the ecclesiastical exegesis of the Canticle, the Sponsa symbolized a variety of personages: the individual soul, the follower of monastic life, and at times the Church itself.
The Canticle’s Sponsus was of course identified in Christ.
And though theologians throughout the centuries emphasized a symbolic reading, the sensuality of the poetry could not be ignored.
Indeed, a Venetian decree from 1633 governing music in the convents entitled “Ordini da osservarsi nelle musiche che si fanno nelle chiese di Monache” states: “It is ordered that the words which are sung must be taken solely from the Holy Scripture, excepting, however, the Canticle, which is completely prohibited in Music.” Nonetheless, the poetry of the Song of Songs was often sung in the convents.
One of the most popular texts of the period was “En dilectus meus”, an example of which comes from the Bolognese convent of Santa Cristina.
2. Gregoriano In oderem 0:22
3. Raphaella Aleotti (ca. 1574-1646) Vidi speciosam sicut columbam 2:17
4. Sisto Reina (?-post 1664) Surge filiae sion 4:29
5. Lucrezia Orsina Vizzana (1590-1662) Sonet vox tua 2:48
6. Gregoriano Iam hiems transiit 0:29
7. Giovanni Maria Nanino (1543 o 1544-1607)/Geronimo Cavaglieri (c1550-dopo 1615)
Nigra sum sed Formosa/Ecce tu pulchra es 3:37
8. Maria Xaveria Perucona (1652-post 1709) Propera veni dilecte mi 6:10
9. Adriano Banchieri (1568-1634) En dilectus meus 2:33
10. Gregoriano Ista est speciosa 0:18
11. Claudio Monteverdi (1567- 1643)/Aquilino Coppini (?-1629)
Pulchrae sunt genae tuae 3:54
12. Alba Tressina (fl. 1622) Anima mea liquefacta est 3:13
13. Pietro Pace (1559-1622) Qualis est 3:13
14. Agostino Soderini (XVI-XVII sec.) En dilectus meus 4:23
15. Gregoriano Veni electa mea 0:29
16. Natale Monferrato (1615-1685) O quam pulchra es 9:51
17. Giovanni Antonio Mangoni (fl. 1617-23) O quam speciosa 2:59
18. Chiara Margarita Cozzolani (1602-c. 1677) Maria Magdalena stabat 8:08
19. Gregoriano Dum esset rex 0:24
20. Isabella Leonarda (1620-1704) Sicut turtur 8:17
- Composer: F. Martini (1560-1626), R. Aleotti (1574-1646), S. Reina (?-1664), L.O. Vizzana (1590-1662), G.M. Nanino (1543-1607), M.X. Perucona (1652-1709), A. Banchieri (1568-1634), C. Monteverdi (1567-1643), A. Tressina (fl.1622), P. Pace (1559-1622), A. Soderini (XVI-XVII sec.), N. Monferrato (1615-1685), G.A. Mangoni (fl1617-23), C.M. Cozzolani (1602-1677), I. Leonarda (1620-1704)
- Performers: CAPPELLA ARTEMISIA – Voci: Elena Biscuola, Alessandra Fiori, Frida Forlani, Gloria Moretti, Alida Oliva, Monica Piccinini, Candace Smith, Silvia Testoni, Patrizia Vaccari; Violini barocco: Angela Nardo, Mary Riccardi; Viola da Gamba: Claudia Pasetto, Teresina Croce; Arpa: Maria Christina Cleary, Dulciana: Elena Bianchi; Organo: Miranda Aureli
- Historical Period: Humanism and Renaissance
- Code: TC 560002
- Edition: February 2005
- Barcode: 8007194103380
- Set: 1
- Total tracks: 20
- Total duration: 01:12:21
- Texts: Soror mea, sponsa mea – The Song of Songs in the Convents of 16th- and 17th-Century Italy