Laudate Dominum (soprano, 2 violins & continuo)

Composer: Chiara Margarita Cozzolani (b. 1602 - d. 1676)
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Composer: Chiara Margarita Cozzolani (b. 1602 - d. 1676)

Performance date: 30/06/2019

Venue: St. Brendan’s Church

Composition Year: 1602 - 1676

Duration: 00:06:18

Recording Engineer: Gar Duffy, RTÉ

Instrumentation Category:Baroque Ensemble

Instrumentation Other: s-solo, 2vn, vc, hpd

Artists: Ensemble Dagda (Clodagh Kinsella [soprano], Caitríona O'Mahony, Marja Gaynor [violins], Norah O'Leary [cello], Kieran Finnegan [harpsicord]) - [baroque ensemble]

Cracking down on the music-making of nuns saw the
Vatican issuing one ban after another – on polyphony, on instruments, on
external music teachers.
Cozzolani’s convent of Santa Radegonda
could trade on its fame to battle for autonomy in the face of the
Vatican’s demands. Well-known for its musicality across Italy, a
contemporary letter said that the nuns of Santa Radegonda of Milan
are gifted with such rare and exquisite talents in music that they are
acknowledged to be the best singers of Italy. They wear the Cassinese
habits of St. Benedict,, but they seem to any listener to be white and
melodious swans, who fill hearts with wonder, and spirit away tongues in
their praise. Among these sisters, Donna Chiara Margarita Cozzolani
merits the highest praise…
Cozzolani had rapidly gained
recognition for her talent as a singer and published her works during
the 1640s and 50s, contemporaneously with Francesca Caccini in

composing career seems to have ended with her appointment as Abbess of
the Convent. As Abbess, Cozzolani came into conflict with the
authorities, particularly archbishop Alfonso Litta. Her works suggest
why. Polyphony was forbidden apart from high holidays and the only
appropriate instruments were keyboards, and if absolutely necessary,
viol. Cozzolani’s larger works are for collections of up to 8 voices in
polyphony, complete with low parts which would likely have been filled
in by Santa Radegonda’s extraordinary trombone players, a most
inappropriate instrument for women in general and nuns in particular.

her fellow nun-composers, Cozzolani’s music is no bloodless piety. Her
texts tend towards the erotic, with some imagery as intense as any of
Barbara Strozzi’s titillating songs. Amongst her Concerti Sacri is a
substantial motet dwelling on drinking the life-giving milk from the
breast of the Virgin, and the life-giving blood of Christ from his
wounds of the Cross.

Dominum omnes gentes;

the Lord all nations;

eum omnes populi.

him all peoples.

Quoniam confirmata est super nos misericordia ejus,

his merciful kindness is ever greater towards us,

veritas Domini manet.

the truth of the Lord endures.

Gloria Patri et Filio et Spirito Sancto

be to the Father, the Son and the Holy Spirit

sicut erat in principio et nunc et semper

it was in the beginning, is now and ever shall be.

saecula saeculorum

without end.