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Music in the Monastery of San Vito in Ferrara

ETF3140

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Edition Tre Fontane

Composer:  Aleotti - Raffaella

Arranger: Himmlische Klange

Instrumentation: SSATB

Period/Genre: Renaissance

Grade: Moderate - Difficult

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Raffaella Aleotti - (1575 - 1646)

The musical portrait of an unusual woman As the second of five daughters in the service of Duke Alfonso II d'Este Architect and engineer Giovanni Battista Aleotti (1546-1636) and his wife Giulia Vittoria Elisabetta was born in Ferrara in 1575 and on September 22, 1575 in the Parish Church of Santa Maria baptized in Vado/Ferrara. Her musical talent was discovered at an early age when she Listened to her older sister's harpsichord lessons and started playing the harpsichord herself to play. Johann Gottfried Walter writes: Aleotti (Vittoria) the second daughter of Gio.

Battista Aleotti from Argenta, was when their older sister initially of Alessandro Milleville, and then of Ercole Pasquini in who was informed of Music, always present in the fourth to fifth year of her age, unnoticed so much that she began within a year, so well with astonishment of the parents, as the latter informatoris himself, to play the arpicordo; became then informed about this good old man for two years with extremely good success, also on its performance in the one in Ferrara, which is particularly famous for its music Done nun monastery to S. Viti, in order to perfect oneself even better in the same. To Having reached the 14th year, she has remained in just the imaginary Closter, and has several Things composed, of which her father remembered above. 1593, under the title: Ghirlanda da Madrigali à 4 voci, 21. Pieces with Italian text, by the Guarini Poetry to be printed at Venice in 4to. Johann Gottfried Walter "Musicalisches Lexicon oder Musicalische Bibiothec" (Leipzig 1732) Vittoria gave up her civil name when she entered the monastery of San Vito took the monastery name Raffaella.

The nuns at the Convent of San Vito in Ferrara were known for their high musical standards known, not only concerning the singing and the organ, but also for the orchestra, which consisted of 23 singers and instrumentalists. Giovanni Maria Artusi (1540- 1613) describes in "L'Artusi overo delle imperffettioni della moderna musica" (1600), that the nuns of San Vito have a special wealth of instruments like Cornett (cornett), trombones, violins, viole bastards, double harps, lutes, cornamuses, flutes and a harpsichord. He praises the sound and intonation of the ensemble of the Sisters of San Vito as extraordinarily delicate and graceful, "as if that would have opened paradise itself" and described it as "the most outstanding most uniform and best proportioned in Italy".

The Bolognese patrician Ecole Bottrigari (1531-1612) also described the sound and the Intonation in San Vito as exceptionally good (graceful and highly refined) and he describes a Grand Concerto at the end of the 16th century, in which Vittoria Raffaella Aleotti as maestra di concerto, conducting her ensemble with a polished baton. This is considered the earliest evidence in literature for the use of a baton. Under the direction of their conductor Raffaella Aleotti, the ensemble of the nuns from San Vito in Ferrara had a special heyday and was far beyond the borders of Ferrara also known. After a musical life as an organist, composer and conductor, as a novice and prioress of the monastery of San Vito in Ferrara, Raffaella Aleotti died in Ferrara around 1646. She left to posterity two collections of wonderful madrigals and motets Ferrarese madrigal school.

 (Antiphon to the birth of Christ, Gospel of Luke 2, verse 13,14) Translation: And immediately there was with the angel the multitude of the heavenly hosts, who praised God and said: Glory to God in the highest and peace on earth and good will to the people, alleluia. The host of angels rejoices: for salvation has appeared.

Heida Vissing Munster, January 2021

_Score 9 pp. Parts 5 x 2pp._

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