Lucrezia Orsina Vizzana
Encyclopedia
Lucrezia Orsina Vizzana was an Italian singer, organist, and composer. She entered a Camaldolese
convent in Bologna
in 1598. She was taught by her aunt, Camilla Bombacci, who was the convent organist, and by Ottavio Vernizzi who was the unofficial music master. Vizzana's works are influenced by stile moderno (seconda prattica) music, especially the works of Claudio Monteverdi
.
Vizzana’s motets were published in Componimenti musicali de motetti concertati a 1 e più voci in 1623. They are mostly duets and solos with continuo and feature other characteristics of the stile modern. Furthermore, many convents used motets for double choir as a way of exploiting the musical gifts of the nuns in reaction to the decree from the Council of Trent that nuns must be confined within a convent. Vizzana’s “O invictissima Christi martir” is an example of this. This piece along with “Sonet vox tua in auribus cordis mei”; “Usquequo oblivisceris me in finem”; “O magnum mysterium”; “Ornaverunt faciem templi”; “Domine Dominus noster, quam admirabile”; and “Protector noster” can all be found in Martha Furman Schleifer and Sylvia Glickman’s Women Composers: Music through the Ages. However, interestingly, Vizzana’s music also reflects a much older practice of female spirituality stretching back to the later Middle Ages as opposed to the new post-Tridentine religious traditions for women. Most of her motets were created for feast days, reflecting many liturgical, artistic, and devotional moments in convent life. However, other motets allude to the inner strife in the convent and its decline from 1620 onward.
In 1622, an anonymous letter was sent to the Cardinal Archbishop Ludovico Ludovisi in Rome reporting many scandals and issues in the convent, especially the issue of conflict within the convent. These allegations were followed by a long investigation of the convent that caused much inner strife amongst the nuns. It was revealed that much of the inquietude and rivalries amongst the nuns resulted from the musical life of the convent. It is often believed that the stress of the turmoil lead to Vizzana’s early retirement from music and mental instability.
Camaldolese
The Camaldolese monks and nuns are part of the Benedictine family of monastic communities which follow the way of life outlined in the Rule of St. Benedict, written in the 6th century...
convent in Bologna
Bologna
Bologna is the capital city of Emilia-Romagna, in the Po Valley of Northern Italy. The city lies between the Po River and the Apennine Mountains, more specifically, between the Reno River and the Savena River. Bologna is a lively and cosmopolitan Italian college city, with spectacular history,...
in 1598. She was taught by her aunt, Camilla Bombacci, who was the convent organist, and by Ottavio Vernizzi who was the unofficial music master. Vizzana's works are influenced by stile moderno (seconda prattica) music, especially the works of Claudio Monteverdi
Claudio Monteverdi
Claudio Giovanni Antonio Monteverdi – 29 November 1643) was an Italian composer, gambist, and singer.Monteverdi's work, often regarded as revolutionary, marked the transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition – the...
.
Vizzana’s motets were published in Componimenti musicali de motetti concertati a 1 e più voci in 1623. They are mostly duets and solos with continuo and feature other characteristics of the stile modern. Furthermore, many convents used motets for double choir as a way of exploiting the musical gifts of the nuns in reaction to the decree from the Council of Trent that nuns must be confined within a convent. Vizzana’s “O invictissima Christi martir” is an example of this. This piece along with “Sonet vox tua in auribus cordis mei”; “Usquequo oblivisceris me in finem”; “O magnum mysterium”; “Ornaverunt faciem templi”; “Domine Dominus noster, quam admirabile”; and “Protector noster” can all be found in Martha Furman Schleifer and Sylvia Glickman’s Women Composers: Music through the Ages. However, interestingly, Vizzana’s music also reflects a much older practice of female spirituality stretching back to the later Middle Ages as opposed to the new post-Tridentine religious traditions for women. Most of her motets were created for feast days, reflecting many liturgical, artistic, and devotional moments in convent life. However, other motets allude to the inner strife in the convent and its decline from 1620 onward.
In 1622, an anonymous letter was sent to the Cardinal Archbishop Ludovico Ludovisi in Rome reporting many scandals and issues in the convent, especially the issue of conflict within the convent. These allegations were followed by a long investigation of the convent that caused much inner strife amongst the nuns. It was revealed that much of the inquietude and rivalries amongst the nuns resulted from the musical life of the convent. It is often believed that the stress of the turmoil lead to Vizzana’s early retirement from music and mental instability.