Cozzolani (IT) (1 janv. 1602 – 1 janv. 1676)

Description:

• She was exposed to all the innovations of Venetian opera.
• Her motets are exposed with highly affected vocal writing.
• Even with her dramatically vocal textures, it doesn’t look inappropriate for an ecclesiastical setting. This differentiates her from her other secular colleagues.
• Her motets has a characteristic, expressive musical language of minimally voiced compositions
• suspensions and dissonances contrasting with the parts in parallel thirds and sixths,
• pauses affects,
• sudden harmonic contrasts,
• rapid repetitions of short phrases
• refrains and slightly varied repetitions of whole sections
• In the last two decades Cozzolani‘s music has become much better known, both by academic reappraisal, through the interest in compositions by women, and by the specialisation of various ancient music ensembles in unknown and unusual repertoire
• Donna Chiara Margarita Cozzolani deserves the highest praise ‘Illustrious’ (Chiara) by name and Margarita (Pearl) for the nobility of her spirit. In 1620 she acquired a certain fame in performing music and she published four music collections in 1640-1650.
• Cozzolani interpolates text sections, which leads to new theological statements.
• The intensity and dialogical structure of the biblical love poetry is connected with the compositional genre of musical dialogue.

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