Magnificat

https://magnificat.bandcamp.com

MagnificatFor 20 years Magnificat has explored the emotionally charged music of the 17th Century, each season bringing together an assembly of internationally recognized musicians to present innovative programs that inspire the imagination. With dramatic flair and sensitivity to historical context, Magnificat imbues each concert with an infectious joy and a delight in musical make-believe.Cozzolani Salmi a otto voci (1650) by Magnificat - Cozzolani Complete Works Volume I, released 30 June 20131. Deus in adiutorium meum intende2. Dixit Dominus3. Confitebor tibi Domine4. Beatus Vir5. Laudate Pueri Primo6. Laetatus sum7. Nisi Dominus8. Magnificat Primo9. Magnificat Secondo10. Laudate Pueri Secondo11. Laudate Dominum omnes gentes12. O quam bonum es13. Venimus in altitudinem maris14. Quis audivit unquam tale?15. Venite sodales16. Gloria in altissimis17. Maria Magdalene stabat18. Tu dulcis, o bone Iesu19. O Caeli CivesMagnificat Warren Stewart, artistic director Catherine Webster, soprano Jennifer Ellis Kampani, soprano Ruth Escher, soprano Andrea Fullington, soprano Meg Bragle, alto Karen Clark, alto Jennifer Lane, alto Deborah Rentz-Moore, alto Suzanne Jubenville, alto Elizabeth Anker, alto Linda Liebschutz, alto John Dornenburg, violone David Tayler, theorbo Hanneke van Proosdij, organ Warren Stewart, conductorRecognized during her lifetime as one of the finest composers in Italy, Chiara Margarita Cozzolani spent her entire adult life within the four walls of the musically famous convent of Santa Radegonda in Milan. Contemporary accounts describe the huge crowds that filled the exterior church of the convent to hear the angelic voices of nuns singing Cozzolani's passionate and ecstatic music. Cozzolani’s collection of 8 Vespers psalms, 2 settings of the Magnificat, 8 motets for 2-5 voices, and a versicle and respond was published by the publishing house of Alessandro Vincenti in Venice. The dedication, signed on March 24, 1650, was inscribed to Alberto Badoer, the bishop of the small Venetian city of Crema not far from Milan. Some of the music in this volume seems to date from the 1649 Milanese visit of the new Queen of Spain, Maria Anna of Austria, and the fact that Cozzolani would choose such a relatively minor figure seems to show her seeking other points of support outside the traditional channels of Rome, Milan, and the Holy Roman Empire. Badoer, however, was by no means unmusical, as he had been the dedicatee of one of the more idiosyncratic editions of the 1640s, Giovanni Antonio Grossi’s Messa, e salmi bizarri (i.e. “witty” or "clever" psalms); Grossi himself would write motets for S. Radegonda’s singers, probably in the 1660s. The remarkable breadth of style and ingenuity represented in this collection rivals that of any the numerous publications of Vespers music from the century and firmly establishes Cozzolani as one of the finest composer of the Baroque, or any other era.

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