Maria Rosa Coccia

Maria Rosa Coccia ( born June 4, 1759 in Rome, Italy, † before November 21, 1833 ibid ) was a Roman composer at the time of Wolfgang Amadeus Mozart and went parallel to him as a child prodigy in Rome. She qualified in 1774 as Maestra Compositora and Maestra di Capella Romana, which is unique in Roman history for a woman. Pope Clement XIV (1769-1774) had in Rome for centuries the dominant music making and music learning ban on women and girls lifted to counteract the Kastratentum. The benefited Coccia, yet loaded the male-dominated musical tradition of Rome and a feud of their musicians ( literally :) " artistic soaring " in their adolescence.

Life and study

Maria Rosa Coccia grew up as the oldest of the three daughters of Maria Angela Luzi and Antonio Coccia, a pharmacist on in Rome. Her musicality she showed as a child in singing, harpsichord playing, " ex tempore solfeggieren " (vocal improvisation ) and in the ability to read music " in all keys ." After class at a Saggia donna, a " wise woman ", probably a nun, she got a celebre maestro in singing and harpsichord, both names are not mentioned. Subsequently, she received several years of instruction in " all kinds of counterpoint " - and the fugal composition, particularly the well-kept in Rome "stile antico " ( church style) by Sante Pesci ( Giuseppe Pesci ), the bandmaster of the Liberian Basilica.

This church dates back to Pope Liberius, is one of the four great Roman basilicas and is also called " Santa Maria Maggiore ". As a former workplace of Giovanni Pierluigi da Palestrina was and is particularly committed to the traditional church music.

According to the Scriptures Elogio Storico della Signora Maria Rosa Coccia romana the Roman Abbate (priest) and Pastore Arcade Michele Mallio - Shepherd of the ( Roman ) Arcadia - got Coccia beyond early access to libraries, making them with libretto literature ( drama and Comedy ) could deal.

Under the December 20, 1772 we read in the diary of the Chiesa nova following entry:

Daniello " with the new music of the Roman Sig Rosa Coccia " In the evening a Composition with the title in the Oratory of the Chiesa Nuova among large crowds of nobility in the boxes and the citizens in the pews " sung. After the first part Gregorio P. Costanzi held by the Congregation of San Filippo Neri, a solemn moral response. The audience gave everything with applause. "

Three major musical and dramatic works Coccia 's are listed in a short time:

• Immortalized in the spiritual diary oratorio " Daniello nel Lago dei Leoni " ( Daniel in the lions' den ). Performed on December 20, 1772 within the traditional Advent concerts of the Oratory of St. Philip Neri Church of Santa Maria in Vallicella (in short: " Chiesa Nuova ").
• The opera L' Isola disabitata on a text by Pietro Metastasio ( 1773/74? ) Venue? .
• Intermediate listed at the Teatro Capranica.

Before the Roman Congregation of Santa Cecilia ( Academy of Music) Coccia completed in 1774 at his own request in written examination and a rigorous examination shall not thereby - 15 years old - the title of Maestra compositora and Maestra di Capella Romana. Thus, membership in the leading Accademia Filarmonica di Bologna would have been connected. Mozart received this following his sojourn in Rome at age 14. But for Coccia begins a year -long demeaning way and forth

Artistic and social situation

The centuries- long Musizierverbot for women in the church was abolished by Pope Clement XIV during his five - year term from 1769 to 1774, so that Maria Rosa Coccias musicality was registered grateful to her father, " I have no sons ." He provided a very good musical education of his daughter, who as a child prodigy had success in the church circles and in society. The description of their skills is similar to that of the young Mozart. The list of their musical works in childhood is extensive, unfortunately, the oratorio Daniello, the opera L' isola disabitata (Text: Pietro Metastasio ) and the letter only referred to by her father Intermediate ( " by Teatro Capranica " ) lost. It is believed that both music theater works at the Teatro Capranica were listed, as the dedicatee of the previous oratorio, Signora Duchessa D. Marianna Gaetani Sforza Cesarini, was among the sponsors of this theater.

Access to the professional musical life of Rome sat Maria Rosa Coccia by themselves by the Audit underwent mentioned that they successfully passed with the signature of the " Signori musici ," the Kapellmeister of Rome. This Kapellmeister of the four major basilicas were dominant in all musical matters and united to form the Congregatione di Santa Cecilia (now Academy of Music ). Without their permission no musician in Rome was allowed to play music in public, no composer publish music.

About Coccias 's head was soon after this test, a music theory feud over the "stile antico " began, the church in Rome closely guarded style. They had " positively assessed with regard to their gender " their inspection only. In the background was the concern of losing power of the Roman church musician. The feud in speech and argument dragged on for years and loaded Coccias youth. In particular, it was about whether Coccia could be included in the Accademia di Bologna filarmonica. It was not until 1779, after five years crossfire since its examination in 1774, it was confirmed in Bologna and the composer recognized as a member of the Academy. With Marianna Martines of them was thus one of the only women in this male-dominated society. The assessment by the Bolognese Academy is:

" ( The Board ) has once your exquisite compositions shown the other members that they have reviewed and widely praised. It is mandated (...) announce that (...) these are completely enough to distinguish you from all over the community as a deep, knowledgeable and well-reasoned professor of this science. "

Coccias compositions have been performed in many churches, but they never had the opportunity to lead a chapel in Rome. The occupation of their works reveals that Coccia could hardly expect an instrumental ensemble, as it belonged to a church office: Most are designed for singing with organ accompaniment; those with orchestral instruments were commissioned works. The cantata "Il Trionfo d' Enea ", written for vocal ensemble and orchestra, was created after their admission to the Academy of Bologna and is dedicated to the royal couple of Naples and Sicily.

According appeal letter to a pension in their later years, she could not put aside for their old age, because she had to support her parents and her younger sisters; she had " teaching and composing " spent their lives. Since it was seventy-four years old, work as a whole must be created that exceeds the current number of plants found far, judging only from one plant per year.

A letter Farinelli to the 16 -year-old composer

Undoubtedly Coccias success in their time high, the Confirm dedicated to her letters, sonnets and writings of eminent personalities: Among others, the poet Pietro Metastasio, the famous castrato Farinelli, " Padre " Martini and Italian poet of thirty sonnets.

The earliest form printed in Michele Mallios font Elogio Storico letter to Maria Rosa Coccia ( from the early days of the feud ) came from the castrato Farinelli. Coccia had visited him in November 1775 in his villa near Bologna, it played its harpsichords, accompanied him to the song and then sent him a composition.

" Your very welcome letter of the 1st of the month, accompanied by the artful composition that has produced your me well-known talent, is a proof of your kindness that the good Lord Gaetani gave me by emphasizing my small achievement and I owe the honor of your visit enabled, in which you played my harpsichords with exceptional art. I thank you for your sensitive accompaniment and I assure you my enthusiasm. A few days ago was the famous Padre Martini to eat with me, he and I, as a student of S. Cecilia [Music Academy in Rome ] have made you the justice that is worthy of your art, so I inform you to express my admiration. "

Works

Coccias early compositions to 1774

C -C -G -F -D -F

A Ms 194

Marianna Caetani Sforza Cesarini, Rome

December 20, 1772

Di Musica S.Cecilia Rome, G Libr XVIII

Lost music

In G [ untitled ]

Listed S A T B, only one line of text

• Dixit Dominus F ( Psalm 110), a otto pieno (two 4-part mixed choirs ) con organo 1775
• Dixit Dominus ( 2nd version ) a otto voci con concertato violini, viole, oboe, flauti, e corni da caccia. For the Grand Duke of Tuscany Pietro Leopoldo ( Leopold II, the future Emperor ) 1775
• Cantata a due Soprani (Minerva e la Musica ), Trombe, corni, oboi e archi, 1776, for Pietro Leopoldo
• Magnificat D, a quattro voci concertato con organo (1774? ) 1776
• Vespero per la festa di Santa Cecilia in 1776 ( by letter Antonio Coccia in Mallio ), lost
• Confitebor (Psalm ), a quattro concertato because due canti con RR e organo
• Salve regina G ( Antiphon ), a due voci, Canto ed Alto, organ.
• Listed Veni Creator Spiritus a quattro concertato e organo obbligato, 1777 Buon Monastery of Jesus, Monte Albotto
• Canto / Offertorio ( incomplete) for Luigi Gonzaga ( Luigi Valenti Gonzaga? )
• Tantum Ergo There, à canto solo ( hymn ), (Organ missing)
• Eructavit cor meum. Motetto a soprano solo con organo, for Annunciata Bonarelli ( another name Lo Iacono, Angela Serafina )
• Veni sponsa Christi a due Soprani, ( antiphon ) for Annunziata Bonarelli
• Euge serve bone in modico D, Motetto by Alto solo and organ
• ? qualche lagrime spargete ( from Semiramide? ), lost
• Laudate a Canto solo con ripieni ( instruments? )
• Dei Salmi per la Basilica Liberiana 1776, lost
• Quattro Salmi February 1778 for Maria Carolina di Napoli ( Maria Carolina of Austria ), lost
• Alcuni Salmi April 1779 lost to Maria I of Portugal
• Il Trionfo d' Enea, Cantata for four vocal soloists and orchestra, for Ferdinand IV ( Ferdinand I ) and Maria Carolina, score printing
• Arsinoe, Cantata per musica a quattro voci and orchestra. April 10, 1783. Augusta for Maria Amalia of Saxony ( Maria Amalia of Saxony ( 1757-1831 ), Princess of Zweibrücken
• In questo estremo addio Duetto in A major ( hymn ), for 2 sopranos and orchestra, 1785 ( Date of copy ) ( by RISM ) S. Marta Pezzella, Rome
• Angelus ad Pastores ait, Motetto in Pastoral. For 2 sopranos and organ, Autograph 1799

Modern Music Editions

Coccia, Maria Rosa:

• Dixit (1775 )

• Magnificat (1776 )

Literature and sources

• Irene nurture: Maria Rosa Coccia (1759-1833), is not correct, but masterful. In: Clara Mayer ( ed.): Bringing XIII - seven composers. Furore Edition 899, Kassel 2003, ISBN 3-927327-56-5, pp. 28-50.
• Candida Felici: Maria Rosa Coccia, Maestra Compositora Romana. Editore Colombo, Fondazione Adkins Chiti. Donne in Musica, Roma 2004, ISBN 88-86359-54-3.
• Michele Mallio: Elogio Storico Della Signora Maria Rosa Coccia Romana, Maestra Pubblica di Capella, Accademica Filarmonica di Bologna, e tra I Forti di Roma Trevia. Coll ' aggiunta di varie Lettere scritte a lei da Uomini illustri, eruditi ed, e di varj Componimenti poetici consecrati al Merito di lei. MDCCLXXX Rome ( 1780).
• Alberto Cametti: Notes on Maria Rosa Coccia. in: Gazzetta Musicale di Milano. 1900, 343-344.
• Danielle Roster: Popes and musicians. and neuters, Boys' Choir and singers. In: The great composers. Island Paperback, Frankfurt / Main 1998, ISBN 3-458-33816-0, pp. 89-94.
• Patrick Barbier: Histoire des Cast Council. Paris 1989.
• Biografica Dizionario degli Italiani. Instituto della Enciclopedia italiana Treccani, Volume 26, 1982, 508-10.
• O. E. German (ed.): Mozart. The documents of his life. Barenreiter Kassel, 1961.
• Music past and present ( MGG ). Edited by Friedrich Blume. Barenreiter -Verlag, Kassel / Basel 1949 ff ( 1), Volume 14, article " Capalti " ( included in the feud of the musicians of Rome to MR Coccia ).
• Callegari Laura Hill: L' Accademia Filarmonica di Bologna from 1600 to 1800. Bologna 1991 ( in letter from Antonio Coccia to Padre Martini ).
• Bianca Maria Antolini: Coccia, Maria Rosa. In: Alberto M. Ghisalberti (ed.): Biografico Dizionario degli Italiani (DBI ). Volume 26 ( Cironi - Collegno ), Istituto della Enciclopedia Italiana, Rome 1982 ( Italian).

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