Vittoria Aleotti

Vittoria Raffaella Aleotti ( baptized as Vittoria Elisabetta on September 22, 1575 in the parish church of Santa Maria in Vado / Ferrara, Italy; † uncertain, probably after 1646) was an Italian composer and organist.

Vittoria Raffaella Aleotti was the second of five daughters by Giovanni Battista Aleotti at the court of Duke Alfonso II d' Este in Ferrara. The Christian name Raffaella they took upon entering the Augustinian convent of San Vito in Ferrara in 1589 to, by whatever name they prioress of the monastery was later.

Life and work

To name issue

In music history has long been not decided whether under their two first names are not two different composers are to be understood, as were printed both Vittoria Aleotti and Raffaella Aleotti compositions.

After MGG 1 in 1974 were two sisters Aleotti, Vittoria and Raffaella, the Augustinian convent of San Vito in Ferrara. In contrast, it was after MGG 2 (only ) Vittoria which the monastery at age fourteen exchanged it changed its name to Raffaella upon entry.

After a Neglected article by Johann Gottfried Walther, there were two sisters who were given music lessons, the younger of them was Vittoria. Gregor Scherf calls every five daughters by name and the youngest child of the Son of GB Aleottis. After Scherf research both went, the oldest and the second daughter ( Vittoria) to the monastery of S. Vito. Vittoria took the monastery the name Suor Raffaella. Walther is their father from 1593 ( subsequently) published in Venice madrigal collection of " Ghirlanda e Marigali à 4 voci, 21 provided with italiänischen pieces of text, of the, Guarini poetry. '" To change your name as a nun, corresponds to the rites of a monastery. Under the name " Raffaella Aleotti " were also 1593 Cantiones Sacrae their à 5, 7, 8 & 10 v. [ OCES ] decantandae printed in Venice.

The name Vittoria not been diving since the age of 14 and entered the monastery ( 1588/1589 ) there on, confirming their name change. However, there were two releases under Vittoria's name outside the monastery ( 1591 and 1593), of which the initiates was from 1593, according to Johann Gottfried Walther from the father.

Living conditions in Ferrara, teaching and first compositions

The father Giovanni Battista Aleotti was as artistically influential architect, engineer, designer and ballet director (?) For 22 years, until the death of the Duke Alfonso II in 1597, committed to the Este court of Ferrara. He later built the Teatro Farnese in Parma.

Vittoria Aleotti grew up in artistically significant area on and got together with her older sister Beatrice Lucrezia by musicians from the Ferrarese court music lessons, as described by Johann Gottfried Walther. The teachers were the French composer Alessandro Mille Ville ( Paris * 1521, † 1589 Ferrara ) and his student, a native of Ferrara, Ercole Pasquini organist. First, the nearly five years of Vittoria only listened with her ​​older sister, after a year, she was taught by Pasquini. From the oldest was Aleotti - daughter, except her name and the process described by Walther lessons, nothing more is known.

The music at the Este court for centuries played a major role in Italy and has since the time of Alfonso II, the period of Mannerism, a special reputation as a " Ferrarese Madrigal School." Walther writes as much detail about the talent of the child Vittoria, as he had a special informant for this in his article ( 1532).

" Aleotti ( Vittoria) zweyte the daughter of Gio. Battista Aleotti Argenta was when her older sister was initially informiret by Alessandro Mille Ville, and afterwards by Ercole Pasquini in the Music, present at all times in the fourth to fünfften years of age, took hold unvermercket so much that they anfieng in year period, as well to play with astonishment of the parents when the latter Informatoris itself, on the Arpicordo ( harpsichord); was Zwey to this year with extremely good success of this good old man ( Pasquini ) informiret, done on its performance in the particularly because of the famous Music at Ferrara Nuns Closter S. Viti to perfectionieren even better pass in those [ ... ] "

After Walther she then " different things " composed. When her earliest publication appeared in 1591, the 5 -voice madrigal Di pallide viole in the collection Il Giardino de ' Musici Ferrara, printed in Venice. The father made ​​sure that Vittoria texts employed as a court secretary poet Giovanni Battista Guarini received for dubbing. Then Vittoria composed a personal collection of 21 ( worldly ) madrigals, which published her father in 1593 in Venice, in the same year when she qualified with a new name Raffaella with the pressure of their Sacrae cantiones as spiritual composer.

Keyboard Instruments in Ferrara

The playing of keyboard instruments was in Ferrara as early as the Renaissance flourished and led to organ art of Girolamo Frescobaldi. In the city there were valuable organs, also possessed the yard the famous " Clavicembalo grande, con tutti e tre generic Armonici ", which had been built by Don Nicola Vicentino. This one had 31 different tones and (normal is 12 ) corresponding to more keys, spread across two manuals for each octave. In Ferrara, it could be played only on the court and cathedral organist and conductor of the courtly instrumental music Luzzasco Luzzaschi apparently, the Walther the "best organists ," " so iemals has had Italy " describes. The klavieristisch gifted Vittoria is likely to have benefited from this extraordinary art.

Music in San Vito Monastery

That Raffaellas organ Arts in San Vito convent were praised, speaks for its identity with Vittoria. She was prioress of the monastery. Raffaela gave itself in 1593 spiritual motets out for ensembles of up to 10 voices: Sacrae Cantiones à 5, 7, 8 and 10 v. [ OCES ].

Whether the famous monastery of San Vito music with the also famous Concerto delle Donne of the court of Ferrara had in common, is not known. But it sure gave points of contact with the court and mutual visit the concerts. A concert review of a performance by the nuns at the ducal court is not yet verified. The here described, directing with a long, polished baton maestra del concerto (no name ) should have been Raffaella Aleotti.

In a description of Giovanni Artusi is to read that the nuns appeared not only as singers, but a variety Instruments played: horn, trombone, violin, viol bastards double harp, lute, bagpipes, flute and harpsichord. The Bolognese patricians and music scholars Ercole Bottrigari called the nun Raffaella as head of dreizundzwanzig music-playing nuns.

Works

Under the name Vittoria Aleotti published:

• Di pallide viole, 5 -voice madrigal, included in the Il Giardino de ' Musici Ferrara collection. Vincenti, Venice 1591st ( MGG After 1 wrongly called the " Vittorio " [ Aleotti ] instead of " Vittoria " [ Aleotti ]. )
• Ghirlanda de Madrigali a 4v. [ OCES ]. 21 madrigals on texts as Guarini. Vincenti, Venice 1593rd ( After Walther 1732 has been initiated, the pressure from the father. )

Under the name Raffaella Aleotti published:

• Sacrae Cantiones à 5, 7, 8 and 10 v. [ OCES ] decantandae. 18 sacred motets, including two of her teacher Ercole Pasquini. Amadino Vincenti, Venice 1593rd