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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
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However, 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
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in 1623, the only collection of music ever published by a
Bolognese nun. There are ten solo motets, eight duets, one trio, and one quartet all with continuo. The works feature other characteristics of the
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nuns resulted from the musical life of the convent. It is often believed that the stress of the turmoil led to
Vizzana's early retirement from music and mental instability.
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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
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Martha Furman
Schleifer and Sylvia Glickman. Women Composers: Music through the Ages. Vol. 1. New York: G.K. Hall, 1996. Print.
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that nuns must be confined within a convent, although
Vizzana’s publications did not include works for double choir. Vizzana's
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moments in convent life. However, other motets allude to the inner strife in the convent and its decline from 1620 onward.
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22:(also "Lucretia") (3 July 1590 – 7 May 1662) was an Italian singer, organist, and composer. She entered the
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in 1598. She was taught by her aunt, Camilla
Bombacci, who was the convent organist, and by
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Women's Voices across
Musical Worlds. Boston: Northeastern UP, 2004. Print.
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Disembodied Voices: Music and
Culture in an Early Modern Italian Convent.
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can all be found in Martha Furman
Schleifer and Sylvia Glickman's
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In 1622, an anonymous letter was sent to the
Cardinal Archbishop
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Berkeley: University of
California, 1995. 7,110,111, 115. Print.
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17th-century Italian Roman Catholic religious sisters and nuns
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215:: Nuns, Music, and Defiance in Seventeenth-Century Italy.
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Componimenti musicali de motetti concertati a l e più voci
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161:Sadie, Dr. Julie Anne; Samuel, Dr. Rhian (1994).
165:. W. W. Norton and Company. pp. 479–480.
163:The Norton/Grove Dictionary of Women Composers
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245:This article about an Italian composer is a
184:Craig A. Monson. "Lucrezia Orsina Vizzana",
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141:International Music Score Library Project
101:Women Composers: Music through the Ages.
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137:Free scores by Lucrezia Orsina Vizzana
93:Domine Dominus noster, quam admirabile
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77:Sonet vox tua in auribus cordis mei
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223:Published June 2012. Print.
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26:convent of S Christina in
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341:Italian composer stubs
316:Musicians from Bologna
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126:Also spelled Vizana
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187:Grove Music Online
85:O magnum mysterium
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