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Magnificat
a blog about the ensemble Magnificat and the art and culture of the 17th Century
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For our upcoming production of L’Amfiparnaso on March 18-20, Magnificat will be joined by Joseph Dieffenbacher, Emilia Sumelius-Beuscher and Stephen Buescher from the Dell’Arte Company based in Blue Lake in Humboldt County California. Dell’Arte International was founded by Carlo Mazzone-Clementi and Jane Hill in Berkeley in 1971 to bring the commedia tradition to the United States and to develop actor-creators through training in mime, mask, movement and ensemble creation.

A native of Padua, Mazzone was a childhood friend of sculptor Amleto Sartori, and Marcel Marceau’s first Italian partner. As Jacques Lecoq’s assistant for eight years during Lecoq’s Italian sojourn. Carlo was part of the nucleus of artists who reinvented the Italian theatre, commedia, and mask work after World War II in Italy. He came to the US in 1959 and introduced Sartori’s masks to America.

Commedia is the root form for the western actor and influenced actors, directors, playwrights and composers in Europe, Russia, Scandinavia and beyond. Through this form we investigate the human comedy. The hallmarks of commedia—articulate physicality combined with verbal wit; the art of improviso; the play of appetites in stock characters; the skill of ensemble playing—this is the great legacy to be investigated by every contemporary actor.

Over forty years, Dell’Arte International has been a center for the exploration, development, training and performance of the actor-creator. Its mission is to employ and revitalize the traditional physical theatre forms to explore contemporary concerns. Dell’Arte is made up of a professional touring company; a fulltime professional training school offering MFA and certificate programs; the annual summer Mad River Festival; a youth academy; and study abroad programs.

As one of a handful of rural professional ensemble theatres in the United States, Dell’Arte is internationally recognized for its unique contribution to American theatre via its non-urban point of view, its 40 year history of ensemble practice, its work to push the boundaries of physical theatre forms in professional productions, and its actor-training programs. Read More at the Dell’Arte website.

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Magnificat is delighted to welcome Nigel North for our upcoming performances of Orazio Vecchi’s L’Amfiparnaso on the weekend of March 18-20. One of the most respected lutenists in the world, Nigel has enjoyed a remarkable performing career in early operas, baroque orchestras, chamber groups, as a soloist and accompanist.

Nigel has made well over a hundred recordings and appeared with the Early Music Consort, the Deller Consort, the English Concert, Academy Of Ancient Music, the Taverner Choir and Players, the Schütz Choir and Consort, Red Byrd, Brandenburg Consort, the Orchestra of the Age of Enlightenment, Fretwork, The Purcell Quartet, Concordia, Trio and Ensemble Sonnerie, London Baroque, Ensemble Sans Souci, the Berlin Barocke Compagney and many other ensembles.

In 1988, together with Andrew Manze and John Toll, Nigel formed Romanesca, an ensemble specializing in 17th Century music that has appeared in major festivals and concert series in Austria, Germany, France, Spain, Italy, Israel, USA, Canada, England, Hungary and Slovenia. An exclusive recording contract from with Harmonia Mundi (USA) has resulted in 7 releases bringing several awards (including “Gramophone” and “Edison” awards for their recordings of Biber’s Sonatas).

For over 20 years Nigel was Professor of Lute at the Guildhall School of Music and Drama, in London; from 1993-1999 he was Professor at the Hochschule der Künste Berlin; 2005-2207 he was Lute Professor at the Royal Conservatory in Den Haag Netherlands. Since 1999, he has been Professor of Lute at the Early Music Institute at Indiana University in Bloomington.

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We’ve posted a gallery of photos here and on our Flickr page from our recent performances of music by women of the 17th Century. On her blog lies like truth, Chloe Veltman described the final concert of the set at St. Luke’s in San Francisco.

A knock-out program of works by 17th century women composers featuring the ardent, beveled singing voice of Jennifer Ellis Kampani, whom I am beginning to adore almost as much as Lorraine Hunt Lieberson, my favorite vocalist of all time. The musicians, led by the group’s artistic director, Warren Stewart, all looked like they were having a blast while playing. The music was varied and rich, involving everything from a heartfelt sacred song (“Volo Jesum”) by Isabella Leonarda to La Passage de la Mer Rouge, a colorful and dramatic cantata by Elisabeth Jacquet de la Guerre, to gorgeous secular pieces by Francesca Caccini and Barbara Strozzi. A few weeks ago, Warren appeared on VoiceBox, my weekly public radio show all about singing and vocal music, to talk about this repertoire. I fell in love with it then and am completely obsessed now.

[Show as slideshow] [View with PicLens] Jennifer Ellis Kampani at St. Luke's A rehearsal break in Piedmont Keyboards at St. Mark's Jillon Stoppels Dupree at St. Luke's John in rehearsal in Piedmont Soundcheck at St. Luke's Before the St. Luke's concert Jillon and Rob Rob and John Rob in Piedmont Tuning before the concert at St. Mark's Jacquet de la Guerre Trio Sonata
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The four women represented on Magnificat’s program this weekend were each exceptionally gifted musicians who benefitted from being born into families that offered some combination of musical tradition, affluence, influence or aristocratic patronage that allowed them the chance to develop their talents. The different paths each of their lives took reflect changes in society that allowed the first flowering of music by women in Western history: the availability of private music education outside of ecclesiastical institutions, the emergence of careers for women singers at court and on the stage, the rise of polyphonic music in convents, and the growth of the music publishing industry. Nevertheless, the opportunities available for women to pursue musical careers remained very limited making the individual achievements of each of these women remarkable. But their music is compelling not merely because of it was written at a time characterized by restrictive attitudes towards the public artistic expression of women, but because of its inherent genius. These were four extraordinary musicians and they bequeathed to us refined and powerful compositions of the highest caliber.

Francesca Caccini, daughter of the renowned singer and composer Giulio Caccini, was born in Florence, and received a humanistic education (Latin, some Greek, as well as modern languages and literature, mathematics) in addition to early musical training with her father. Her first recorded appearance in public is as a singer in the all-sung stage works her father composed for the wedding of Henry IV of France and Maria de Medici in 1600. In 1604 when the entire Caccini family visited France, Henry praised her singing effusively—”you are the best singer in all of France”—and asked her to stay at his court; however the Florentine officials denied his request, and she returned to Italy, where she taught, performed and composed from her father’s home. In 1607 her composition of a Carnival entertainment entitled La stiava seems to have led to her hiring as a musician in the service of the Medici court. That same year she married fellow court musician Giovanni Battista Signorini, with whom she would have one child, Margherita, born in 1622.

In her early life Caccini performed with her parents, her half-brother Pompeo, her sister Settimia, and possibly other unnamed Caccini pupils in an ensemble contemporaries referred to as le donne di Giulio Romano. After she was hired by the court, she continued to perform with the family ensemble until Settimia’s marriage and resulting move to Mantua caused its breakup. Caccini served the Medici court as a teacher, chamber singer, rehearsal coach and composer of both chamber and stage music until early 1627. By 1614 she was the court’s most highly paid musician, in no small part because her musical virtuosity so well exemplified an idea of female excellence projected by Tuscany’s de facto Regent, Granduchess Christine de Lorraine.

Caccini is believed to have been a quick and prolific composer, equal in productivity to her court colleagues Jacopo Peri and Marco da Gagliano. Very little of her music survives. Most of her stage music was composed for performance in comedies by poet Michelangelo Buonarroti the younger (grand-nephew of the artist) such as La Tancia (1613), Il passatempo (1614) and La fiera (1619). In 1618 she published a collection of thirty-six solo songs and soprano/bass duets (Il primo libro delle musiche) that is a compendium of contemporary styles, ranging from intensely moving, harmonically adventurous laments to joyful sacred songs in Italian and Latin to witty strophic songs about the joys and perils of romantic love. In winter 1625 Caccini composed all the music for a “comedy-ballet” entitled La liberazione di Ruggiero dall’isola d’Alcina that was performed for the visiting crown prince of Poland and which Magnificat presented in October 2009.

After Caccini’s first husband died in December 1626, she quickly arranged to marry again in October, 1627, this time to a bachelor, melophile nobleman in Lucca, Tommaso Raffaelli. She lived in Raffaelli’s Lucchese homes, apparently bearing a son and having some musical relationship to the Buonvisi family in Lucca, until his death in 1630. Although as the wife of a nobleman she had declined at least one request to perform (in Parma, in 1628), once she was widowed Caccini immediately tried to return to Medici service. Her return delayed by the plagues of 1630-33, by 1634 Caccini was back in Florence with her two children, serving the court as music teacher to her daughter Margherita and to the Medici princesses who lived at or frequently visited the convent of La Crocetta, and composing and performing chamber music and minor entertainments for the women’s court. Caccini left Medici service on 8 May 1641, and disappeared from the public record.

Barbara Strozzi had the good fortune to be born into a world of creativity, intellectual ferment, and artistic freedom. She made a mark as composer and singer, eventually publishing eight collections of songs – more music in print during her lifetime than even the most famous composers of her day – without the support of the Church or the patronage of a noble house. Her works were included in important collections of song, which found their way to the rest of Europe and England. Yet she died in obscurity in Padua in 1677 with little wealth or property.

Born in 1619 in Venice, Barbara was baptized on August 6 at the Santa Sofia parish. At that time, Venice was at its cultural peak, a city of wealth, peace, academic curiosity, and musical innovation. In addition to the luck of time and place, Barbara grew up in a household frequented by the greatest literary and musical minds of the age. The adopted daughter of poet Giulio Strozzi was most likely his natural daughter, recognized or ‘legitimized’ in his will of 1628 as his figliuola elettiva. Her mother Isabella lived in the same household as Giulio and was his principle heir until Barbara should come of age.

Though born in Venice, Giulio, himself the illegitimate and later recognized son of Roberto Strozzi, was nonetheless a member of one of the most powerful families of Florence, second only to the Medici in wealth and influence. That the Strozzi name was recognized far and wide may have assisted Giulio in his ability to mix with many levels of Italian society. He was the founder of several accademie or groups of creative intellectuals, and was an influential member of the Accademia degli Incogniti formed by the writer Giovanni Francesco Loredano in Venice. The Incogniti counted among its participants famous authors, poets, philosophers, and musicians, possibly including the great Monteverdi. It was into this milieu that young Barbara was introduced as a singer and composer.

In 1724, the imminent theorist and collector music Sébastian de Brossard wrote in praise of the works of Isabella Leonarda that “all of the works of this illustrious and incomparable composer are so beautiful, so gracious, so brilliant and at the same time so knowledgeable and so wise, that my great regret is in not having them all.”

Isabella was born into a noble family of Novara in Piedmont in 1620. Little is known of Isabella’s musical education, though it has been suggested that she may have studied with Gasparo Casati, maestro di cappella at the Novara Cathedral from 1635-1641. Two of Isabella’s works were included by the composer in a collection of sacred concerti published in 1641.

Isabella entered the convent of Saint Ursula in Novarra in 1636 and remained there for the rest of her long life. A document from 1658 identifies Isabella as music instructor at the convent as well as “mother and clerk for her congregation.” By 1676 she had attained the rank of mother superior and by 1693, mother vicar. Easily the most prolific woman composer of the century, she published twenty collections of music, containing over 200 compositions that feature examples of nearly every sacred genre. In 1693, she became the first woman to publish instrumental sonatas with a collection that included eleven trio sonatas and the extraordinary solo violin sonata on our program. The multi-sectional motet Volo Jesum, is drawn from her third published collection of sacred vocal music.

Élisabeth Jacquet de la Guerre was an accomplished performer, renowned as a singer and a harpsichordist. In the dedication to her first collection of pieces for harpsichord in 1687, Élisabeth recalled that already when she was five years old King Louis XIV had recognized in her “a disposition for playing the harpsichord.” So impressed was the Sun King that he arranged for her education and support, which was supervised by one of the King’s mistresses Madame de Montespan.

As an adult, Élisabeth was active as a teacher as well as a performer and was a musical hostess whose in-house concerts attracted the most musically discerning Parisians and visitors to Paris. For five decades she kept herself at the center of musical life in Paris and Versailles. But she was able to expand the range of possibilities available to women: unlike other women of her day, she was a composer of music for keyboard, for violins, for voice, for chorus, and for the stage, and she actively pursued the publication of her composition. She had sufficient stature, connections, and savoir-faire to negotiate successfully the tricky process of having an opera produced by the Accadémie royale de musique. Such a range of accomplishments would have been remarkable for anybody, regardless of gender.

The four works by Élisabeth on our program give a glimpse of the tremendous range of her publications. The ‘unmeasured’ prelude, which opens the concert is characteristic the quasi-improvisational genre that evolved in French harpsichord in the second half of the 17th century.  Her four trio sonatas, which were not published during her lifetime and survive only in manuscript, are among the first such sonatas in France. La Passage de la Mer Rouge is one of six sacred cantatas she published in the first years of the 18th century and La Provençale is one of several of her drinking songs that were published in Ballard’s series Airs serieux et à boire between 1710 and 1724.

These notes were drawn in part from the published work of Suzanne G. Cusick, Stewart Carter, Candace Manger and Mary Cyr.

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Rob Diggins and Jillon Stoppels Dupree

In addition to vocal works by women composers, Magnificat’s upcoming program will include a trio sonata by Élisabeth Jacquet de la Guerre and a sonata for solo violin and continuo by Isabella Leonarda. In 1693, Isabella published her op. 16, a collection of twelve sonatas, the first such publication by a woman. Eleven of the sonatas are for two violins and continuo but the collection concludes with an extraordinary virtuoso work for solo violin, which will be performed on our program by Rob Diggins and Jillon Stoppels Dupree.

Through-composed in seven sections, the solo sonata is stylistically closer to the middle of the 17th century than the last decade – more like Marini or Uccelini than Corelli. It is harmonically adventurous and alternates free quasi-improvisational sections with more structured “arias” and dance-like passages.

Rob has been a fixture in Magnificat’s concerts since returning to California from his studies in Holland in 1994. He has performed Isabella’s solo sonata in two programs with Magnificat: first in 2003 on a program devoted to Isabella’s music and again last summer in our CD release party at Yoshi’s in San Francisco.

Here’s a recording from 2003 in which Rob is joined by Warren Stewart, violoncello; David Tayler, theorbo and Hanneke van Proosdij, harpsichord.

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In the dedication to her first collection of pieces for harpsichord in 1687, Élisabeth Jacquet de la Guerre recalled that already when she was five years old King Louis XIV had recognized in her “a disposition for playing the harpsichord.” So impressed was the Sun King that he arranged for her education and support. When Élisabeth was twelve, the Mercure Gallant, the journal of the French court, reported:

There is a prodigy that has been appearing here in Paris for four years now. She sings the most difficult music at sight. She accompanies herself and she accompanies others to sing, on the harpsichord, which she plays in a style that cannot be imitated. She composes pieces, and she plays them in all the keys that one asks of her.

The following year, the same journal declared Élisabeth “the marvel of our century.”

Mary Cyr begins the thorough and engaging biographical essay accompanying her recent edition of Elisabeth’s complete works with the observation that “something of this sense of marvel seems to have adhered to Jacquet de la Guerre throughout her career–no doubt in part because she was a child prodigy and in part because she was an exceptional achiever in a community in which opportunities for the achievement were available mostly to men.” Cyr suggests that Élisabeth was perhaps the most successful woman in the history of French music:

She was an accomplished performer, renowned as a singer and a harpsichordist. She was a musical hostess whose in-house concerts attracted the most musically discerning Parisians and visitors to Paris. For five decades she kept herself at the center of musical life in Paris and Versailles. But she was able to expand the range of possibilities available to women: unlike other women of her day, she was a composer of music for keyboard, for violins, for voice, for chorus, and for the stage, and she actively pursued the publication of her compositions… She had sufficient stature, connections, and savoir-faire to negotiate successfully the tricky process of having an opera produced by the Accadémie royale de musique. Such a range of accomplishments would have been remarkable for anybody, regardless of gender.

The exquisite quality of the impressive body of work that has come down to us reveal a master composer and provide some glimpse of her extraordinary gift as a performer. Beyond sheer technical display, reflecting her mastery of both vocal and instrumental idioms, her music displays a refined sensitivity to the drama and character, whether in setting a text our in purely instrumental works.

Magnificat will perform Élisabeth’s musical description of the Israelites passage through the Red Sea, as well as selections from her Pieces de claveçin and Trio Sonatas in concerts on the weekend of February 4-6.

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Jennifer Ellis Kampani On the weekend of February 4-6, Magnificat will present a program of music by women composers of the 17th century that will feature soprano Jennifer Ellis Kampani. Since her memorable Magnificat debut in the role of Gelosia in Marco Marrazoli’s opera Il Capriccio in 1997, Jennifer has appeared in every Magnificat season. Her credits include music by Charpentier, Schütz, Monteverdi, Rovetta, Carrisimi, and many others. She features prominently on Magnificat’s recordings of the complete works of Chiara Margarita Cozzolani and has appeared on several Magnificat tours.

“Jennie’s voice has been integral to Magnificat’s sound over the past decade,” noted artistic director Warren Stewart. “The passion, love and energy that she brings to every performance is inspiring to audiences and her fellow musicians alike.”

In addition to her work with Magnificat, Jennifer has performed recently with the Washington Bach Consort, the Bach Choir of Bethlehem and the New York Collegium under Andrew Parrott. She was featured artist in Le Tournoi de Chauvency, a Medieval opera production with Francesca Lattuada and Ensemble Aziman, which toured Europe. She has also performed with the Richmond Symphony, the Bach Sinfonia, and the Handel Choir of Baltimore. Her international career has included appearances with American Bach Soloists, Portland Baroque Orchestra, Santa Fe Pro Musica, Seattle Baroque Orchestra, Opera Lafayette, Apollo’s Fire, Musica Angelica, Washington Catherdral Choral Society, Atlanta Baroque Orchestra, Ensemble Solamente (Budapest, Hungary), Ensemble Tourbillon (Prague, Czech Republic), and Musica Aeterna (Bratislava, Slovakia). In addition, Jennifer has sung with the Mark Morris Dance Group and the Charlotte Symphony. Opera highlights include leading roles in Handel’s Acis and Galatea, Blow’s Venus and Adonis, Pergolesi’s La Serva Padrona, Duron’s zarzuela Salir el Amor del Mundo, Handel’s Semele, and Purcell’s Dido and Aeneas.

A specialist in the music of Spain and Latin America, Jennifer has toured villancicos and zarzuelas extensively with Richard Savino and El Mundo and has performed on programs with Andrew Lawrence-King. She has been heard in many concert series and festivals including Aston Magna, Houston Early Music, Music Before 1800, Miami Tropical Baroque, Connecticut Early Music, Carmel Bach, Pacific Music Festival, and the Berkeley and Boston Early Music Festivals. Jennifer has recorded Villancicos y Cantadas and The Essential Giuliani for Koch, the works of Cozzolani for Musica Omnia, and Carissimi Motets and Cantatas for Hungaroton. She was awarded finalist in the 2004 Early Music America Medieval/Renaissance Competition, first runner up at the 2000 Bethlehem Bach Vocal Competition, and the Adam’s Fellowship at the Carmel Bach Festival. Born in San Francisco and a graduate of the University of Michigan and the Guildhall School of Music in London, Jennifer currently lives in Detroit.

Tickets for Jennifer’s performances are available here. E-tickets are also available and can be ordered here.

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Isabella Leonarda is one of four women composers whose music Magnificat will explore in our concerts on the weekend of February 4-6 that will feature soprano Jennifer Ellis Kampani.

Isabella LeonardaIn 1724, the imminent theorist and collector music Sébastian de Brossard wrote in praise of the works of Isabella Leonarda that “all of the works of this illustrious and incomparable composer are so beautiful, so gracious, so brilliant and at the same time so knowledgeable and so wise, that my great regret is in not having them all.”

Isabella was born into a noble family of Novara in Piedmont in 1620. Little is known of Isabella’s musical education, though it has been suggested that she may have studied with Gasparo Casati, maestro di cappella at the Novara Cathedral from 1635-1641. Two of Isabella’s works were included by the composer in a collection of sacred concerti published in 1641.

Isabella entered the convent of Saint Ursula in Novarra in 1636 and remained there for the rest of her long life. A document from 1658 identifies Isabella as music instructor at the convent as well as “mother and clerk for her congregation.” By 1676 she had attained the rank of mother superior and by 1693, mother vicar.

Easily the most prolific woman composer of the century, she published twenty collections of music, containing over 200 compositions that feature examples of nearly every sacred genre. In 1693, she became the first woman to publish instrumental sonatas.

In 2003, Magnificat presented a program devoted to Isabella’s music for Vespers. Her setting of the psalm Laetatus sum is sung soprano Catherine Webster in the following live recording from those concerts.

Isabella’s instrumental works, which appeared in 1693, are apparently the earliest published sonatas by a woman. The collection consists of eleven trio sonatas and one sonata for solo violin and continuo. In our concerts, Rob Diggins will perform one of her most harmonically adventurous works, the Sonata duodecima, an extended work in seven sections. This live recording comes from the same concert in 2003.

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Suzanne Cusick has graciously provided the following essay on Francesca Caccini and La Liberazione di Ruggiero. The essay is an adaptation of remarks made on February 3, 2006 at Smith College on the occasion of a performance of La Liberazione directed by Drew Minter. The essay benefits from Professor Cusick’s lifelong research into this remarkable woman and much of the material became part of her extraordinary monograph published earlier this summer: Francesca Caccini at the Medici Court: Music and the Circulation of Power (2009, University of Chicago Press. ISBN 0-226-13212-9).

Francesca Caccini

Francesca Caccini

Francesca Caccini was born in mid-September 1587, the first-born child of two singers then on salary to produce chamber and theatre music for the Medici court–Lucia Gagnolandi, and Giulio Caccini (who was himself the second son of an ambitious wood dealer from Pisa). By 1587 Giulio was already one of the best-known singers and singing teachers of his generation, and the one professional singer known to have regularly participated in the conversations at courtier Giovanni de’Bardi’s Fiesole villa (known as La Camerata) that are supposed to have led to the two most stunning musical innovations of the 17th-century–the invention of a new kind of solo song, and the closely-related invention of new ways of setting plays to music that led directly to the emergence of opera as a genre.

At 13 Francesca sang in the first more-or-less publicly performed opera, L’Euridice, joining her sister Settimia, her step-mother Margerita, and various other pupils of her father to sing the female and the choral parts of the show that had been assigned to Giulio’s composition. At 17, she so impressed the King of France, Henri IV, with the literary sensitivity of her singing in French that the King asked to have her as a musical servant to his household. In the winter before she turned 20 she composed her first theatrical work for the Medici court–a kind of mock sword fight preceded by musico-dramatic dialogue called a barriera. The show’s success seems to have led directly to her hiring by the Medici court as a musica (an all-round musical servant) two months after her 20th birthday; in keeping with local custom, she was married to another musical servant the same week she appeared on the court’s payroll (although, contrary to the prevailing custom, her dowry was paid by her father, not by the court).

According to a biographical sketch penned between 1627 and 1630 by a man who had then known her as a court colleague for 15 years, Cristoforo Bronzini, the adult Francesca was an industrious, talkative woman who compensated by talent, charm, cheerfulness and gracious manners for the fact that, in his words, “she had not been well endowed by nature”.  Francesca had been alone among her father Giulio’s 10 children in receiving something close to a humanist education. This “girl of the sharpest intelligence”, as Bronzini called her, was taught Latin, some Greek, rhetoric, grammar, and languages well enough that she was remembered for writing, as a 12-year-old, a commentary on books 3 and 4 of the Aeneid, and for her adult ability to improvise songs to poetry in Latin, Italian, French, Spanish, German, and several Italian dialects. Constantly eager to learn new things, Francesca seems to have been especially interested in mathematics–arithmetic, geometry and astrology–in the occult sciences, and in philosophy, which, Bronzini says, “she would have studied further had she been able, like Astenia and some others, to wear boy’s clothing to attend the public schools”. Her musical studies, he tells us, were at first a minor part of her education, pursued as a pastime, and “to please her father”.

By the time she impressed the King of France, she was known as much for her skills on the harp, harpsichord, lute, theorbo and guitar as for her singing, and she was said to be able to play any stringed instrument well. Sometime before she was 20, Tuscan Granduchess Christine de Lorraine noticed her talent, and arranged for her to study counterpoint, to marry a handsome, impoverished, respectable tenor on the court’s staff, Giovanni Battista Signorini, and to be hired as a musician of the Granducal court.

In the 20 years that followed, Francesca Caccini performed regularly for the private pleasure of the Medici family–that is, for two Grand Dukes, and for their wives, children, cousins, nephews, nieces, and guests. Annually, during the last three days of Holy Week, Florentine melophiles could be sure of hearing her publicly, when she participated in the poly-choral performances of “the Offices”, singing from the balcony, and behind the grate where the ruling family themselves sat–as if her voice, mixing with those of her own family and pupils, sang in the place of the rulers’. Witnesses to her performances reported that:

“…whenever it suited her, this same woman …could by her singing and playing kindle astonishment and boldness in the breasts of her listeners, so that they would agree to any undertaking, no matter how burdensome…with the soft sound of her playing and the sweetness of her song she invited every breast (even if opposed to chaste intentions) to pure self-containment and integrity…as matched her own…”

In addition, Francesca composed hundreds of songs and duets in the new style her father claimed to have invented, all but 36 of them lost; she taught the daughters of Medici servants or of Florentine professionals who aspired to musical positions at court, paid for her work either by the court or by the girls’ parents, and she taught music to the Medici children, to the daughters of their favorite government ministers, and perhaps to the daughter of Galileo (in whose home conversazione she is known to have participated); and, often collaborating with colleagues Marco da Gagliano and Jacopo Peri,  she composed some of the music for at least 17 court-based entertainments–balli, comedies for Carnival, mascherate, sacred operas–many of them shows authored by  and little shows put on by and for the households of the two Medici Grand Duchesses (that is, their dame and donne, their children, and such professionals as were needed to serve as ‘ringers’ or onstage coaches–these last were usually Caccini herself, along with some of her artisan-class pupils).

The show that Magnificat will present October 16-18, La liberazione di Ruggiero, is the only one of these  to survive nearly intact (excerpts from several others exist). When she got the gig to compose it (probably working from a barely-sketched libretto and scenic plan), Francesca was the highest paid musician at the Medici court, an intimate of the royal’s domestic spaces (though always a servant in their eyes), and a person whose special gifts to the court were her ability as a composer to make her patrons “laugh from the heart” and her ability, as both a singer and musician, “to make her listeners do whatever she wanted…”

By the time Caccini’s first husband died in late December 1626, she had borne him only one child, Margerita, born 14 years after her parents married. Left only with the property her own dowry had bought, the household goods her husband’s will specified had all been purchased with her salary, and a nice collection of jewels given to her by those who admired her performances, she arranged immediately to remarry.

Two weeks after her 40th birthday, she married a minor nobleman from Lucca, Tomaso Raffaelli, a man about whom others noted his intense melophilia, the richness of his instrument collection, and his Ganymede-like manner. When Raffaelli died three years later, Francesca had borne him a son. As Raffaelli’s widow and the guardian of his noble son, Francesca enjoyed the lifelong usufruct of his estate and something even more precious–a tenuous but plausible hold on the noble status for which her education but *not* her 20 years of hard work had prepared her. She returned to Florence in 1634, where she again served the Medici women (never singing again in public, but apparently making music and teaching the princesses in their convent home) until her daughter Margherita was settled in life–life as a virtuosa musician in a convent that adjoined the principal Medici palace–in 1640.

In May, 1641, Francesca left Medici service forever, and disappeared from the public record.

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St. Luke's Episcopal Church, San FranciscoMagnificat’s concert on Sunday February 6 will take place at St. Luke’s Episcopal Church on Clay and Van Ness in San Francisco rather than our usual venue of St. Mark’s Lutheran. While this will be the first Magnificat  series concert at St. Luke’s, our affiliate the Jubilate Orchestra has performed several times with the choir and former St. Luke’s music director David Farr was one of Magnificat’s original board members in 1989.

The parish of St. Luke’s was founded in 1868 and was first located in a building at 1625 Pacific Avenue. In 1884, the original wooden church was placed on rollers and moved to the parish’s current location at the corner of Van Ness and Clay. During the next decade, the church was expanded twice, and its membership grew to be the largest Episcopal congregation on the Pacific coast and a new church was built. This magnificent church, designed by Albert Sutton, was constructed of brick covered in rough, blue-grey sandstone. It was consecrated in 1900 and seated close to a thousand people.

Unfortunately, this church was utterly destroyed in the 1906 earthquake and fire. The vestry retained Benjamin Geer McDougall as architect for the beautiful French Gothic sanctuary built in 1910. The worship experience is enhanced by the building’s many stained-glass windows, especially the east window over the altar and those which flank the nave on its north and south sides. The altar window, which depicts the Resurrection, was installed in 1911. The stained-glass windows on the north and south walls of the nave depict the Virgin Mary, various Saints and Biblical scenes. Read more at the St. Luke’s Episcopal Church website.

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