Volume I of the complete works of Chiara Magdalena Cozzolani contains all the works in her 1650 publication Salmi a Otto Voci. The double CD set includes texts and English translations, liner notes by Robert Kendrick and album artwork by Nika Korniyenko.
Includes unlimited streaming of Salmi a Otto Voci (1650)
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
ships out within 3 days
You own this
Streaming + Download
Cozzolani's second setting of the psalm Laudate pueri (a 6) is available for immediate download in your choice of 320k mp3, FLAC, or just about any other format you could possibly desire.
Pre-order the two volume complete works of Cozzolani at cozzolani.com/subscribe and receive free digital downloads of all tracks - those currently available and new tracks as they become available. Please visit cozzolani.com for more information about Cozzolani and these recordings.
Cozzolani’s second setting of the psalm Laudate pueri (à 6) is one of only two of her works that call for obbligato instruments in addition to voices and basso continuo. Like her setting of Laudate Dominum for solo soprano, the Laudate pueri à 6 includes parts for two violins.
Despite various Episcopal efforts to ban non-keyboard instruments from convents in 17th-Century Milan, there is considerable evidence for nuns’ ability to play obbligato instrumental parts that occasionally appear in publications of convent music. While there are no records of non-keyboard instrumentalists at Cozzolani’s convent, S. Radegonda, in the 1660s there are accounts of “cantatrice, e sonatrici” (i.e. singers and instrumentalists) there and two or three violinists were associated with each of the convent’s choirs in the 1670s.
The violins offer Cozzolani another element in the psalm's expansive compositional architecture. Without an opening sinfonia, the psalm establishes a two-period refrain in the opening verse that returns in alternation with an instrumental sinfonia between the verses. Robert Kendrick has noted that in its insistent return to the G final for each verse and the use of similar melodic figuration gives this setting the sound of a strophic variation.
Warren Stewart, artistic director
Catherine Webster, soprano
Ruth Escher, soprano
Jennifer Ellis Kampani, tenor (soprano)
Andrea Fullington, tenor (soprano)
Rob Diggins, violin
Jolianne von Einem, violin
John Dornenburg, violone
David Tayler, theorbo
Hanneke van Proosdij, organ
Peter Watchorn, producer
Joel Gordon, engineer
Text & English Translation
Laudate pueri Dominum:
laudate nomen Domini.
Sit nomen Domini benedictum:
ex hoc nunc et usque in sæculum.
A solis ortu usque ad occasum:
laudabile nomen Domini.
Excelsus super omnes gentes Dominus:
et super cælos gloria eius.
Quis sicut Dominus Deus noster qui in altis habitat:
et humilia respicit in cælo et in terra?
Suscitans a terra inopem:
et de stercore erigens pauperem.
Ut collocet eum cum principibus:
cum principibus populi sui.
Qui habitare facit sterilem in domo:
matrem filiorum lætantem.
Gloria Patri et Filio:
et Spiritui Sancto.
Sicut erat in principio, et nunc et semper:
et in sæcula sæculorum. Amen.
Praise ye the Lord, ye children:
praise the name of the Lord.
Blessed be the name of the Lord:
from henceforth now and for ever.
From the rising of the sun unto its going down:
the name of the Lord is worthy of praise.
The Lord is high above all nations:
and his glory above the heavens.
Who is as the Lord our God who dwelleth on high:
and looks down on the low things in heaven and
Raising up the needy from the earth:
and lifting up the poor out of the dunghill.
That he may place him with princes:
with the princes of his people.
Who maketh for a barren women a home:
the joyful mother of children.
Glory be to the Father and to the Son:
and to the Holy Spirit.
As it was in the beginning, is and ever shall be:
world without end. Amen.