Isabella Leonarda

Not much is known about Leonarda's musical education before entering Sant'Orsola, though many have speculated that she may have had some such education due to the high social and economic status of her family. It has also been suggested that once in the convent, she studied with Gasparo Casati (1610–1641), a talented but little-known composer who was maestro di cappella at the Novara Cathedral from 1635 until his death. The only direct evidence linking the two, however, is Casati's Terzo libro di sacri concenti, which contains two dramatic dialogues, the earliest known compositions of Leonarda.[6]

A 1658 convent document identified Leonarda as magistra musicae (music teacher).[3] It seems from this that she played some role in teaching the other nuns to play music. The convent's nuns may have performed Leonarda's works.[9]

Leonarda wrote music in nearly every sacred genre: motets and sacred concertos for one to four voices, sacred Latin dialogues, psalm settings, responsories, Magnificats, litanies, masses, and sonate da chiesa.[6] In addition, she wrote music for solo and continuo, chorus, and strings.[8] Leonarda also wrote a few sacred solo songs with vernacular texts. Her sonata da chiesa, Op. 16, was the first published instrumental sonata by a woman.[6]

Though Leonarda's predominant genre was the solo motet, most of her notable historical achievements came from her sonatas. She was the first woman to publish sonatas, composing many throughout her lifetime.[3] For example, Sonatas 1 through 11 are for two violins, violone, and organ. Sonatas 1, 3, 4, 7, and 8 are "concerted sonatas": each of the three instruments has at least one solo passage. Sonata 12 is Leonarda's only solo sonata and one of her most renowned compositions. It is divided into seven sections with two slow movements which are recitative-like, inviting improvised embellishments.[4]

In the early 17th century Italian music there is a distinction between prima pratica and seconda pratica. In general, education in the prima pratica style was not widely available for women. Leonarda, however, was educated in formal counterpoint and uses it in many of her pieces.[10] Leonarda's intricate use of harmonies is one example of her influence in the cultivation of polyphonic music at Sant'Orsola, as many other Italian nun composers were doing at their own convents during the same period. This style created an atmosphere conducive to the creativity of the musician, allowing for slight improvisation or musical ornamentation.[9]

Leonarda's sonatas are unusual in their formal structure. It is generally held that Arcangelo Corelli established the "standard" four-movement, slow–fast–slow–fast form of the sonata da chiesa. Leonarda's sonatas, however, vary from as few as four (Sonatas 6 and 9) to as many as thirteen movements (Sonata 4), and her sonatas in four sections do not follow the slow–fast–slow–fast model. Additionally, Leonarda uses refrains in a rather unusual way. Sonata 5 is the most regular; Sonata 10 has two refrains, in the pattern A–B–C–D–E–B–D–F–B–G. Sonata 4 has the quite unusual plan of A–B–C–D–E–F–G–H–I–J–I'–J'–I''. Sections are essentially of three types: (1) fast sections in duple metre, often with some imitation, derived from the canzona tradition; (2) slow, expressive, homophonic sections in duple meter, related perhaps to the toccata and recitative; and (3) homophonic sections (occasionally with brief passages in imitation) in triple time, apparently related to the dance.[4]

Almost all of Leonarda's works carry a double dedication – one to the Virgin Mary as well as one to a highly placed living person. In one of her dedications, Leonarda stated that she wrote music not to gain credit in the world, but so that all would know that she was devoted to the Virgin Mary.[9] The living dedicatees include the archbishop of Milan, the bishop of Novara, and Emperor Leopold I. The need to seek financial support for the convent likely motivated many of these dedications.[3] She also noted in the dedication to Opus 10 that she wrote music only during the time allotted for rest so as not to neglect her administrative duties within the convent. This contradicts the common speculation that Leonarda was able to spend more time composing than other nuns of the time due to her positions of authority within the convent.[9]

• Bowers, Jane; Tick, Judith (1986). Women Making Music: The Western Art Tradition, 1150–1950. Urbana: University of Illinois.
• Carter, Stewart Arlen (1982). The Music of Isabella Leonarda (PhD dissertation). Stanford University. OCLC 10309314.
• Carter, Stewart, ed. (1988). Isabella Leonarda: Selected Compositions. A–R Editions.
• Carter, Stewart (2002). "Isabella Leonarda: La Musa Novarese". Embellishments (16). Archived from the original on 7 July 2011.
• Pendle, Karin, ed. (1991). Women and Music: A History. Indiana University Press.
• Sadie, Julie Anne; Samuel, Rhian (1994). The Norton/Grove Dictionary of Women Composers. W. W. Norton & Company. ISBN 9780393034875.
• Sadie, Julie Anne; Samuel, Rhian, eds. (1994). The Norton/Grove dictionary of women composers (First American ed.). New York. ISBN 0-393-03487-9. OCLC 33066655.{{cite book}}: CS1 maint: location missing publisher (link)
• Stern, Susan (1978). Woman Composers: A Handbook. Metuchen, New Jersey & London: Scarecrow Press.