Voci di donne Francesca Ajossa

• Emilia Gubitosi (1887 - 1972):
• 1 Introduzione e capriccio fugato 06:40
• Tamara Mormone (1911 - 2010):
• 2 Berceuse for Organ 04:55
• 3 Fantasia & Fugue in D Minor: I. Fantasia 07:37
• 4 Fantasia & Fugue in D Minor: II. Fugue 05:18
• Matilde Capuis (1913 - 2017): Preludio, allegro, fantasia for Organ:
• 5 Preludio, allegro, fantasia for Organ: I. Preludio 03:41
• 6 Preludio, allegro, fantasia for Organ: II. Allegro 03:17
• 7 Preludio, allegro, fantasia for Organ: III. Fantasia 05:38
• Teresa Procaccini (b. 1934): Improvviso & Toccata for Organ, Op. 33:
• 8 Improvviso & Toccata for Organ, Op. 33: I. Improvviso 01:47
• 9 Improvviso & Toccata for Organ, Op. 33: II. Toccata 06:40
• Biancamaria Furgeri (b. 1935): 3 Quadri musicali per Claudia:
• 10 3 Quadri musicali per Claudia: No. 1, Quasi una fantasia 03:28
• 11 3 Quadri musicali per Claudia: No. 2, Umbrae Ibant tunues 04:05
• 12 3 Quadri musicali per Claudia: No. 3, Giochi ostinati 05:38
• Silvana Di Lotti (b. 1942):
• 13 Surfaces 08:55
• Sonia Bo (b. 1960):
• 14 Pascha rosarum 03:00
• 15 In Memoriam 06:01
• Total Runtime 01:16:40

Info for Voci di donne

Despite Music being a feminine noun in most of the languages, the world of music is predominantly dominated by men. If you were to ask a random passer-by to name a composer, no doubt that he or she could name a male one without too much trouble. I’m afraid, though, that only few would name a female composer. And yet the relationship between women and music has always produced very interesting outcomes regarding both the performance as well as the composition. As early as the Renaissance there have been women who, despite the social and cultural context of their time, contributed to music with compositions that have nothing to envy to those of the most famous male composers. However, these pieces are very rarely considered as part of the repertoire and remain for the most part unknown. This project is dedicated to the organ music by female composers in the twentieth and twenty-first century, period in which the ‘women’s voice’ finally reached the masses thanks to the growth of the female presence in the composition field. An extraordinary repertoire for which I chose the great “Mascioni” organ of the “Pontificio Istituto di Musica Sacra” in Rome, a benchmark for sacred music from which we start telling for the first time this “all pink” page of history.

Francesca Ajossa, organ

No biography found.

Booklet for Voci di donne