Call for the Wailing Women, Laments and Lamentations in Italian Convents Cappella Artemisia & Candace Smith

• Carlo Donato Cossoni (1623 - 1700): Morior Misera (From Motetti a Due E Tre Voci, Op. 1, Venice 1665, Rep. 1678):
• 1 Cossoni: Morior Misera (From Motetti a Due E Tre Voci, Op. 1, Venice 1665, Rep. 1678) 07:51
• Alessandro Della Ciaia (ca.1605 - 1670): Feria Quinta, Lamentatione Prima (From Lamentationi Sagre, E Motetti Ad Una Voce Col Basso Continuo, Venice 1650):
• 2 Ciaia: Feria Quinta, Lamentatione Prima (From Lamentationi Sagre, E Motetti Ad Una Voce Col Basso Continuo, Venice 1650) 09:03
• Giovanni Matteo Asola (1524 - 1609): Lamentationes in Coena Domini (From Lamentationes, Improperia, Et Alia Sacrae Laudes, Venice 1588 in Alternation with Anon:
• 3 Asola: Lamentationes in Coena Domini (From Lamentationes, Improperia, Et Alia Sacrae Laudes, Venice 1588 in Alternation with Anon: Lamentatione Di Geremiah (From Canti Delle Monache, Bologna 1670) 04:42
• Chiara Margarita Cozzolani (1602 - 1678): Quid Miseri, Quid Faciamus? (From Concerti Sacri a 1-4 Voci, [Op.2, Venice, 1642]:
• 4 Cozzolani: Quid Miseri, Quid Faciamus? (From Concerti Sacri a 1-4 Voci, [Op.2, Venice, 1642] 07:34
• Agostino Guerrieri (1630 - 1685): Sonata Malinconica (From Sonate Di Violino [...] Per Chiesa, & Anco Aggionta Per Camera, Venice 1673):
• 5 Guerrieri: Sonata Malinconica (From Sonate Di Violino [...] Per Chiesa, & Anco Aggionta Per Camera, Venice 1673) 04:21
• Lucrezia Orsina Vizzana (1590 - 1662): Usquequo Oblivisceris Me in Finem? (From Componimenti Musicali Di Motteti Concertati a Una, Due, Tre E Quattro Voci..., Venice 1623):
• 6 Vizzana: Usquequo Oblivisceris Me in Finem? (From Componimenti Musicali Di Motteti Concertati a Una, Due, Tre E Quattro Voci..., Venice 1623) 02:59
• Giovanni Battista Strata: Deh, Che Fai, Anima Mia (From Arie Di Musica [...] Per Concertare Con Voci E Strumenti, Genoa, 1610):
• 7 Strata: Deh, Che Fai, Anima Mia (From Arie Di Musica [...] Per Concertare Con Voci E Strumenti, Genoa, 1610) 04:02
• Maria Francesca Nascimbeni (1640 - 1680): O Trafitto Mio Dio (From Canzoni E Madrigali Morali, E Spirituali. A Una, Due E Tre Voci, Ancona 1674):
• 8 Nascimbeni: O Trafitto Mio Dio (From Canzoni E Madrigali Morali, E Spirituali. A Una, Due E Tre Voci, Ancona 1674) 10:21
• Anonymous: La Monaca Musica (From MS. Mo G239, Biblioteca Estense, Modena):
• 9 Anonymous: La Monaca Musica (From MS. Mo G239, Biblioteca Estense, Modena) 09:32
• Alessandro Della Ciaia: Lamentatio Virginis in Depositione Filij De Cruce (From Sacri Modulatus Ad Concentum..., Op. 3, Bologna 1666):
• 10 Ciaia: Lamentatio Virginis in Depositione Filij De Cruce (From Sacri Modulatus Ad Concentum..., Op. 3, Bologna 1666) 15:58
• Total Runtime 01:16:23

Info for Call for the Wailing Women, Laments and Lamentations in Italian Convents

Cappella Artemisia
is an ensemble of female singers and instrumentalists that attempts to provide some answers to this question. Dedicated to performing the music from Italian convents in the 16th and 17th centuries, its repertoire includes both forgotten works composed by the nuns themselves, as well as music intended for performance in the convents by better-known male composers, but presented here for the first time as it would originally have been heard, i.e., without male voices.

Since its inception in 1991, Cappella Artemisia has received critical and popular praise both for the rarity and originality of its repertoire and for the high quality of its performances. It has appeared at some of the most prestigious European and North American festivals of early music and its concerts and recordings have been broadcast on radios throughout Italy, Europe and North America. The ensemble has ventured into the 18th century with the first performance in modern times of the oratorio Jahel by Baldassare Galuppi, composed for the girls of the Venetian Ospedale dei Mendicanti (in collaboration with the Orchestra Barocca di Bologna). And in addition to their traditional repertoire of music from Italian convents, the singers of the ensemble were also involved in a modern staging of Purcell’s Dido and Aeneas in an all-women’s performance recalling that of 1689 at a fashionable boarding school in Chelsea for “Young Gentlewomen”.

Cappella Artemisia takes its name from the painter, Artemisia Gentileschi, a striking figure in 17th-century Italy whose artistic accomplishments are finally beginning to be recognized. We hope, under her auspices, to bring this same recognition to the neglected musical achievements of her forgotten contemporaries within the convent walls.

Booklet for Call for the Wailing Women, Laments and Lamentations in Italian Convents