Leonarda was not well known as a singer or instrumentalist, and not much is known about her involvement in those activities. That did not detract from her fame, however, as one of the most prolific convent composers of the
Baroque era, writing approximately 200 compositions during her lifetime.
Teaching and learning 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. 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.
Compositions 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. In addition, she wrote music for solo and
continuo, chorus, and strings. 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. 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. 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.
Musical style 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. 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. 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 quite an 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.
Publication dedications 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. 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. 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 position of authority within the convent.
Selected compositions Vocal Works • 16 Motets, op. 3 •
Messa concertata, op. 4 • 12 Motets, op. 6 • 12 Motets, op. 7 • 12 Motets, op. 11 • 12 Motets, op. 13 • 10 Motets, op. 14 • 11 Motets, op. 15 • Cara plage, cari adores, op. 17, no. 9 • Beatus vir, op. 19, no. 4 • Ah Domine Iesu (Trio) • Alma Redemptoris Mater (SATB) • Ave Regina Caelorum, op. 10 (SATB) Instrumental compositions • Sonatas, op. 16 • Motet for solo voice, with instruments, op. 20 ==References==