 |
||
Mission Statement CAPPELLA Clausura is a women’s ensemble in Boston which specializes in the music written through the centuries by women in clausurae, that is, in the cloisters. We bring to light works by composers who have struggled to answer the call of the Muse despite considerable and often crippling social taboos, who, in short, composed music for the pure and overwhelming love of it. Each season one of our concerts is a benefit to support issues particular to women. Our goal is to place this amazing music in the standard repertoire while raising money for organizations that help women, and thereby to enhance the lives of women and girls today both spiritually and practically. |
||
 photo by Meghan Moore |
||
| The Music: The music that was written in clausura was extraordinary in its inventiveness as well as its musicality. The nuns who penned it were writing to express their deepest spirituality at a time when musical expression by women was not only frowned upon but frequently forbidden by the church. Until quite recently most of this rich cultural heritage lay dormant in the recesses of Italian monastic libraries, despite the fact that, in its day, it was published for its very consistent and faithful audience outside the cloister walls. With the help of such researchers as Robert Kendrick, Candace Smith, Laurie Monahan, Stewart Carter and more, this music is now becoming available again to the public. The Italian seicento (17th century) was a phenomenon. Monasteries for women in Italy were largely populated by the daughters of the privileged whose families offered these institutions huge dowries to provide room and board and de facto life imprisonment. For a number of reasons, among them the highly competitive and rising cost of dowries and the popularity of marriage among gentlemen to women of lower classes (not a suitable option for women), there was an explosion of women living in clausura: in fact, a majority of patrician daughters went into the convents rather than into marriage. The church, in its infinite wisdom, taught these women to read so that they could perform daily worship. With the help of an occasionally sympathetic local church leader many of these nuns, taking advantage of the best education to be had for females, became excellent musicians (music teachers were either men considered past lasciviousness, who nevertheless, as a precaution, taught from the other side of the screed, or the nuns themselves). The musical abilities within the convents were a great source of pride for their townsfolk. In fact local patricians so enjoyed female monastic music that several nuns became quite famous. Prominent critics wrote extensively about them, and of the quality of their singing and compositions. Individual nuns gained reputations as excellent singers, violinists, luthiers, trombonists, and most importantly, composers. Northern Italian monasteries for women were built to include a chiesa interiore, in which the nuns would conduct services, and a chiesa exteriore, a larger section attached to the wall and connected by a hole through which sound could travel but no individual could be seen. Despite this apparent sanction of audience participation, the Church set strict rules against nuns’ performing for the public, and frequently sent out edicts to forbid music in their services – a good indication that the performances continued despite all restrictions. Often a monastery’s instruments or male teachers were removed from the premises, leaving the imprisoned residents to their own best devices. All this contributed to the most remarkable and unique characteristic of the sisters’ compositions: since they were written to be performed in a fickle Church climate in which Rome might at any time enforce its ban on music, meaning instruments might be available one day and removed from the convent the next, the music had to work no matter what octave the bass line was in. While there were, apparently, women who could sing quite low, the bass and tenor parts were frequently raised up an octave and doubled by the cellist, or trombonist, if there was one. If there wasn’t, the bass and tenor parts might become alto and soprano parts, or the whole work might be transposed to accommodate the voices and instruments on hand. |
||