41:
emerged from hospices that had been formed in Venice in the previous centuries. Each catered to a different need: the
Incurabili took in all who contracted incurable diseases such as syphilis or the bubonic plague; the Derelitti provided a place of refuge for the homeless; the Mendicanti cared for beggars and orphans; while the PietĂ (1346), which was founded from an orphanage, exclusively took in foundlings.
32:) to professional levels of musicianship and attracting many European tourists to hear their all-female ensembles perform religious services and special concerts throughout the seventeenth and eighteenth centuries. The musical training in the Ospedali Grandi is often thought of as a precursor to the training in European conservatories of the 19th century.
40:
Venice had a long history of caring for its sick, homeless, poor, and orphaned before the four
Ospedali became recognized as a group musical institutions. The Ospedale degl’Incurabili (1522), the Ospedale di Santa Maria dei Derelitti (1528), and the Ospedale di San Lazzaro e dei Mendicanti (1595) all
52:
first performed music only for religious functions, and all music was taught either by current residents of the institutions who were already musically proficient or by hired church musicians (nuns or priests). During this time, the training in music was only meant to strengthen the liturgical
83:
Due to the financial instability in Venice at the end of the eighteenth century, however, the
Ospedali fell into bankruptcy. The Derelitti closed in 1791, followed by the Medicanti in 1795. After Napoleon’s invasion of Venice in 1797, all musical activities at the Ospedali were reduced. The
64:, and they began to hire many professional external musicians and composers to teach performance practice, sight singing, ear training, music theory, and instrumental techniques. The higher-quality musical training yielded larger donations from patrons and visitors. Many of the
71:
The
Ospedali reached their pinnacle between 1720-80: the musical ensembles grew in number, and the governors hired even more instrumental teachers and composers. By the middle of the eighteenth century, the Ospedali Grandi had mostly moved away from having older
80:. Hiring the most famous composers became essential to attracting larger and wealthier audiences. A few special visitors also gained permission from the governors to view and listen to the women perform behind the grates.
68:
would stay at the
Ospedali for their whole lives, passing their musical knowledge and experience to younger residents, creating a continuing tradition of musical excellence for women in Venice.
76:
teach beginning students. Instead, they adopted the master and pupil system of education: master teachers, who already held successful reputations, composed for the
Ospedali and trained the
84:
Incurabili closed in 1805, leaving only the Pietà ’s musical activity to survive
Napoleon’s government takeover. The Pietà ’s last known musical composition was performed in 1840.
308:
253:
28:- were charitable hospices, which provided a wide range of services for the needy of Venice. They are most famously recognized for educating select female pupils (called
57:
were always required to perform in raised galleries, which had grating that hid the musicians from the eyes of the audience.
242:
Giron-Panel, Caroline. Musique et musiciennes à Venise : histoire sociale des ospedali. Rome: École française de Rome, 2015.
345:
259:
Tonelli, Vanessa. "Women and Music in the
Venetian Ospedali." Master's Thesis. Michigan State University, 2013.
254:"Le Figlie di Coro: Women's Musical Education and Performance at the Venetian Ospedali Maggiori, 1660-1740."
25:
328:(Paris, 1876) translated by W. Conynham Mallory from the French (New York: Modern Library, 1980), 162.
114:
60:
By mid-seventeenth century, however, the
Ospedali governors realized the economic potential of the
232:
Berdes, Jane L. and Joan
Whittemore. Guide to Ospedali Research. New York: Pendragon Press, 2012.
309:"Le Figlie di Coro: Women's Musical Education and Performance at the Venetian Ospedali Maggiori"
21:
24:, the Ospedale degl'Incurabili, the Ospedale di Santa Maria dei Derelitti, and the Ospedale di
8:
150:
120:
174:
180:
162:
201:
156:
99:
192:
93:
320:
Jean-Jacque Rousseau is one of these "special guests." See Jean-Jacques Rousseau,
186:
168:
138:
144:
132:
339:
126:
105:
237:
L'AttivitĂ musicale negli Ospedali di Venezia nel Settecento
277:
Women's Musicians of Venice: Musical Foundations, 1525-1855
227:
Women Musicians of Venice: Musical Foundations 1525-1855.
48:- originated in the middle of the sixteenth century. The
311:(PhD Dissertation, Northwestern University, 2022), 182.
44:
The Ospedali's all-female musical ensembles - called
247:
Venetian Instrumental Music from Gabrieli to Vivaldi
279:(Oxford: Clarendon Press, 1993, rev. ed. 1996), 47.
20:, also referred to as the Ospedali Maggiori) - the
337:
256:PhD Dissertation. Northwestern University, 2022.
289:Arnold, Denis (1988). "Music at the Ospedali".
249:. New York: Courier Dover Publications, 1994.
111:Giovanni Domenico Partenio (before 1650–1701)
87:
291:Journal of the Royal Musical Association
220:Journal of the Royal Musical Association
35:
338:
288:
13:
198:Bonaventura Furlanetto (1738–1817)
16:The four great Venetian Ospedali (
14:
357:
314:
301:
282:
269:
229:Oxford: Clarendon Press, 1993.
1:
263:
214:Arnold, Denis. “Music at the
53:services. Additionally, the
7:
10:
362:
245:Selfridge-Field, Eleanor.
239:. Florence: Olschki, 2006.
208:
26:San Lazzaro dei Mendicanti
115:Carlo Francesco Pollarolo
275:Jane L. Baldauf-Berdes,
235:Gillio, Pier Giuseppe.
346:Music schools in Italy
88:Composers and Teachers
324:, Vol. 1, Part 7, in
36:Historical background
22:Ospedale della PietĂ
121:Francesco Gasparini
252:Tonelli, Vanessa.
222:113, no. 2 (1988).
181:Ferdinando Bertoni
163:Baldassare Galuppi
151:Johann Adolf Hasse
326:Oeuvres complètes
307:Vanessa Tonelli,
225:Berdes, Jane L.
202:Domenico Cimarosa
157:Andrea Bernasconi
100:Giovanni Legrenzi
353:
329:
318:
312:
305:
299:
298:
286:
280:
273:
193:Pasquale Anfossi
175:Niccolò Jommelli
94:Giovanni Rovetta
361:
360:
356:
355:
354:
352:
351:
350:
336:
335:
332:
319:
315:
306:
302:
287:
283:
274:
270:
266:
211:
187:Tommaso Traetta
169:Gaetano Latilla
139:Antonio Vivaldi
90:
74:figlie del coro
66:figlie del coro
55:figlie del coro
38:
30:figlie del coro
18:Ospedali Grandi
12:
11:
5:
359:
349:
348:
331:
330:
313:
300:
281:
267:
265:
262:
261:
260:
257:
250:
243:
240:
233:
230:
223:
210:
207:
206:
205:
199:
196:
190:
184:
178:
172:
166:
160:
154:
148:
145:Nicola Porpora
142:
136:
135:(c. 1675–1755)
133:Giovanni Porta
130:
124:
118:
117:(c. 1653–1723)
112:
109:
103:
97:
89:
86:
37:
34:
9:
6:
4:
3:
2:
358:
347:
344:
343:
341:
334:
327:
323:
317:
310:
304:
296:
292:
285:
278:
272:
268:
258:
255:
251:
248:
244:
241:
238:
234:
231:
228:
224:
221:
217:
213:
212:
203:
200:
197:
194:
191:
188:
185:
182:
179:
176:
173:
170:
167:
164:
161:
158:
155:
152:
149:
146:
143:
140:
137:
134:
131:
128:
127:Antonio Lotti
125:
122:
119:
116:
113:
110:
107:
104:
101:
98:
95:
92:
91:
85:
81:
79:
75:
69:
67:
63:
58:
56:
51:
47:
42:
33:
31:
27:
23:
19:
333:
325:
321:
316:
303:
294:
290:
284:
276:
271:
246:
236:
226:
219:
215:
106:Carlo Grossi
82:
77:
73:
70:
65:
61:
59:
54:
49:
45:
43:
39:
29:
17:
15:
322:Confessions
204:(1749–1801)
195:(1727–1797)
189:(1727–1779)
183:(1725–1813)
177:(1714–1774)
171:(1711–1788)
165:(1706–1785)
159:(1706–1784)
153:(1699–1783)
147:(1686–1768)
141:(1678–1741)
129:(1667–1740)
123:(1661–1727)
108:(1634–1688)
102:(1626–1690)
96:(1596–1668)
264:References
297:(2): 159.
216:Ospedali.
340:Category
209:Sources
78:figlie
62:cori
50:cori
46:cori
295:113
342::
293:.
218:”
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.