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Dialogues with Heaven

Dialogues with Heaven

Dialogues with Heaven
Label(s)
Genre(s)
Classical
Code
CKD 113

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Price
$17.00
  • Regna terrae, cantate Deo
    Composer(s) Chiara Margarita Cozzolani

    Regna terrae, cantate Deo

    04:27
    $1.70
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  • Colligite, pueri, flores
    Composer(s) Chiara Margarita Cozzolani

    Colligite, pueri, flores

    07:39
    $3.40
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  • Tu dulcis, O bone Jesu
    Composer(s) Chiara Margarita Cozzolani

    Tu dulcis, O bone Jesu

    06:08
    $3.40
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  • Quid, miseri, quid faciamus
    Composer(s) Chiara Margarita Cozzolani

    Quid, miseri, quid faciamus

    07:41
    $3.40
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  • Maria Magdalene stabat
    Composer(s) Chiara Margarita Cozzolani

    Maria Magdalene stabat

    08:48
    $3.40
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  • Ave mater dilectissima
    Composer(s) Chiara Margarita Cozzolani

    Ave mater dilectissima

    06:30
    $3.40
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  • Psallite, superi
    Composer(s) Chiara Margarita Cozzolani

    Psallite, superi

    06:34
    $3.40
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  • O caeli cives
    Composer(s) Chiara Margarita Cozzolani

    O caeli cives

    07:13
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  • Venite, sodales
    Composer(s) Chiara Margarita Cozzolani

    Venite, sodales

    06:25
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Total running time: 61 minutes.

    Album information

    Dramatic & devotional music by Chiara Margarita Cozzolani, a 17th century nun from the convent of Santa Radegonda in Milan  winningly sung by the glorious Musica Secreta.

    Cozzolani, who was born into an ‘upper-middle-class’ family in Milan on 27 November 1602, and (as had her older sister) took her vows at the convent most famous for music in the city, Santa Radegonda, in 1620. She achieved such fame in her day that several collections of her music were published in Venice.

    The small-scale motets on this recording, for various combinations of voices with basso continuo, are taken from two Venetian editions of 1642 (Concerti sacri) and 1650 (Salmi a otto concertati).  Despite the nominal enclosure of Cozzolani’s religious house, her compositions were very much open to their musical environment; they share some features of north Italian motet writing in the decade preceding their appearance in print. They also show the changes in devotional life at the time, and in a few cases point to the traditions of Cozzolani’s convent and order as a whole.

    Many of these pieces are premiere recordings.