Isabella Leonarda

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.[5]

Within the convent, she was identified in a 1958 document as magistra musicae (music teacher).[3] It seems from this that Leonarda played some role within the convent teaching the other nuns to perform music. This may have also afforded her opportunities for the performance of her works by the convent's nuns.[8]

Leonarda's works include examples of nearly every sacred genre: motets and sacred concertos for one to four voices, sacred Latin dialogues, psalm settings, responsories, Magnificats, litanies, masses, and sonata da chiesa.[5] In addition she wrote music for solo and continuo, chorus, and strings.[7] Leonarda also wrote a few sacred solo songs with vernacular texts. Sonate da chiesa refers to her Opus 16, which was historic in that it was the first published instrumental sonata by a woman[5]

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.[3] 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.[4]

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, however Leonarda was educated in formal counterpoint and uses it in many of her pieces.[9] 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.[8]

Leonarda's sonatas, however, 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 (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 ABCDEBDFBG. Sonata 4 has the quite unusual plan of ABCDEFGHIJI'J'I'/'. Sections are essentially of three types: (1) fast sections in duple meter, 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.[4]

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.[8] 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.[3] She also noted in the dedication to Opus 10 that she wrote music only during time allotted for rest so as not to neglect her administrative duties within the convent. This contradicts many speculations that Leonarda was able to spend more time composing than other nuns of the time due to her positions of authority within the convent.[8]