Musica Poetica (CZ)

When: Friday, 19. 8. 2022 at 20:00

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Musica Poetica (CZ)

Jana Janků: mezzo-soprano
Martin Flašar: violin
Lucie Lukášová: traverso
Kateřina Stávková: viol
Kamila Dubská: harpsichord

Artists’ message to visitors

The fame of women who composed music in the Baroque era remains in the shadows today. We want to show in our concert how diverse and beautiful the music of these women is. We will play religious nuns and secular music that sounded in the courtyard of Florence or in the Venetian salons. This music was often interpreted by the women authors themselves - we can offer you in our predominantly feminine cast the sound and visual image of early Baroque Italy.


The mission statement of the ensemble

The Baroque chamber ensemble Musica Poetica, established in 1999, is a group of young professional musicians sharing an interest in authentic performance of early music. The name ‘Musica Poetica’ reflects its regular arrangement of concerts as encounters between Baroque music and poetry. Its musicians use modern copies of period instruments (cembalo, viola da gamba, Baroque traverso, Baroque violin). In addition to concerts in Czech Republic as well as abroad, the ensemble does not shy away from less conventional projects (such as the ‘Vespillo’s Baroque Cabaret’, or ‘Händel in Italy’). As constituent parts of its long-term cycle ‘Baroque of European Countries’, Musica Poetica has so far presented music and poetry of eight European nations. Its lasting goal is to offer its audiences a glimpse of the atmosphere and thinking familiar to people of the Baroque period, from which one can still draw inspiration today.


Recording: Radio Slovenija

Winemaker of Seviqc Brežice 2022 concerts: Family winery Jakončič, Kozana, Goriška Brda

Event programme


Women of Baroque


Chiara Margherita Cozzolani (1602-ca.1678):
Laudate Dominum (1648)

Lucrezia Orsina Vizzana (1590-1662):
O magnum misterium
(Componimenti musicali, 1623)

Isabella Leonarda (1620-1704):
Sonata duodecima
Adagio / Allegro e presto / Vivace e largo / Spiritoso / Adagio / Aria / Allegro / Veloce

Claudia Sessa (ca.1570-?):
Sopra le orecchie - Vattene pur
(Canoro pianto, 1613)

Francesca Caccini (1587-1645?):
O che nuovo stupor
(Il primo libro delle musiche,1618)


Isabella Leonarda (1620-1704):
Sonata prima
Allegro / Largo / Adagio / Aria / Allegro / Adagio / Vivace

Barbara Strozzi (1619-1677):
Che si puo fare
(Arie a una voce, Opera 8, 1664)

Anna Bon (ca.1739-?):
Sonata I
Adagio / Allegro / Presto
(VI Sonate da Camera, Opera Prima, 1756)

Francesca Maria Nascinbeni (1658-1680):
O sposo vezzoso
(Canzoni e madrigali morali e spirituali, 1674)

Maria Saveria Perucone (ca.1652-ca.1709):
Ad gaudia, ad Jubila, Pastores
(Sacri concerti de motetti, opera prima, Millano,1675)


About the concert programme

TThe aim of this concert programme is to introduce to listeners of authentically interpreted old music its specific part - the work of Baroque women composers of early and middle Baroque in northern Italy. They are almost unknown to the cultural public. Although they were predominantly spiritual music as members of the Convent's communities, their music is comparable to the well-known authors of this period. The songs that were printed in the 17th century are mostly found in the libraries in the facsimile edition. The concert programme is a specific example of Baroque music from the pen of Italian women composers and will provide an image of unsuspected creativity that other women have not been able to do in this historical period. This baroque music will be performed by an ensemble closely focused on authentic interpretation on copies of period instruments with 20 years of experience. Baroque music composed behind convent walls did not stand aside from main musical developments of the time. It was in convents that women could forcefully assert themselves as musicians and composers. Musical conventual communities were most numerous in Northern Italy. This concert programme introduces six women-composers, whose lives are known to us only fragmentarily, mostly thanks to their compositions being published in their lifetimes. Most of them also wrote the lyrics for their compositions.

Chiara Margarita Cozzolani (1602-ca.1678) and Claudia Sessa (ca.1570-?), both nuns in Milanese convents, became well-known for their talents as musicians and singers. Cozzolani published her compositions in four collections, while Sessa’s work is known at all only through two pieces from the collection Canoro pianto (1613), on the poetry of Abbate Angelo Grillo.

Isabella Leonarda (1620-1704) and Maria Xaveria Peruchona (ca.1652-ca.1759) were Ursuline nuns from Novarra and Galliate. Leonarda authored some 200 compositions, published in 20 collections, while of entire Peruchona’s work only one collection survived, the Sacri concerti de motetti, Opera prima (Milan, 1675).

The Camaldolese convent Santa Cristina in Bologna became home for Lucrezia Orsina Vizzana (1590-1662), composer, singer, and organist. Her collection of motets Componimenti musicali was published in Venice in 1623.

Maria Francesca Nascinbeni (ca.1640-1680), a native of Ancona, published her collection Canzoni e madrigali morali e spirituali (1674) at the age of 16.

In addition to convents, where music was part and parcel of the education offered, cities and aristocratic courts were also much alive musically. In Venice of the 17th and 18th centuries, girls could receive musical education at conservatories. Anna Bon (1738-?) probably studied at the Ospedale della Pieta, one of the four leading institutions in the field. She composed flute and harpsichord sonatas (VI Sonate da Camera, Opera Prima, 1756).

Barbara Strozzi (1619-1677) lived and worked in Venice, publishing 8 collections of vocal compositions. She was not only an excellent singer but also a poet, a member of the Venetian art Accademie degli Unisoni.

Francesca Caccini (1588-1645?) lived and worked in Florence at the Medici Court as a court composer and musician. In addition to being the first opera author, she also released a collection of madrigals and canzonet Il primo libro delle musiche, following the work of her father Giulio Caccini's Le nuove musiche (1602).

She became a court musician of the Medici, which made her, according to some sources, the best paid musician of her age.


Brežice, Brežice Castle

Brežice Castle is a splendid example of fortified Renaissance castle architecture on a plain with four mighty round defence towers and spacious courtyard. Interior of fortified castle has lavished baroque paintings.