Book Review
Aug. 20th, 2021 07:13 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
kenjariWomen Musicians of Venice: Musical Foundations, 1525-1855
by Jane L. Berdes
This book covers the ospedali grandi of Venice from the mid 16th to the mid 19th centuries. The four ospedales (Pieta, Mendicanti, Derelitti, and Incurabili) were charitable institutions at which orphaned or destitute girls and young women lived and received music training. Although not convents, these institutions were religious in nature and were organized in a manner similar to that of religious orders. The musicians of the ospedali, known as figlie del coro, provided music for masses and other services and gave public concerts. During the 17th and 18th centuries in particular, the figlie were highly skilled and often virtuosic musicians whose performances were internationally acclaimed.
Berdes outlines the place of the ospedali in Venetian society and the important role the figlie del coro had in Venetian musical life and culture. She examines the institutions' history, organization, and activities, the musicians who lived and worked there, their musical practices, and their impact on European music. In doing so, she uncovers an important yet neglected part of music history and lays the groundwork for future scholarship. Occasionally, sections of the book got a little dry, but this was largely due to the evidence under discussion rather than Berdes' writing. Overall, Women Musicians of Venice was in interesting examination of Venetian musical institutions and the significant role women have had in shaping music history.
by Jane L. Berdes
This book covers the ospedali grandi of Venice from the mid 16th to the mid 19th centuries. The four ospedales (Pieta, Mendicanti, Derelitti, and Incurabili) were charitable institutions at which orphaned or destitute girls and young women lived and received music training. Although not convents, these institutions were religious in nature and were organized in a manner similar to that of religious orders. The musicians of the ospedali, known as figlie del coro, provided music for masses and other services and gave public concerts. During the 17th and 18th centuries in particular, the figlie were highly skilled and often virtuosic musicians whose performances were internationally acclaimed.
Berdes outlines the place of the ospedali in Venetian society and the important role the figlie del coro had in Venetian musical life and culture. She examines the institutions' history, organization, and activities, the musicians who lived and worked there, their musical practices, and their impact on European music. In doing so, she uncovers an important yet neglected part of music history and lays the groundwork for future scholarship. Occasionally, sections of the book got a little dry, but this was largely due to the evidence under discussion rather than Berdes' writing. Overall, Women Musicians of Venice was in interesting examination of Venetian musical institutions and the significant role women have had in shaping music history.
