Chiara Margarita Cozzolani - Dialogues with Heaven (Motets)

**** ravishing music of restrained passion
Independent On Sunday

"A quick glance at this CD might make you think of New Age slush. But, assuming that off-the-peg spirituality is not your bag, I have good news: the dialogues in question are altogether more sensuous, rigorous and thoughtful, and were written in the mid-17th century by Chiara Margarita Cozzolani, a Milanese nun. Musica Secreta have done their fair share of the Three Ladies of Ferrara stuff, but recently they've devoted more time to explore 17th century music written by women, for women - a welcome counterpoint to the standard feminist emphasis on living female composers. The pearly voices of sopranos Deborah Roberts and Tessa Bonner, mezzo Catherine King and altos Mary Nichols and Catherine Trevor entwine deliciously over the (all male) continuo section. Even if your tastes normally incline to musical bubblebath, this ravishing music of restrained passion should win you over."

The idea of a 'secret' music may seem somewhat strange to modern minds, but during the closing decades of the 16th century the Duke Alfonso II of Ferrara was so jealously obsessed with the singing and playing of his concerto delle donne, or singing ladies, that he allowed only chosen guests to hear them in his private concerts, known as the musica secreta. Yet as with all of the best kept secrets, the legendary fame of these women spread throughout and beyond Italy. They inspired composers and performers alike with their dazzling technique, and laid the foundations of a rich repertoire for female voices as well as playing a leading role in establishing solo song and the new 'baroque' styles.

At the same time, Italian convents were becoming equally renowned for their prodigious music making, and by the 17th century composing nuns began to emerge, writing in the most up-to-date styles and even publishing their own music. Much of this music has only recently come to light, and Musica Secreta have been particularly fortunate in having the help of the foremost scholars in this exciting new field. In addition to performing and recording music by nun composers, they plan to present programmes of mainstream polyphony as the nuns would have done, thus giving a fascinating new historical slant on familiar repertoires.

All the members of Musica Secreta are well-established and experienced musicians who have worked with leading British ensembles such as the Consort of Musicke, the New London Consort, the Tallis Scholars and the Gabrieli Consort. They have also given masterclasses at summer schools, and have taught and lectured at several principal conservatoires in England and abroad. The group has produced two previous recordings: the madrigals for one to three sopranos by Luzzaschi and a unique recording of duets and trios by Barbara Strozzi.