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    Volume I of the complete works of Chiara Magdalena Cozzolani contains all the works in her 1650 publication Salmi a Otto Voci. The double CD set includes texts and English translations, liner notes by Robert Kendrick and album artwork by Nika Korniyenko.

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Warren Stewart, artistic director

Coro Primo
Catherine Webster, soprano
Meg Bragle, alto
Jennifer Ellis Kampani, tenor (soprano)
Karen Clark, bass (alto)

Coro Secondo
Ruth Escher, soprano
Suzanne Jubenville, alto
Andrea Fullington, tenor (soprano)
Elizabeth Anker, bass (alto)

John Dornenburg, violone
David Tayler, theorbo
Hanneke van Proosdij, organ
Warren Stewart, conductor

Cozzolani treats the text of Domine ad adiuvandum with an emotional intensity quite different from the straightforward presentation of Grandi. After a triple meter, eight-voice, homophonic opening plea in G major, Cozzolani urges the Lord in duple time to "hasten" (festina), truncating the text to festina, Domine imitated several times in three rapidly moving solo voices, and finally closing in C major with repetitions of festina alone. But rather than proceed immediately to the Doxology, as Grandi does, Cozzolani repeats the response and builds a larger structure based on tonal transpositions of preceding material. The repetition of Domine ad adiuvandum returns to a full homophonic texture in triple meter, but beginning in C and cadencing in D, paving the way for a repetition of festina, Domine a fifth above its initial presentation. The response then closes with reiterations of fragmented text alternating between triple-meter, eight-voice homophony and three-voiced, duple-meter repetitions of festina. Again the repeated motives and textures are transposed by a fifth up or fourth down, and even by a step upward, the whole concluding where it started, in G major.

The Doxology is approximately the same length as the response, and shifts from duple-meter, eight-voice homophony for the Gloria Patri to two voices in parallel thirds at the beginning of the Sicut erat. This latter verse is split, with the second hemistich in triple-meter homophony, but once more an extended structure is built by repeating the duet and subsequent homophony at a fifth above. The response closes with all eight voices in triple-meter homophony except for the final cadence with its built-in retard by shifting back to duple meter. Throughout the response Cozzolani spices up the diatonic harmony with several strategically placed seventh chords. (notes by Jeffrey Kurtzman)


Text & English Translation

V. Deus in adiutorium meum intende.
R. Domine ad adiuvandum me festina.
Gloria Patri et Filio:
et Spiritui Sancto.
Sicut erat in principio et nunc et semper:
et in sæcula sæculorum. Amen. Alleluia.

V. O God make speed to save me.
R. O Lord make haste to help me.
Glory be to the Father and to the Son:
and to the Holy Spirit.
As it was in the beginning, now, and for ever:
world without end. Amen. Alleluia.


from Cozzolani Salmi a otto voci (1650), released June 30, 2013
Peter Watchorn, producer
Joel Gordon, engineer


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Magnificat San Francisco, California

For 20 years Magnificat has explored the emotionally charged music of the 17th Century, each season bringing together an assembly of internationally recognized musicians to present innovative programs that inspire the imagination. With dramatic flair and sensitivity to historical context, Magnificat imbues each concert with an infectious joy and a delight in musical make-believe. ... more

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