“Beauty of Friendship”

 Not a single evening goes by without a concert somewhere. The people run along the canal to hear it…you cannot imagine how crazy the city is about this art…The transcendent music is that of the ospedali. There are four of them, made up of illegitimate and orphaned girls and those whose parents are not in a position to raise them. They are brought up at the expense of the state and trained solely to excel in music. They sing like angels and play the violin, the flute, the organ, the oboe, the cello, and the bassoon…They are cloistered like nuns…about forty girls take part in each concert.

This is how Charles de Brosses, one of the foremost chroniclers of 18th-century European musical life, described the vibrant musical scene in Venice during the golden age of its ospedali. The four Ospedali Grandi of Venice were originally established in previous centuries to provide care and support for the sick, the poor, and the orphaned. Over time, however, they became renowned across Europe for their exceptional musical training and performances, drawing visitors, musicians, and music lovers from far and wide. Throughout the 17th and 18th centuries, they played a key role in Venetian religious and musical life, offering both sacred services and special concerts.

The figlie del coro, the highly trained female musicians of the ospedali, performed from elevated galleries concealed behind latticed screens, shielding them from the gaze of the audience. Their breathtaking virtuosity made religious services in these churches some of the most captivating and sought-after musical experiences of the 18th century. One can only imagine the deep bonds that formed among these prodigious musicians—hours of study and rehearsal spent together, sharing the triumphs of performance and the rhythms of daily life within the cloistered walls. Tonight’s program features music composed for two of these Venice’s renowned ospedali: the Ospedale degli Incurabili and the Ospedale della Pietà. These works, written by two of the most celebrated composers of their time—Johann Adolf Hasse and Antonio Vivaldi—offer a glimpse into the extraordinary musical life that flourished within these institutions.
Johann Adolf Hasse devoted much of his career to composing sacred music in Dresden, though he also spent time in Italy and later settled in Venice, drawn—like many eighteenth-century composers—to one of Europe’s most vibrant musical capitals. His Laudate Pueri Dominum (Psalm 112) is a hymn of praise: Laudate, pueri, Dominum; laudate nomen Domini—”Praise the Lord, ye children; praise the name of the Lord.” Composed between 1735 and 1749 for the Incurabili, the piece unfolds as a dynamic interplay of instrumental passages, solo arias, and choral sections. Hasse’s operatic influence is unmistakable, reflecting the era’s seamless blending of theatrical and sacred musical styles.
Antonio Vivaldi’s long-standing relationship with the Ospedale della Pietà—beginning in 1703 and lasting for most of his career—is a fascinating chapter in music history. The works he composed for this institution, including cantatas, oratorios, and instrumental concertos, offer a priceless glimpse into the remarkable musical world behind the cloistered walls. They stand as a testament to the elite artistry of the Pietà’s all-female orchestra and choir, whose performances captivated audiences across Europe.
Vivaldi wrote the earliest version of the Magnificat in g minor for the Ospedale della Pietà around 1715. This early version later became known as RV 610b and is the one on the program today. Vivaldi revised the Magnificat several times, which is why it is known as both RV 610a, RV 610b and RV 611.