Biography
As a child, Vittoria observed her older sisters in their music lessons without initially taking lessons herself. Her parents were astonished by the amount she learned, and sent her to the San Vito convent to study music in a more professional environment. At age 14, she decided to become a nun herself, and composed her first major work, a madrigal set for four voices. Throughout her time in the convent she composed numerous pieces for voice, primarily madrigals and motets, which will be covered further in the following section.
In addition to composing, Vittoria also gained fame for her position as lead organist for the San Vito convent. The convent presented concerts, both vocal and instrument, of such quality that many who attended were in disbelief that it was women creating this music, particularly due to their use of instruments not typically considered appropriate for women to play, such as cornetti and trombone. Vittoria led the nuns in their musical training and performance and likely taught composing as well, but the only 16th century nun music which remains is by Vittoria.
Since she entered the convent primarily to be a nun, she is not considered to be a professional composer; her profession was donating her life to God. Even so, her publishing of full volumes of compositions was unique and novel for female composers, and her impact on future composers could be potentially immeasurable.¹