Religious History and Composition
While clearly extremely religious, Vittoria did not initially write sacred music. She started out writing madrigals, with her first published piece occurring in an anthology in 1591. Even though at this time in Italy musical styles, particularly of the madrigal, were progressing with the concerto delle donne, her pieces do not reflect these changes. Instead they reflect typical sixteenth century compositional techniques, which Pendle describes as follows:
Despite her obvious skill in composition, her music lacks innovation, an absence which could perhaps be attributed to a lack of opportunities for female composers of her time. It is possible that had she been given equal training and favor as her male colleagues, she could have risen even further in her ability and innovation.Each textual idea is given a musical setting that differs clearly from that which precedes or follows it and yet complements them. The lively imitative texture of the opening gives way to chordal declamation; then a sustained texture introduces the idea of death. Yet this is to be “so welcome a death” that the musical gloom cannot help but lift as the voices ascend, the bass drops out, and the soprano even sings a two-bar ornament. Vittoria’s harmonies and rhythms are quite straightforward.
Vittoria holds the honor of being the first known woman to have written sacred music that appeared in print with her Sacrae cantiones, a series of religious motets for voice, in 1593. A video of one of her motets from this volume can be viewed in the following section. The majority of Vittoria's motets align with readings from the Christmas Matins, and were likely performed by the nuns in their chapel as a form of worship. As with most 16th century motets, her compositions feature alternations between chordal sections and imitative style based on the pictoral message of the story. In contrast with her madrigals, Pendle describes her motets as "exhibit[ing] a good grasp of technique and style and convey[ing] a more than superficial understanding of their subjects." Even so, she did not stray from conventional style in either.¹