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The Voice of the Invisibles: Ornamentation and Improvisation in the Venetian Ospedali [Crowdfunding Project]

“Studying improvisation and ornamentation—an interpretative aspect closely linked to the performer’s freedom and personal artistic imprint—within these manuscripts is particularly moving and revealing. These works were performed by women who were renowned yet confined and rendered invisible behind iron grilles.”

Thanks to a research grant awarded by the Fondazione Cini and the Istituto Vivaldi in Venice, I have been able to travel to Venice to study the manuscripts from the Venetian ospedali in search of traces of ornamentation and improvisation practices: cadenze, annotations, ornamented versions, etc. My starting point was some references in Dr. Vanesa Tonelli’s dissertation, which mentioned the presence of cadenze in certain Venetian manuscripts, as well as my knowledge of the Libro di Anna Maria, which also contains cadenze and ornamented movements. However, until now, no comprehensive study had been conducted on this subject, so I had no idea what I might find.

During my first trip to Venice in early 2025, which lasted only a week, I discovered that the Venetian manuscripts constitute one of the most significant collections of sources for musical ornamentation, particularly in vocal music. The rich practice of ornamentation and improvisation at La Pietà is documented in a wide variety of cadenze for one or multiple voices, for voices and instruments, for solo instruments, as well as manuscripts with ornamentation annotations written by the ospedali women themselves for their performances.

The research grant from the Fondazione Cini and the Istituto Vivaldi covers only accommodation at the Centro Internazionale di Studi della Civiltà Italiana “Vittore Branca” for four months. However, all travel and living expenses are my responsibility. Additionally, every time I travel to Venice, I have to decline paid concert engagements, which are currently my only source of income. I do not receive financial support from any other institution.

Delving into these manuscripts has been one of the most thrilling experiences of my career as a researcher. Thinking about all that remains to be discovered about the lives of the women of La Pietà is overwhelming. Most of them were abandoned as newborns and anonymously left at the hospice through a small rotating door, thus escaping almost certain death. If they demonstrated musical talent, their destiny changed: they became part of the European musical elite, yet always hidden behind grilles, without the freedom to showcase their art to the world. Nevertheless, some of them achieved great fame, and their reputation spread across Europe.

The manuscripts preserve the traces of these women: their names written in the margins of the scores, not only as dedicatees but also as performers of this music—Chiara, Anna Maria, Ingrazia, Bona, Nunciata… and many more. The scores bear signs of use: corners darkened by fingers, remnants of candle wax used during performances, ornamentation annotations, and cadenze that astonished listeners who came from all over to hear them. Behind those grilles, these musicians moved travelers from around the world and amazed all of Europe without ever leaving their seclusion. Studying improvisation and ornamentation—an interpretative aspect closely linked to the performer’s freedom and personal artistic imprint—within these manuscripts is particularly moving and revealing. These works were performed by women who were renowned yet confined and rendered invisible behind iron grilles.

This is an exciting project that requires immense dedication: organizing manuscripts, analysis, editing, contextual research, studying the authors, copyists, and maestri, exploring catalogs, and countless other tasks. However, to continue this research and make these manuscripts known to the world, I need funding. That is why I have decided to launch this crowdfunding project. Contributions will help cover my travel expenses to Venice, which I would otherwise have to minimize or cancel.

By supporting this project, you will help make these findings public and contribute to the creation of an online catalog within the Historical Ornamentation Sources Catalog, ensuring that this valuable musical heritage is accessible to all.

Thank you for your support!