“A newly unearthed collection of choral music is unlike any other music of its time. Who composed it? All the evidence points to the youngest daughter of Lucrezia Borgia.”
“Eight years ago, leafing through a bibliography of 16th-century music prints (like you do), my eye was caught by the title of a motet: “Salve sponsa Dei.” “Bride of Christ,” I thought. “Must be for nuns!”
It was one of 23 anonymous motets published together in 1543, so I did what any self-respecting nunologist would do, and ordered a reproduction of the book. As I put the motets into a usable edition for modern singers, I found they were unlike any other 16th-century music I’d ever seen. They were dense, intense and sometimes startlingly dissonant.
The music – for five equal voices (of unspecified sex) – is astonishingly beautiful and yet strange, radical even. These works had lain unsung and unloved for almost four centuries, mostly because they were anonymous. These days, anonymity suggests that whoever created the book, music, painting or whatever was not important enough, or the product is not good enough, for anyone to care who made it. But in the 16th century, anonymity was also an important way for members of the nobility to disguise their participation in commercial ventures that were considered beneath them”
Check out the full article here.