Giovanni Paolo Cima's 1610 collection, Concerti Ecclesiastici, includes some of the earliest small-scale sonatas for treble and bass instruments with basso continuo, and possibly the first trio sonata.
Historical Context
Milan, though often overlooked in histories of the Baroque style, was a significant center for experimental music from 1592-1626, home to innovative musicians like the Rognoni and Cima families.
Compositional Technique
Assandra's O salutaris hostia (track 20) may be the first printed designation of the violone (bass violin) as an obbligato instrument, setting a precedent for its soloistic treatment.
Historical Context
During this period, the Duchy of Milan was under Spanish Habsburg control, with local governors appointed by the King of Spain.
Cultural Impact
Donna Claudia Sessa, a nun in the convent of Santa Maria Annunciata, was a celebrated singer whose cloistered performances attracted noble audiences from across Europe.
Historical Context
Milan began its close association with the violin in the 16th century, and as the capital of Lombardy, it had a special relationship with Cremona, a major center for violin making.
Composer Biography
Caterina Assandra, a musician-nun, was an accomplished composer who published a collection of Motets in 1609 while still a postulant at the convent of Sant'Agata di Lomello.
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