The four Ospedali and their role in providing challenge

and opportunity for musicians of Venice in the 18th

century

Liam Reynolds, Candidate number: 10013

Department of music, NTNU

MUSV3129

12.17.2021

pg. 1
Table of Contents

Introduction (1) .......................................................................................................................... 3

What was the Ospedali? (1.1) ................................................................................................ 3

The Ospedali, role of opportunities for musicians (2) ............................................................... 5

Esoteric instruments, teaching and freelance (2.1) ................................................................ 5

Brief discussion of the role of Opera (2.2) ............................................................................ 8

The Ospedali, role of challenges for musicians (3) ................................................................... 8

Strict contracts (3.1) ............................................................................................................... 8

The discussion of challenges created by limited vocal range (3.2) ....................................... 9

The Ospedali, opportunity for the figlie del coro (4) ............................................................... 10

Free music education and career flourishment (4.1) ............................................................ 10

Discussion of the Ospedali in the wider context of Venice (5) ................................................ 11

Conclusion (6) .......................................................................................................................... 12

References (7) .......................................................................................................................... 12

pg. 2
Introduction (1)
This essay will discuss the four Venetian Ospedali, and their role in the creation of
opportunities and challenges for 18th century musicians in Venice.
Examples will be drawn towards the Venetian musician Antonio Vivaldi and Anna Maria
della Pietà to highlight the opportunities and challenges of both employee and resident
musician at the Ospedali. Nearing conclusion, discussion will shift towards the role of the
Ospedali in compounding musical opportunities of 18th century Venetian musical landscape
to give further context to subjects discussed throughout.

The Ospedali became a centre for musical life in 18th century Venice. It rivalled the
geographical centre of Venice as a musical centre of the previous 17th century, San Marco.
The square of San Marco, highly shrouded in myth, was the place where the Basilica St.
Mark resided. The place of worship for the Doge, the head and king of the Venetian
government. Conversely, the way in which the Ospedali arguably succeeded the San Marco
as the Venetian musical centre, must in some way reflect certain aspects of the Ospedali not
found anywhere else. Such may have been the case, as the Ospedali was indeed a unique
institution with properties un-rivalled at the time. It is important to first discuss what the
Ospedali was, in-order to discuss the opportunities and challenges it cultivated.

What was the Ospedali? (1.1)

The Ospedali means in literal sense of the word; “hospital”. And it is true, that while the
institution did not have the primary role of hospital per se, it was indeed one of its many
functions. In the 18th century the institution consisted of four Ospedali, each first created for
their own unique purposes. The Ospedali Grandi were created in chronological order within
the period of the Middle Ages in reaction to the many bouts of plague, instances of warfare,
and resultant amounts of refugees coming to the city or otherwise resided there. The
geographical and unique planning of the city of Venice led to a unique meshing across social
classes, which warranted a place for those in need as to not occupy the many narrow streets
which would result in tight crowding. The Ospedale Incurabili for example, which had the
function of hospital taking care of the sick; was created in 1522 along the paved street of
Zaterre. Named after the many rafts that unloaded wood there, it was created as a partly in
reaction to the plague of syphilis present in the 16th century. The Ospedale Dereletti, known
also as the Ospedaletto, functioned as a home for those in a situation direly destitute,

pg. 3
originating from places outside Venice. In other words, refugees. It was created in 1527, and
later an orphanage was added to it in 1528. The Ospedale Mendicantini was of the oldest of
the Ospedali Grandi, being created in 1182 to serve hostel to the many warriors and pilgrims
from the Holy Lands. It was built upon an island and was later moved to the mainland of
Venice. Lastly, the Ospedale della Pietà was created in 1346, functioning as an orphanage
and home for abandoned children, foundlings and orphans donated through for all intents and
purposes a hole in a wall; the scafetta. In the 18th century it was known for its female
orchestras and coro, however it took in illegitimate children of both sexes, with girls and boys
taught and raised by nuns and friars respectively. The Pieta was later split up into two, with
the female population moved to the Riva degli Schivoni, and the males; the Franciscan
church of Frari. The Ospedale della Pietà would later in the 18th century contain one of the
highest regarded music conservatories (Stevens, 2000, p. 23).
The process of education at the Ospedali Grandi was split up into gender, with females taught
through a platonic style of education consisting of a curriculum including music. The males
were taught through a curriculum leaning more heavily towards workmanship. It is important
to put into question as to why specifically music was taught at these institutions. Simply put;
music was the main source of respectable artistry and entertainment in Venice at this time,
serving the female pupils well who did not partake in the types of activities that men did
(Stevens, 2000, p. 23). In addition, the pupils were taught music to sing in chapel for the
benefactors of the Ospedali (Buelow, 1993, p. 71). The four Ospedali Grandi later went under
a development spurred by the principle of monasterium duplex (Latin for “double
monastery”), which split the Ospedali based upon gender. This led to many religious bodies
of predominantly female or male populations ruled under the same rules and administrative
bodies (Fiera, 2017, p. 9-10).
Arguably, with the platonic style of musical education of the female populations serving to
better liturgical services for the Ospedali benefactors, it was factors such as the principle of
monasterium duplex which led rather consequentially to the famous orchestra, choirs and
cappella which made the Ospedali famous, once thoroughly developed, in the 18 th century.
This due to such principles spurring the split of gender to different areas, leading to the
female-dominant musical performances that made the Ospedali popular.
It is important to note the distinction between musician and non-musician at the Ospedali.
Those receiving education consisting of additional music training were coined figlie del coro,
while those residing at the institution receiving a general form of education; the figlie del
comun (White, 1999, p. 78-79). Therefor not every figlie at the Ospedali was a figlie of

pg. 4
music. Rather, the populations that played music at the Ospedali were very likely in fact a
minority compared to that of the figlie del comun. This can be evidenced in that, to quote
Talbot (1789): “Its population [of the Ospedali della Pietà] was reported in 1663 to lie
between 400 and 500; by 1738 it held 1000.” (p. 315). According to the findings of White
(1999) however, in 1718 there was very roughly 59 figlie del coro in service. This number
was based upon a guide consisting of a list of coro members some who were in training to
become figlie del coro, and some who had retired. Hence, approximately; and the number of
coro may very well have been fewer. One can argue, as the populations of the Ospedali very
likely increased between 1663 and 1738 due to heightening popularity, that in 1718 there was
a disproportionate amount of figlie del comun compared to that of figlie del coro, which may
have been a common trend. However, despite this the Ospedali were still considered music
conservatories. As Talbot (1718) points out, on the account of the importance accorded to the
music (p. 315)

The Ospedali, role of opportunities for musicians (2)

Esoteric instruments, teaching and freelance (2.1)
It can be argued that the teaching of students at the various Ospedali was a considerable
source of income and opportunity for 18th century musicians in Venice. One can point to the
development of this opportunity through the development of esoteric instruments that began
to be put into use in the 18th century. Resultantly, creating a heightened demand for
composers and musicians in Venice to teach said instruments due to the nature of the
educational structure of the Ospedali Grandi.
Many of the figlie del coro were multi-instruments, both exceptionally talented in singing but
also in the playing of instruments. We see this in the published list of biographies of figlie del
coro at the Pietà by White (1999). For example, the multi-instrumentalist and singer Anna
Maria della Pietà (c1695-1782), not to be confused with the Anna Maria of the Ospedaletto.
While becoming a figlie del coro at the age of ten, promoted to maestro del coro in 1737, was

pg. 5
most known for her Figure 1

exceptional talents of
multiple instruments.
Primarily the violin, but also
the theorbo, lute, mandolin,
harpsichord and a rather
esoteric instrument; the violin
d’ amore. The use of esoteric
instruments at the Ospedale
della Pietà, also in general
between the Ospedali Grandi,
increased in the period of
1700 to 17401. This was
mainly due to the Note. The opening of the Concerto de Viola all’ Inglese in Juditha Triumphans
RV 644 (1716). Turin, Biblioteca Nazionale del Torino, MS FOA 28.
advancements in instrument
manufacturing. Subsequently, experimentation occurred particularly in the family of
woodwinds, but also in the family of violins (Selfridge, 1978. p. 333). The violin d’ amore,
which featured additional sympathetic strings allowing for amplification of volume compared
to that of traditional violins 2, was put into particular use of the composer Antonio Vivaldi
(1678-1741), who wrote a total of six solo concertos for the instrument. E.g., RV392 through
RV397 (Selfridge, 1978, p. 334). We also see the use of the Violin d’ amore, along with the
esoteric Viola all’ inglese in the Oratorio Juditha triumphans devicta holofernis barbarie RV
644 (1716) by Vivaldi. One can see a concerto in Juditha written specifically for the Viola all’
inglese as illustrated in figure 1.3

The Ospedali featured a pyramid-like structure to its education system. In other words, students
of higher levels of knowledge and experience would teach those of e.g., beginner level (Talbot,

1
The use of esoteric instruments at the Ospedale della Pietà, also in general between the Ospedali Grandi,
increased in the period of 1700 to 1740, however to what degree increase is still debated with standardization of
instrument names not in effect in this period, thus making identification difficult. (E.g., Talbot, 1978, p. 337;
Talbot, 2002, p. 381)
2
The sympathetic strings of the violin d’ amore caused a sort of silvery effect in addition to amplifying the
instrument. This is due to the sympathetic resonating with the true practical strings of the violin, amplifying the
whole frequency spectrum while also raising certain upper overtones of the instrument due to factors such as
string material and shape of instrument body. Thus, causing manipulation to timbre and the aforementioned effect
of sound.
3
Figure 1 found by example in Selfridge, 1978, p. 335).

pg. 6
1978, p. 315). For example, Anna Maria della Pietà, who later in life at the Pietà was maestro
of multiple areas, was teacher of Anna Maria II, the violinist Bernardina, the singer Fortunata,
and the violinist and cellist Santina (White, 1999, p. 82-83). The introduction to a larger number
of instruments into the instrumental repertoire of the Ospedali caused a heightened demand for
composers and performers. Arguably, the pyramid structuring of the Ospedali failed to be able
to pass down knowledge through experienced students who, alas, have no experience with the
newer esoteric instruments which began to appear in use in the musical repertoire of
compositions lining the library of music at the Pietà and the other Ospedali Grandi. Thus, the
demand for more teachers at the start of the 18th century due to the heightened experimentation
and manufacturing of esoteric instruments would create further opportunities for musicians and
composers seeking positions at the institution that put these instruments into use. An example
of such an occurrence can be seen through the perspective of Antonio Vivaldi, who was first
hired to the Pietà for 60 ducats per annum, and for an additional 40 ducats per annum the
teaching of the figlie the Viola all’ inglese in 1704 (Landon & Norwich, 1991, p. 128). The
viola all’ inglese includes the trait of sympathetic strings behind the fingerboard like that of the
violin d’ amore which was introduced to the Pietà in 1708. However, it was the viola all’ inglese
which was featured most as the primma violin in solo concertos. To mention a few other
esoteric instruments that would be taught at the Ospedale della Pietà; according to Buelow
(1993): “by the 1720s instruction on the oboe and the transverse flute was also provided” (p.
72).
The most frequent styles of music provided at the various Ospedali Grandi in the early 18th
century were styles which provided contrast between both instrumental and vocal
performance or were entirely based upon instrument. For example, the styles of oratorio,
opera and concerto. Such styles were performed frequently at the Pietà, with the concerto
becoming prevalent in the early 18th century. This can be attributed in part to Vivaldi,
considered one of the most popular composers during the height of his career in this period at
the Pietà. It is estimated that he composed approximately 500 concertos during his career,
whereby 300 concertos in the form of solo concerti. Conversely, the needs for solid and
reliable instruments that fitted both the needs for performer and listener would create the
demand for greater instrument manufacturing and experimentation. As such, leading to a
bigger repertoire of esoteric instruments to meet these needs, creating further demand for
musicians to teach these instruments at the Ospedali music conservatories.
One can also point towards freelance of being an opportunity for composers, of which the
Ospedali would often buy compositions for use in performance by the figlie. Vivaldi himself

pg. 7
sold large collections of his concertos and sacred music to the Pietà in 1740 (Landon &
Norwich, 1991, p. 134).

Brief discussion of the role of Opera (2.2)

It is notable to mention the correlation between the rise of esoteric instruments giving further
opportunities at the Ospedali as a result of the rise of the instrumental genre itself. Venetian
instrumental music became increasingly popular in the early 18th century. Arguably, a factor
of this can be found in that early Venetian instrumental music mirrored established operatic
conventions. One can point to a rather generalized aspect of instrumental music from Vivaldi:
a structure in similarity to that of Opera in an easily identifiable Fast – Slow – Fast form,
otherwise a structure with a clear logical development. In addition, the virtuosic instrumental
solos of the concerti emerging in the 18th century mirrored that of the swift vocal passages of
the primma donna through ornamentation, trills, and passages of equal swiftness. Conversely,
a factor to the popularity of instrumental music may have been in the ways it mirrored the
conventions of Opera. Enabling listeners attuned to the Operatic language to enjoy
instrumental music (Buelow, 1993, p. 27-28; Heller et al., 2013, p. 109). The mirroring of
operatic conventions may also have helped to establish purely instrumental Venetian music in
a musical landscape astutely critical to music without the ability to breathe affection to text.
This property being a core element of Venetian popular music, that being opera, since its
conception in the 16th century.

The Ospedali, role of challenges for musicians (3)

Strict contracts (3.1)
The Ospedali provided a rich opportunity for Venetian musicians through the demand for
teaching. Again, according to Talbot (1978), by 1738, there were 1000 figlie both in general
and musical curriculums at the Pietà (p. 315). However, if a musician wanted a position at the
Ospedali, he was bound by strict contract.
Contract as maestro had to be renewed every year by the Ospedali governors through a voting
system, whereby one required 2/3 of vote to keep position. In addition, to get into these
positions, competition was tough as positions at the Ospedali were highly desirable both for
the positions themselves and the further opportunities these positions created. Vivaldi was no
stranger to this, and his relationship with the Ospedali governors grew increasingly tense over
the years with vote for his position falling decreasingly out of his favour. In addition,

pg. 8
frequent absence meant potential firing of position, which may have occurred for Vivaldi in
1738 when his connection to the Pietà was cut (Landon & Norwich, 1991, p. 124). Another
challenge of employment concerning contracts at the Ospedali can be seen through the
perspective of the composer Nicola Antonio Porpora (1686-1768). According to Fiore
(2017), in 1745 he faced scrutiny from the Ospedali governors at the Ospedaletto, who had
been told by an unknown person that they: “had the opportunity to hear and enjoy in other
Ospedali the compositions of the said Signor Porpora [emphasis added]” (p. 14). One could
speculate the accusations of e.g., recycling of music, while disproven at a later point, may
have affected reputation of the composer employed at the Ospedali. Potentially swaying the
vote of their contract against them based upon positions having to be annually renewed.
The contracts of the Ospedali Grandi may have been lucrative, however also restrictive, with
certain positions experiencing in-stability as the relevancy of such positions becoming
redundant. Something which Vivaldi himself experienced, as his position in 1709 as maestro
del violin at the Pietà had become a firmly established tradition, being subsequently
dismissed. He later however became maestro del concerti at the Ospedaletto in 1716 after
taking over from the previous occupant who was on sick leave; Francesco Gasparini (1661-
1727). Maestro del concerti being a considerably less dispensable position, one can argue the
stability of certain positions such as that of maestro del concerti or maestro del coro were
more stable positions for musicians than that of instrument teaching, which could become
easily dispensable due to the pyramidical structure of the music education at the Ospedali
Grandi (Talbot, 1978, p. 316; Landon & Norwich, 1991, p. 129).

The discussion of challenges created by limited vocal range (3.2)

It is worth considering a challenge to composers that the Ospedali introduced in its policy of
purely female coro, which is that of vocal range. While the high registers were readily
available, the bass and tenor ranges shown in the coro works at the Ospedali would prove a
challenge even for modern day singers not trained extensively to sing in such registers.
However, several compositions of Ospedali coro works show the presence of bass- and tenor
lines. There does exist evidence of females with the ability to sing tenor and bass in the 18th
century. In certain coro works one finds references to singers such as Anneta del Basso in the
published list of biographies of figlie del coro at the Pietà by White (1999). In which there are
multiple references of female singers listed as tenor and bass, who are also mentioned to have
performed in choir. E.g., Anna III, Antonia I, Vittoria.

pg. 9
According to Talbot (1978) in the works for the Pietà by Vivaldi, the transcription of the bass
and tenor lines up to 1st and 2nd octave still gives an acceptable result when accompanied by a
bass-instrument which supplied 8’ and or 16’ registers. Vivaldi’s church music for the Pietà
was rarely unaccompanied without bass or a bass-capable instrument such as the organ, cello,
etc., in orchestra or otherwise (p. 316). E.g., Laetatus sum RV 607. It can be argued that this
may have both been a consequence of style, but also a way of circumventing the issue in
situations where figlie del coro with bass- tenor capabilities were not available. Conversely,
whether vocal range was an actual challenge for composers is debatable. However, it is worth
mentioning as a potential consequence and challenge resultant from the dominantly female
Ospedali choirs.

The Ospedali, opportunity for the figlie del coro (4)

Free music education and career flourishment (4.1)
The figlie who resided at the four Ospedali until old age, or until married off, were given an
obvious opportunity. They were given free music education from the leading Italian composers
and performers of Venice. A testament to this fact can be provided in that the music education
was so highly regarded in the 18th century, that noble families or otherwise those non-
disadvantaged payed a considerable fee for a child to be taught at the charitable institution. An
example of nobility receiving Ospedali music education was that of Maddalena Lombardini
Sirmen (1745-1818), who was indeed born from nobility. Writer, composer and singer, her
education in composing at the Ospedale della Mendicantini was especially payed for by the
Italian violinist and composer Giuseppe Tartini (1692-1770) who was her violin teacher,
according to Heggen (2019). According to Stevens (2000), some noble families even feigned
poverty and disaster in-order for their children to receive the prestigious music education the
Pietà gave. This led to an inscription being placed at the Scafetta, a warning quoting “curses
and excommunications” to those who donated a child to the institution with the means to rear
them (p. 23-24). One could debate whether this warning was put up purely as the result of
cunning noble families, as one could assume the likes of couples unkeen in child-rearing would
likely perform a similar feat.
While some musicians educated at the Ospedali lived relatively uneventful lives, others would
end up becoming extremely popular garnering flourishing careers. Entailing both performances
privately and publicly. Those of considerable talent rose the ranks of the Ospedali and garnered
favourable positions such as maestro del coro and maestro del violin, as seen with the musician

pg. 10
Anna Maria della Pietà. In addition, some figlie del coro later became adept composers with
notable career. For example, Maddalena Lombardini Sirmen, who published her music under
the name of her husband, Ludovico Sirmen. She became quite notable as one of the first women
composers to perform tours performing her music, considered unusual as female
instrumentalists performing on stage was uncommon at this time (Heggen, 2019, para. 1-4).

Discussion of the Ospedali in the wider context of Venice (5)

The four Ospedali Grandi attracted tourists across all over Europe in the 18th century. This as
a result led to higher rates of financial growth for the Ospedali itself through the likes of
donations. Increase in tourism resulted in further demand of music souvenirs to the
compositions composed by the popular musicians who were employed at the Ospedali. These
souvenirs were sold through aria books and single piece manuscript and would become an
important source of income for musicians. Antonio Vivaldi himself boasted in 1733 that he
had discontinued the practice of sending to press 12 works as a set, instead selling single
works in manuscript as it was more profitable (Buelow, 1993, p. 78-79). The grand tour may
have also played a large role in bolstering the rates of tourism in Venice, a tour spanning
across Europe with Venice being one of its many goalposts. The tour would funnel an
increased amount of tourism into Venice at the start of 18th century. Travelers of the Grand
tour were often those of noble class, with money to spend. One can argue that the Grand tour
was major factor for the market demand of music souvenirs, with the Ospedali being a factor
in solidifying Venice as a popular destination for Grand tourists.
Conversely, the Ospedali helped to bolster the civic and musical image of Venice. The
Ospedale della Pietà was a major source of attraction for visitors and tourists. In addition, the
Pietà was regarded by many to be one of the most excellent music conservatories in Europe.
The Pietà, and the other three Ospedali Grandi for that matter, can be seen as a statement to
bolster the reputation of the Republic. The Ospedali took in the dredges of society, and
through smart initialization spurred by the Venetian government turned dredges into
musicians of exceptional class. Such a feat being exceptionally alien, one could argue this
would further strengthen the musical image of Venice. Conversely, such a feat also
supporting the desired civic image of political and social stability. A bolstering of the myth of
Venice, if you will. This would be particularly important for the Republic of Venice, as it was
experiencing a feigning political power at the start of the 18th century (Buelow, 1993, p. 66).

pg. 11
Conclusion (6)
In summary, the Ospedali was an institution which gave considerable opportunities for
musicians in 18th century Venice. One can point out the development of esoteric instruments
as a factor in the increasing demand for teaching at the four Ospedali, as well as the populations
of music-students at the various Ospedali simply increasing in size throughout the 18th century.
Free-lancing may have also been a considerable source of income as the Ospedali often bought
compositions, as seen through the perspective of Vivaldi in 1740. One can attribute the
mirroring of operatic conventions as a potential factor in the rising instrumental genre in a
musical landscape astutely critical of non-textual forms of music. This genre, spearheaded at
first by Vivaldi and his numerous concerti, further created demand for suitable instruments and
instrument manufacturing. Leading to higher quality instruments, as well as the
experimentation of existing instrument families, resulting in further opportunities at the
Ospedali to teach these instruments because of the pyramidical structured music education
system the institution based itself on. The pupils, or figlie di coro at the Ospedali were given
opportunity in the form of free-music education of exceptional quality. As well as the ability if
abundantly talented to garner greater careers beyond simple performances at the four Ospedali
Grandi.
The Ospedali also gave certain challenges for musicians employed there, however. One can
point out the very strict nature of music contracts, and the instability of certain positions. One
can also argue that the all-female choirs could have potentially led to certain restrictions in
compositions due to strict vocal ranges. Something that is very much debateable, however.
In the wider context of Venice, the Ospedali attributed to increased tourism which arguably
was a factor in the increase of the selling of souvenirs, an important source of income for
musicians. One could argue the unique nature of the Ospedali, with its ability to turn those
disadvantaged into musicians of expectational class, helped to bolster the civic and musical
image of Venice. One which was La Serenissima, much like the Republic itself.

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