Author Archive

Magnificat Featured on PRX Women’s History Month Program

January 25th, 2010 No comments

To mark Women’s History Month, Public Radio Exchange (PRX) has posted an hourlong program celebrating some of the remarkable women in music from the Baroque. Hosted by Angela Mariani, the program includes works by Barbara Strozzi, Elisabeth Jacquet de la Guerre, Isabella Leonarda and, of course, Chiara Margarita Cozzolani.

We are pleased that they included Magnificat’s recording of Cozzolani’s setting of the psalm Dixit Dominus on the program.

Have a listen!

Alessandro Grandi’s Cantade et Arie a voce sola of 1620

January 23rd, 2010 No comments

Dinko Fabris, an Italian scholar and lutenist of the Conservatorio Nicolò Piccini in Bari, Italy, has provided some information about Alessandro Grandi’s 1620 collection Cantade et Arie a voce sola, from which five of the works on Magnificat’s upcoming program are drawn.

In 1620 Alessandro Grandi, published a second edition of his ground-breaking Cantade et Arie a voce sola.  The first edition has long been lost. The importance of this collection of secular pieces lies in the very first use of the word “cantata” in a music publication.  The multi-sectional structure of these solo pieces lays the groundwork for the sectional organization of the later solo cantata.

The only known copy of the 1620 publication resided in the music division of the University Library in Breslau, Germany until the final months of World War II. As the Russians laid siege to Breslau, a bombardment that lasted three months in early 1945, the building housing the music division was hit and caught on fire.  Library personnel saved much of the music collection by throwing it into the surrounding river (the building with the music division lies on an island), but some very important items, including the Grandi Cantade et Arie of 1620 were lost. The only record of the music then lay in an old, difficult-to-read manuscript transcription by the musicologist Alfred Einstein, which is housed in the Music Library at Smith College in Northampton, Massachusetts.

What was unknown to musicologists with the exception of Agostino Ziino, and later, Dinko Fabris, was that another copy survived in the private collection of Rodrigo de Zayas in Seville. However, de Zayas has recently provided copies of his print to the Royaumont Foundation in France with permission to Aurelio Bianco of the Université de Tours in France to make an edition, and to Giulia Giovani, a student working on her Ph.D. dissertation at the University of Rome under Professor Ziino.

Magnificat is grateful to the cooperation of all these musicologists in making our performances of this music possible. We will be performing from transciptions provided by Bianco and Giovani of the cantatas  Amor altri si duol, Vanne vattene Amor and Udito han pur i Dei as well as two madrigals O Bella Catatrice and Un Cerchietto d’oro. We will also perform one cantata in Grandi third book of Arie et Cantade from 1626, Amor, giustitia Amor. With the exception of the cantata Amor, altri si duol, these works will in all probability be receiving their first performances since the 17th century, and certainly their first North American performances, in Magnificat’s concerts.

Photos from Cozzolani Recording Sessions

January 8th, 2010 No comments

David Tayler has scanned some photos from the August 2001 Cozzolani recording sessions at St. Stephen’s in Belvedere – have a look.

Here’s a photo of “The Cast” from August 2001.

The Cast from August 2001

Warren Stewart, Elizabeth Anker, Suzanne Jubenville, Catherine Webster, Ruth Escher, Andrea Fullington, Hanneke van Proosdij, Jennifer Lane, Jennifer Ellis Kampani, Meg Bragle, John Dornenburg, and David Tayler

Magnificat to Feature Soprano Laura Heimes

January 7th, 2010 No comments

Soprano Laura Heimes

Magnificat’s February 12-14 concerts will feature soprano Laura Heimes in a recital of songs, cantatas and motets by Alessandro Grandi. Laura most recently sang with Magnificat in a program of Charpentier divertissements in October 2008. Her first appearances with Magnificat were in September 2005 in a program featuring setting’s of Guarini’s Il Pastor Fido.

Magnificat audience’s will especially remember her captivating performances in the title role of Stradella’s La Susanna in 2007. The San Francisco Classical Voice described her performance and the audience’s response in glowing terms:

“Soprano Laura Heimes alone was worth the price of a ticket. Her clear, expressive sound often soared beautifully above the ensemble. Her performance of the oratorio’s best number, “Da chi spero aita, O Cieli,” elicited spontaneous applause from at least one audience member (it could have been a touchdown). Stradella used a lamento bassline for this pivotal dramatic point of the oratorio…”

Praised elsewhere for her “sparkle and humor, radiance and magnetism” and hailed for “a voice equally velvety up and down the registers,” Laura is widely regarded as an artist of great versatility, with repertoire ranging from the Renaissance to the 21st century. She has collaborated with many of the leading figures in early music, including Andrew Lawrence King, Julianne Baird, Tempeste di Mare, The King’s Noyse, Paul O’Dette, Chatham Baroque, Apollo’s Fire, The New York Collegium, The Publick Musick, Brandywine Baroque, Trinity Consort, and Piffaro.

Laura has been heard at the Boston, Connecticut and Indianapolis Early Music Festivals, at the Oregon and Philadelphia Bach Festivals under the baton of Helmuth Rilling, at the Carmel Bach Festival under Bruno Weil, and in Rio de Janeiro and Sao Paulo, Brazil in concerts of Bach and Handel. With the Philadelphia Orchestra she appeared as Mrs. Nordstrom in Stephen Sondheim’s A Little Night Music.

Recent recordings featuring Laura include Cantatas Françoises (music of Jacquet de la Guerre and Clérambault) Handel Duets and Trios; Oh! the Sweet Delights of Love: the songs of Purcell with Brandywine Baroque; The Lass with the Delicate Air: English Songs from the London Pleasure Gardens; The Jane Austen Songbook with Julianne Baird; and Caldara’s Il Giuoco del Quadriglio with Julianne Baird and the Queen’s Chamber Band conducted by Stephen Altop.

For more about Laura Heimes visit her website

Click Here for Tickets and Concert Information

Cozzolani Project Releases New Track “Quis audivit unquam tale”

January 6th, 2010 No comments
Quis Audivit Bass page 1

The first page of Quis audivit unquam tale from the Bass part book

The Cozzolani Project is pleased to announce the release of a new track, the Christmas/Epiphany motet Quis audivit unquam tale.

As with most of the non-liturgical texts set by Cozzolani, the author of Quis audivit unquam tale is unknown, but there are references to Song of Songs 3:11 and the Gospel of John 1:14. The motet is notable for its variety of textures, alternating antiphonal motives and invertible counterpoint and florid declamatory writing with unexpected extensions of melodic ideas. Word painting for the parallel expressions of ascending and descending and for the contrast of the Kingdom of Heaven and the humble manger make this one of the most immediately attractive of Cozzolani’s works.

In the 1650 publication, Quis audivit unquam tale is scored for two sopranos and bass and Magnificat’s recording features Catherine Webster and Jennifer Ellis Kampani along with contralto Elizabeth Anker, who sings some of the bass part at pitch and some transposed up an octave. Magnificat first performed the motet in December 1999 on the San Francisco Early Music Society concert series, with recent performances last month on our own series.

Quis audivit unquam tale is available for streaming and download at The Cozzolani Project Music Page.

Urban Opera’s Dido and Aeneas Among San Francisco’s Top Classical Events of 2009

January 2nd, 2010 No comments
Jubilate at Urban Opera

Members of the Jubilate Orchestra "warming up" for Urban Opera's Dido and Aeneas

We were pleased to learn that Urban Opera’s production was named to the San Francisco Chronicle’s Top 10 Classical Music events of 2009. The Jubilate Orchestra was pleased to collaborate with Urban Opera in this innovative production.

The Chronicle’s music critic Joshua Kosman observed that “Conductor-director Chip Grant’s new company started life in style, with a theatrically vivid and musically splendid outdoor staging of Purcell’s opera.”

The performances took place in a sculpture garden between two office buildings by Mission Bay. In their review of one of the performances  The San Francisco Weekly noted that Bay Area audiences have the choice of a plethora of opera experiences and welcomed Urban Opera’s concept into the mix while acknowledging the climatic complications that the City by the Bay poses.

The Jubilate Orchestra is a project of Magnificat, providing period instrument accompaniment and performance practice consultation to arts organizations in the San Francisco Bay Area. With a repertoire ranging from Gabrieli to Pärt, Jubilate has performed over 300 times in the past two decades.

New Magnificat Blog Design

December 30th, 2009 No comments

For the New Year, we’ve made some changes to the blog. We’ve added direct links to Magnificat on Facebook, Twitter, and Flikr. You can also listen to streaming audio of Magnificat by clicking on the Magnificat Radio tab. We hope you enjoy it!

Happy New Year!

Who has ever heard of such a thing?

December 24th, 2009 No comments

Who has ever heard of such a thing?
Who has ever seen something like this?
Marvel, O heaven;
Wonder, O earth;
Behold, O universe.

God has descended to flesh, and flesh has ascended to God.
The Word has become flesh.
The virgin adores Him whom she bore.

O deepest descent, O highest ascent!
He lies on hay in a manger Who sits on the throne of glory in heaven;
He mingles with rough animals Who is praised by angelic choirs;
He is quiet at His mother’s breast Who always speaks in the lap of His father.
He is hidden in a lowly stable, but is shown to the world by a shining star;
He is wrapped in swaddling clothes but is visited by kings;
He cries and weeps Who is the laughter and joy of Paradise.

Behold, what majesty, behold, what humility: majesty inside, humility outside, power inside, infancy outside, the riches of divinity inside, the poverty of humanity outside.
O true birth, most worthy of God and man!

Who has ever heard such a thing?
Who has ever seen something like this?

So let us, devoutly and humbly, adore Him with the shepherds, praise Him with the angels, let us praise the Solomonic King in the bodily diadem with which the virgin Mary, His mother, has crowned Him.

(Anonymous, set by Chiara Margarita Cozzolani, Quis audivit unquam tale?, 1650)

“Soften the voice as if, little by little, going away”

December 16th, 2009 No comments

Gloria in altissimis – New Release from The Cozzolani Project

Click Here to Listen and Download

First page of Gloria in altissimis from the Canto Primo part book. (Click for pdf of the complete facsimile parts.)

The Cozzolani Project’s first new release is the Christmas Dialogue Gloria in altissimis, one of the Cozzolani’s most immediately appealing works, in which she vividly captures the brilliance and wonder of the Christmas narrative. The anonymous text alludes to Luke 2:10 and 14, and in Cozzolani’s hands it is infused with a gleeful exuberance and a touch of chromatic mystery. The Angels (two sopranos) are “glorious” and the shepherds (scored for alto and tenor) are at first astonished and then jubilant.

After the shepherd’s initial encounter with the angels, increasingly expressive solos are given to the four voices in turn, sung on Magnificat’s recording by soprano Catherine Webster, alto Suzanne Jubenville, soprano Andrea Fullington, and alto Karen Clark, who sings the tenor part at notated pitch. David Tayler, theorbo and Hanneke van Proosdij, organ complete the ensemble.

In an almost theatrical gesture, Chiara Margarita Cozzolani instructs the four singers at the end to “soften the voice as if, little by little, going away” in imitation of  the Angelic choir disappearing as they ascend back to Heaven after announcing their good news to the awestruck shepherds.

Soften the Voice Read more…

Photos from Magnificat’s Cozzolani Performances

December 14th, 2009 No comments

We’ve uploaded photos from our wonderful week of Cozzolani to our Flickr page. Beyond the excellent musicians, we benefitted from assistance from a four footed advisor in Berkeley. Here’s a sample from the photo set:

Magnificat at St. Mark's Lutheran Church, San Francisco

Sound Check at St. Mark's Episcopal in Berkeley

Berkeley Continuo Advisor

Meeting with the Audience

SFCV Review: Milanese Mass and Motets

December 8th, 2009 1 comment

Listen to Cozzolani’s Music

The San Francisco Classical Voice published the following review by Anna Carol Dudley. It is very gratifying to be recognized so graciously. Bravi tutti to Catherine, Meg, Jennifer, Kristen, Hugh and Hanneke – it was a wonderful week!

Catherine Webster, Meg Bragle, Jennifer Ellis Kampani, Kristen Dubenion-Smith

Magnificat’s dazzling singers have done it again. As part of their ongoing project to perform and record the complete works of Chiara Margarita Cozzolani, four singers brought her glorious music vividly to life in a performance Saturday at St. Mark’s Episcopal Church in Berkeley. The four women sang music that Cozzolani wrote for the famous singing nuns in her convent, Santa Radegonda, in 17th-century Milan.

Cozzolani’s setting of a Christmas Mass, In nativitate Domini (The birthday of the Lord), was written to be sung by a male celebrant — in this concert, Hugh Davies, whose expressive chant framed the work. The women formed a chorus, chanting in unison, then blossoming into a quartet to sing the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. The quartets, originally sung by women, were published in Cozzolani’s time with tenor and bass parts, which have been given back to women in Magnificat’s performances.

The quartet for this concert consisted of sopranos Catherine Webster and Jennifer Ellis Kampani and altos Meg Bragle and Kristen Dubenion-Smith. Ellis Kampani sang the tenor parts transposed up, Bragle did some at pitch, and Dubenion-Smith, a real alto possessed of a lovely low range, sang bass, sometimes transposed and sometimes at pitch. A bass line provided by cellist Warren Stewart supported the harmony. Hanneke van Proosdij completed the continuo at the organ, playing with wonderful imagination, especially in a couple of solo motets. Read more…

Salmi Bizarri – The Life and Music of Cozzolani (Podcast)

December 5th, 2009 No comments

Magnificat’s recording Vespro della Beata Vergine included a third CD called “Beyond the Notes” – Salmi Bizarri: Cozzolani and the music of Milanese convents. Patterned on the talks that precede each Magnificat concert, on this CD I discussed aspects of Cozzolani’s life and music with musical examples.

This introduction to the life and music of Cozzolani is now available in streaming audio here:

Click Here to download this podcast

Announcing The Cozzolani Project

December 3rd, 2009 No comments

In 2000, Magnificat and Musica Omnia began recording the complete works of Chiara Margarita Cozzolani. The Cozzolani Project is a continuation and expansion of that venture that will eventually make all of Cozzolani’s surviving compositions available as streaming audio and digital download.

Magnificat’s two CDs on the Musica Omnia label, Vespro della Beata Vergine and Messa Paschale included about half of Cozzolani’s surviving works. As a result, four psalms, another setting of the Magnificat, and eight motets remain to be released in two double CD box sets.

The recordings will be released both digitally and on physical CDs, with a complete recording of Cozzolani’s 1650 collection Salmi a otto voci due for release and shipment in Spring 2010 with her 1642 collection Concerti Sacri, due in Spring 2011. The previously unreleased tracks will become available for individually as they are completed.

In addition to the recordings we seek to promote a wider appreciation and deeper understanding of Cozzolani’s life and music and the cultural context in which she lived. The website which will serve as a resource of information about Cozzolani, scholarly work on music in convents in Italy and other related areas of study, news about performances and publications of her music and other materials related to this remarkable composer.

All those pre-ordering CDs from The Cozzolani Project will automatically receive codes and links enabling free digital downloads of all tracks – those previously released and those currently in preparation as they become available.

All digital downloads are available in a variety of lossless formats – FLAC, AIFF, WAV and more. In additional to pre-ordering each individual track is available for download as well.

Pre Order and Subscribe Today!

Chiara Margarita Cozzolani Gets a Facebook Page

November 22nd, 2009 No comments

Listen to Cozzolani’s Music

By all accounts the nuns at the convent of Santa Radegonda in the 17th Century did not have internet access and so it had to wait until the 21st century for Chiara Margarita Cozzolani to launch get her own Facebook page. With her birthday coming up on November 27th in seemed like an especially appropriate time. As Magnificat prepares for our upcoming performances of  phenomenal music of the Benedictine nun from Santa Radegonda, it occurred to us that she deserved a Facebook page. Please visit and become a fan!

Magnificat has benefited tremendously from Robert Kendrick’s path-breaking research into convent music in Milan as well as the work of other scholars like Colleen Reardon, Craig Monson, Gabriella Zarri, Ann Mather, and so many others who have helped us developed a deeper appreciation for the music written and performed in convents in the 17th Century. We are also grateful for the excellent work of Candace Smith and Capella Artemesia not only in performing Cozzolani’s music but also making it available, along with the music of other cloistered composers of the period, through Artemesia Editions.

When Magnificat first performed Cozzolani’s music in 1999 as part of the San Francisco Early Music Society concert series, there had been very few performances of her music. Over the past decade she has begun to received the attention she so richly deserves. We will be trying to draw attention to other performances and recordings that we hear about.

While Magnificat created the page and will maintain it, we are looking forward to posts from musicians, scholars, and music lovers across the globe who have been inspired by Cozzolani’s music. So, while it’s a bit Magnificat-centric to begin with, we are hoping to hearfrom the many others who are involved in performing, studying and enjoying Cozzolani’s extraordinary music.

Magnificat at The Early Music Musician's Bazaar

November 22nd, 2009 No comments

(click for larger image)

Magnificat will be participating in the second annual Early Music Musician’s Bazaar. Among the delights available for purchase will be CD’s, concert tickets, sheet music & lots of other fun stuff.  The Bazaar will take place from 10 am to 3 pmon Saturday December 12 at MusicSources, 1000 The Alameda, Berkeley. It’s a great opportunity for holiday shopping that will support the Bay Area early music community,

As one of the organizers (and Magnificat musician) Hanneke van Proosdij explains, “it’s a community event bringing together the early music groups and supporting the local musicians. Basically there are a bunch of vendor tables spread out throughout the entire lower floor of MusicSources. People can drop in, peruse the stuff, hang out and eat way too much chocolate.”

The stellar list of participants in the Bazaar includes Cançonièr, Ensemble Vermillian, Farallon Recorder Quartet , The Festival Consort, Glen Shannon Music, Healing Muses, Junior Recorder Society, La Monica, Les Grâces, Musica Pacifica, San Francisco Early Music Society, Shira Kammen, and Voices of Music.

You can visit the Early Music Musician’s Bazaar on Facebook.

Jubilate to Perform Bach's Magnificat and Christmas Oratorio with San Francisco Choral Society

November 17th, 2009 No comments

The San Francisco Choral Society

On December 5th and 6th, the Jubilate Orchestra will join with The San Francisco Choral Society for performances of Parts 4-6 of J.S. Bach’s magnificent Christmas Oratorio. The concerts complete the cycle begun a year ago when the first half of the oratorio and continue a long relationship between the two ensembles. Jubilate performed Bach’s Magnificat with the Choral Society in 2004.

Like Magnificat, the San Francisco Choral Society was established in 1989 and since then has shared their joy and enthusiasm for choral music with more than 60,000 concertgoers. The Choral Society’s year-round program offers singers the opportunity to perform major choral works with professional orchestras and soloists in front of live audiences. They also provide low-cost music instruction to our singers in the form of classes and workshop and a student internship program.

Jubilate has worked with the Choral Society’s director Robert Geary in numerous projects over the past two decades. In addition to concerts with the Choral Society, Geary conducts the Piedmont East Bay Childrens Choirs and Volti – both choirs that regularly collaborate with Jubilate.

For more information about the San Francisco Choral Society and the upcoming concerts please visit their website.

Considering Athanasius Kircher at AMS Philadelphia

November 8th, 2009 No comments

Representing Magnificat, I will be attending the annual conference of the American Musicological Society in Philadelphia this later this week. It has been several years since I’ve had the opportunity to attend the AMS conference and I am looking forward to meeting old colleagues, making new friends and listening to the wide range of presentations on current work being done in musicology. The conference program is available for download (PDF) and the abstracts for papers can be downloaded here (PDF). Over the week I will be highlighting some of the sessions relevant to the music and culture of the 17th Century and posting abstracts from the scheduled papers.

Kircher - guido's Hand

Guido's Hand from Kircher, Musurgia universalis (1650)

A particularly interesting short session on the fascinating figure Athanasius Kircher scheduled for the opening afternoon of the conference. I encountered Kircher while preparing the first program on the very first Magnificat series concert in 1992, which included Carissimi’s magnificent oratorio Jephte. In his monumental Musurgia universalis (1650) Kircher mentions Jephte and also reproduced the music for the final chorus, Plorate filii Israel, citing it as an example of excellent rhetorical style and providing musicologists with a convenient terminus ante quem for the dating of Carissimi’s masterpiece. Since then, details of Kircher’s fantastic and curious engravings have occasionally  made their way into Magnificat’s programs, websites, and brochures, including his representation of Guido’s hand.

Recent scholarly interest in Kircher has resulted in a wealth of resources on the web. Stanford University hosts a website project devoted to Kircher, with a wealth of information and selection of images from works by and related to Athanasius Kircher present in the collections of Stanford University Libraries. Fr. Edward W. Schmidt, SJ has published an excellent book Athansius Kircher: The Last Renaissance Man, the website for which includes many of Kircher’s engravings. The useful website Kircherianum Virtuale provides links to a many sites devoted to the Kircher. Read more…

Jubilate to Perform Handel, Scarlatti, and Monteverdi with Bay Choral Guild

November 5th, 2009 No comments

The Jubilate Orchestra, a project of Magnificat, will perfrom with Bay Choral Guild on November 20, 21, and 22 . The program features Handel’s marvelous setting of Psalm 109 Dixit Dominus, Alessandro Scarlatti’s Messa di Santa Cecilia, and Monteverdi’s setting of Psalm 112 Beatus vir.

Sanford Dole

Sanford Dole

Magnificat’s relationship with Bay Choral Guild is almost as old as Magnificat. The Jubilate Orchestra (then called the Magnificat Baroque Orchestra) first performed with Bay Choral Guild (then called Baroque Choral Guild) in March 1989, joining with the choir in J.S. Bach’s motet Jesu meine freude. Since then, Jubilate has collaborated with BCG almost every season, first under Robert Geary and more recently under music director Sanford Dole.

In addition to projects with BCG, Jubilate has performed with the Sanford Dole Ensemble with the choir of St. Gregory Nyssen Episcopal Church, which Sanford also directs. Active in the Bay Area as a conductor, singer and composer for his entire adult life, Sanford has performed with, and had his compositions performed by, many of the area’s leading ensembles. He was a member of the San Francisco Symphony Chorus for 23 seasons, and was that group’s Assistant Director from 1987-97. A founding member of the male vocal ensemble, Chanticleer, his arrangements have often been performed by the renown 12-man chorus as well as his commissioned work, I Am With You, set to a poem by Walt Whitman.

The Jubilate Orchestra recently celebrated 20 years of service to the San Francisco Bay Area. Originally called the Magnificat Baroque Orchestra, the Jubilate Orchetsra was formed in 1989 to provide period instrument ensembles to accompany Bay Area choirs and other arts organizations. In this capacity, Jubilate has performed over 200 times with dozens of professional and community choirs, churches and opera companies. Jubilate has played public concerts, church services, and and for a variety of private engagements. Under the general direction of Magnificat’s Artistic Director Warren Stewart since its inception, Jubilate has been managed since 2000 by violinist David Wilson.

The Flowers on Magnificat’s Cozzolani CDs

November 5th, 2009 No comments

Ronald Chase "Rose"

Ronald Chase "Rose"

In working on a design for Magnificat’s Cozzolani CDs, I wanted the two releases to be clearly related visually without simply reproducing a template. For assistance I turned to my dear friend Ronald Chase, a remarkable artist in a variety of media, an innovator in the use of slide and film projection in theater design, and a teacher who been  a tremendous inspiration to so many young artists in the Bay Area through his Art & Film program. I had admired his work on several visits to his SOMA studio since we met in the late 80s and he knew Magnificat well, so it seemed like a good fit.

After trying out several ideas with Ronald in his studio, I noticed several framed flowers on on his wall. At first I assumed that they were paintings and was surprised to find out that they were in fact photographs that had been manipulated with a thoroughly “historical” device – a “xerox” machine!

As Ronald explain’s:

The flower series was the last group of photographs I created with a xerox technique on heavy colored papers. I had begun working with xerox as early as 1977, and my photographic work with movement and the body entered several museum collections in the early 80’s, including the Metropolitan Museum, Rochester Museum and the Norfolk Museum. The works also became part of the Xerox corporation’s private collection.

I photographed and developed the photos with various layers of silk, which reacted in different ways with the early xerox machines, the harbinger of what is now the standard Photoshop programs in computers. The early machines could be manipulated in several ways to produce sepia prints on a variety of papers. My work from this period included male nudes, movement studies and the flower series.

To me the innovative use of “old fashioned” technology and the resulting images, which struck me as somehow antique and modern at the same time, seemed quite apt for the project. Cozzolani’s music, though well over three centuries old, invariably sounds fresh and unexpected. Ronald very graciously offered the photographs for the recordings and the remainder of the design came together very quickly. A rose was chosen for the first release Vespro della Beata Vergine and a tulip for the second, Messa Paschale. Each time I look at the CDs I am reminded of how often Ronald has touched my life.

Ronald Chase’s Website

More of Ronald’s Flowers can be seen here

Magnificat Included on Wikio's First Classical Music Blog Top 20

November 4th, 2009 No comments

Wikio LogoWe learned that, a website featuring a news search engine for media sites and blogs is creating a music sub-category for Classical Music blogs and that this blog has made the top 20 (specifically, and ominously, no. 13). A big thank you to all our readers and subscribers and congratulations to all those other bloggers on the list! I’ve visited all these blogs and can confirm that there is a lot of terrific writing on music being done in cyberspace. Bravi!

Here’s the top 20:

1 Clef Notes
2 Nico Muhly
3 The Arts Blog
4 Andrew Patner: The View from Here
5 PostClassic
6 Think denk
7 Sandow
8 Oboeinsight
10 Amusicology
11 The Collaborative Piano Blog
12 2’23`
13 Magnificat
14 Adaptistration
15 Intermezzo
16 SLSO Blog
17 Entartete Musik
18 The Opera Tattler
19 Opera Today
20 Musical Perceptions

Ranking by Wikio

According to Wikio, the position of a blog in the ranking depends on the number and weight of the incoming links from other blogs. These links are dynamic, which means that they are backlinks or links found within articles. Only links found in the RSS feed are included. Blogrolls are not taken into account, and the weight of any given link increases according to how recently it was published, the intention being to provide a classification that is more representative of the current influence levels of the blogs therein. The weight of a link depends on the linking blog’s position in the Wikio ranking. With Wikio’s algorithm, the weight of a link from a blog that is more highly ranked is greater than that of a link from a blog that is less well ranked. Wikio’s rankings are updated on a monthly basis.