The convents of Cordoba that the devout prince wished to honor with his presence were those of Saint Agustín, where he was received to the sound of bells by all the community of friars, and that of the Clarisas nuns of Santa Inés. To this latter he came on the 10th, after eating, to enjoy a concert held in his honor, because the music played over there was reputed to be the best in Córdoba. In front of the choir was arranged a platform with a red velvet armchair for the duke and a series of benches for his entourage. Magalotti notes that the abbess was in front of the stands, between two nuns who were sitting on cushions on the floor of the platform. It is curious how this custom, inherited by the Spanish women from the Arab culture, was maintained even within the walls of a convent.
The concert lasted all afternoon, until night. The choir was composed of twenty nuns, the best singers in a community of approximately fifty. Among them, the chroniclers have preserved the name of two excellent soloists: Donna Magdalena de Rivera and Donna Ana de Maldonado.
The commentary about the interpretation evidences the musical culture of the Italian chroniclers and their familiarity with the musical styles in vogue at the time. Thus, they inform us that, unlike what was usual in Italy, the Spanish nuns cultivated a nasal timbre, projecting the voice in a “head” emission (what they curiously call “singing with the nose”). Among the instruments, they name six harps, organs, violins, fifes, three bassoons, a “viola bass” (probably a double bass) and many guitars. It is an instrumental ensemble very different from what is usually considered correct in the nowadays reconstruction of the ancient convent music. Perhaps, specialists should pay more attention to this invaluable description of a musical evening in a Cordovan convent.
As for the repertoire, it does not seem to have been particularly solemn, since they tell us about “beautiful madrigals and songs, one of which, named modi nuovi, is usually sung on Christmas night”. There was even a six-year-old girl (probably one “oblata”) who sang with singular grace, accompanying herself with the guitar.
Finally, it is worth mentioning the easiness with which these gentlemen refer to the two nuns mentioned above as “beautiful, young and funny”. Comparing to the sad impression that, as we will see, caused them the way of life of the Cordovan women, so collected and removed from the deal with other gentlemen, outside their direct relatives, it is remarkable their reference to the two hours that the Duke spent “Very happily, because the nuns are so graceful and sharp in everything, since they have the opportunity to cultivate their spirit by talking with the gentlemen who visit that monastery.” This makes us think that the lack of freedom suffered by married women was not intended so much to defend their virtue as to put the “honor” of the husband at safe from slander. Fortunately, the nuns had chosen a Husband quite above all gossips, so that, like Saint Teresa herself had said, comparing her situation with that of her married sister, for a woman there was more freedom behind the walls of a convent than outside. .Eventually, the duke ordered that thirty doubloons were given to the nuns, and after thanking the mothers, he said goodbye. ”
