Caterina Benedicta Grazianini

fl. early 1700s



Few details of Caterina Benedicta Grazianini’s life are known, but it is likely that she became a canoness while living in Vienna, writing oratorios alongside Grimani, Rossi and Rachenau. Only two of her oratorios, performed during King Joseph I’s reign at the Imperial Court in Vienna, have survived. In 1705, San Gemigniano, vescovo e protettore di Modena wassung before the Highness of Brunswick and Modena…. and wondrously received.”  Santa Teresa was written in a conventional style of alternating arias and recitatives, with an ensemble finale accompanied by continuo, harpsichord, and strings. Grazianini’s use of rhythm and the juxtaposition of the vocal line and the accompaniment add personality and strength to her characters.


The following selections are recommended for vocal study and programming on recitals and concerts. Please note that this list may not constitute the entirety of the composer's output. 


San Gemigniano, vescovo e protettore di Modena (SSAB and 4 part string orchestra, 1705)
Consolati che il petto (alto)
In questo chiaro dì
Dia lode il grato core
A veder si raro oggetto (soprano)

Santa Teresa (SATB with orchestra, date unknown)
Il ancor ti resta in petto (tenor)
Tutti pace, frena il pianto
Non timor d'aspri tormenti (tenor)
Deh! Lascia à quest'alma (tenor)



Cusick, Suzanne. “Grazianini, Caterina Benedicta.” Grove Music Online. Oxford Music Online. Oxford University Press.

Glickman, Sylvia & Martha Furman Schleifer, editors. Women Composers: Music Through the Ages, vol. 2. G.K. Hall and Co. 1996.

Glickman, Sylvia, & Martha Furman Schleifer, editors. From Convent to Concert Hall, A Guide to Women Composers. Greenwood Press, 2003.

Jackson, Barbara Garvey. Arias from oratorios by women composers of the eighteenth century, vol. 1. ClarNan Editions, 1987.

Sadie, Julie Ann, and Rhian Samuel. The Norton/Grove Dictionary of Women Composers. W.W. Norton and Co. 1995.