who disapprove, Zuana is more forgiving: in her eyes small transgressions can often prevent bigger ones.
Today, though, the starlings can wait. That single pure voice has now become a dance between many, a shoal of silvered fish slipping in and over one another in a fast-flowing stream, and Serafina’s footsteps move faster in response. When they reach the music room, Zuana pushes open the door quietly and moves aside to let her in.
Given the color of the sound, it is almost a shock to find the room so monochrome. In the gray light a nun sits bent over a lute, while others stand grouped in fives and sixes. A few move their heads to the music but most are statue-still. They all hold texts in front of them, but their eyes are constantly pulled toward a small figure in front whose arms flutter up and down, fingers bent as if she were plucking each and every note from her own set of invisible strings in the air. The atmosphere is so charged with concentration that no one seems to notice them come in. Zuana glances toward Serafina. Though she might later spend a lifetime denying it, there is evident appetite in her now. And wonder.
Even Zuana herself, whose voice has always been more seagull than lark, cannot help but be affected. Every woman in this room is familiar to her; she has treated them all for a host of ailments that raked their throats or splintered their voices, not to mention the hundred other pains and boils and bad humors of the bowels or stomach to which human bodies are prone. With the exception of Suora Benedicta, all of them are remarkably unremarkable outside this room, no better, no worse, no farther from and certainly no closer to God than any other of the convent sisters. Yet here you only have to close your eyes on their faces (which, in effect, every citizen of Ferrara does when they sit in church and hear only disembodied voices through the altar grille), and such is their sound that you would be tempted to think you were in close proximity to a choir of angels.
In this respect, heaven and earth are excellently connected in Ferrara, since the sweeter the voices of its nuns, the closer to paradise a city begins to feel. And the closer to paradise, the greater the worldly gratitude its rich citizens send flowing back into the convents that house such angels. Even the least musical of novices learns this fast enough, just as it is common knowledge that some convents in Bologna or Siena or Venice attract so many high-ranking visitors that the best choir voices are excused from Matins in winter to save their throats from the chills of the night air. Of course, such overt favoritism can bring resentment, and in Santa Caterina the abbess is careful to keep the peace with a semblance of equality. Nevertheless, there are all manner of ways to show favor.
The last note brings each voice together, rising, expanding, then falling through a graceful arc toward a silence that, when it finally comes, is as alive as the sound itself. “Huh.” Benedicta lets out a curious throaty sigh. “There is not enough clarity between the first and second parts on quia Gloria Domini super te orta es . And, Eugenia, the first two alleluias are too thin, next to Suora Margarita’s, and not sustained long enough.”
The door of the room jumps open a little with the wind, then catches back on its hinges, giving away their presence. While the tiny figure of Benedicta does not seem to hear it, the nuns, who are used to moving from heaven to earth with almost preternatural speed, are instantly curious. Any newcomer is fodder for gossip, let alone one who comes with the vocal power to disturb a whole convent through a closed door.
“Eugenia, can you mar—”
Finally she registers their presence and turns.
“Suora Benedicta.” Zuana bows her head. “I have brought the new novice to hear the choir at work.”
“Ah!” The tiny woman’s face lights up. “Ah, yes, yes. The voice from Milan. Come, come, come. We have been
Today, though, the starlings can wait. That single pure voice has now become a dance between many, a shoal of silvered fish slipping in and over one another in a fast-flowing stream, and Serafina’s footsteps move faster in response. When they reach the music room, Zuana pushes open the door quietly and moves aside to let her in.
Given the color of the sound, it is almost a shock to find the room so monochrome. In the gray light a nun sits bent over a lute, while others stand grouped in fives and sixes. A few move their heads to the music but most are statue-still. They all hold texts in front of them, but their eyes are constantly pulled toward a small figure in front whose arms flutter up and down, fingers bent as if she were plucking each and every note from her own set of invisible strings in the air. The atmosphere is so charged with concentration that no one seems to notice them come in. Zuana glances toward Serafina. Though she might later spend a lifetime denying it, there is evident appetite in her now. And wonder.
Even Zuana herself, whose voice has always been more seagull than lark, cannot help but be affected. Every woman in this room is familiar to her; she has treated them all for a host of ailments that raked their throats or splintered their voices, not to mention the hundred other pains and boils and bad humors of the bowels or stomach to which human bodies are prone. With the exception of Suora Benedicta, all of them are remarkably unremarkable outside this room, no better, no worse, no farther from and certainly no closer to God than any other of the convent sisters. Yet here you only have to close your eyes on their faces (which, in effect, every citizen of Ferrara does when they sit in church and hear only disembodied voices through the altar grille), and such is their sound that you would be tempted to think you were in close proximity to a choir of angels.
In this respect, heaven and earth are excellently connected in Ferrara, since the sweeter the voices of its nuns, the closer to paradise a city begins to feel. And the closer to paradise, the greater the worldly gratitude its rich citizens send flowing back into the convents that house such angels. Even the least musical of novices learns this fast enough, just as it is common knowledge that some convents in Bologna or Siena or Venice attract so many high-ranking visitors that the best choir voices are excused from Matins in winter to save their throats from the chills of the night air. Of course, such overt favoritism can bring resentment, and in Santa Caterina the abbess is careful to keep the peace with a semblance of equality. Nevertheless, there are all manner of ways to show favor.
The last note brings each voice together, rising, expanding, then falling through a graceful arc toward a silence that, when it finally comes, is as alive as the sound itself. “Huh.” Benedicta lets out a curious throaty sigh. “There is not enough clarity between the first and second parts on quia Gloria Domini super te orta es . And, Eugenia, the first two alleluias are too thin, next to Suora Margarita’s, and not sustained long enough.”
The door of the room jumps open a little with the wind, then catches back on its hinges, giving away their presence. While the tiny figure of Benedicta does not seem to hear it, the nuns, who are used to moving from heaven to earth with almost preternatural speed, are instantly curious. Any newcomer is fodder for gossip, let alone one who comes with the vocal power to disturb a whole convent through a closed door.
“Eugenia, can you mar—”
Finally she registers their presence and turns.
“Suora Benedicta.” Zuana bows her head. “I have brought the new novice to hear the choir at work.”
“Ah!” The tiny woman’s face lights up. “Ah, yes, yes. The voice from Milan. Come, come, come. We have been
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