Hildegard von Bingen is a tough act to follow for anyone. But about years later Barbara Strozzi appears in Venice (). Another. Strozzi wrote and published prolifically, and her cantatas are worth study and discussion. Strozzi’s cantata, Lagrime mie, is a lament that presents such material . Barbara Strozzi () achieved success in the seventeenth century in , comes Lagrime mie, or My tears (Robin ). Analysis of this piece reveals .
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She had four children by a colleague of her father, Giovanni Vidman, and lived with her family. All of these intense emotions are ripe for text-painting, a favorite musical technique of Baroque composers that I will discuss here. Her lyrics were often poetic and well-articulated.
Giulio himself was illegitimate, born in Venice, the son of Robert Strozzi later recognized by hima member of one of the most barbwra and powerful families of Florence, Italy. She divided this free verse into sections according to content. She was probably his natural daughter, legitimized in his will of Many researchers have assumed that she was a courtesan but other researchers have cast doubt on that assumption. Later texts were written by her father’s colleagues, and for many compositions she may have written her own texts.
Her father created the Academia degli Unisoni to exhibit her talents. The members of the academy encouraged her to set their poems to music. She spent her life composing and spent much of her barbaea on publishing her works.
By continuing to use this website, you agree to their use. Also, Strozzi wrote most of her solo vocal compositions for soprano. She never married, but lived with her parents and her four children, until the death of her parents, remaining afterwards bxrbara the family home. He was a patron of the arts and supporter of early opera. Perhaps that is one reason she did not like to perform before large crowds but preferred to sing in an intimate setting, because she was reputed to possess a beautiful soprano voice.
All posts tagged Lagrime mie. Her performances and participation in the academy were considered scandalous and lagfime gossip and satirical poems to be written about her since women did not do such things in that day. Members met regularly to discuss subjects that invariably dealt with love. After the aria, a short recitative leads to a triple time bel canto section built on a descending-fourth basso continuo, which is abandoned for two closing sections, the first ending deceptively on G major measurethe last on the tonic E minor.
In she traveled to Padua, Italy where, after an illness of several months, she died and was buried in the Eremitani, an ancient church. From Wikipedia, the free encyclopedia. This page was last edited on 5 Decemberat Venice, the birthplace of opera, was more open minded than other parts of Italy.
Carlo, Duke of Mantua, Ferdinand, Emperor of Austria to mention a few, never achieving the patronage of a wealthy aristocrat. The text speaks in first person about a man whose love interest has been locked away from him. After Vidman’s death it is likely strozi Strozzi supported herself by means of her investments and by lagri,e compositions. Undoubtedly her music has achieved immortality because she did not have to write to please a wealthy patron, but put to music the heartfelt poems of her father and friends.
The words though, are those of a man.
Diporti di Euterpe, Op.7 (Strozzi, Barbara)
He did not, apparently, leave anything to her or her children in his will. Her art in music and love combined to barbsra her a successful musician-composer in Venice. This is an interesting occurrence because she was a female composer in a time when women were not prominent composers, much less prominent in anything. Strozzi was said to be “the most prolific composer — man or woman — of printed secular vocal music in Venice in the Middle of the century.
She became known as an outstanding singer with a beautiful voice.
Lamento – Lagrime mie, a che vi trattenete (Barbara Strozzi) – ChoralWiki
A Double Faced Medea: She was most likely the illegitimate daughter of Strozzi and Isabella Garzoni, his long-time servant and heir. He seemed to be interested in exhibiting her considerable vocal talents to a wider audience. Heinrich Schlusnus — — A blessed voice. Publishing was very expensive and paper costly. In the composer Nicolo Fontei published a volume of lyrics dedicated to her, in which he gave her the title of La Virtuosissimo Cantatrice the most virtuosic singer.
She dedicated her works to different aristocrats: