Francesco Guardi, Concerto di dame nella sala del Casino dei Filarmonici (1782)
Barbara Strozzi
Bernardo Strozzi, The Singer Barbara Strozzi with a Viola da Gamba (ca. 1640)
Figure 10.1
Barbara Strozzi, “Ardo in tacito foco” from Cantate, ariette, Op. 3 (1654), performed by Catherine Bott, soprano:
Example 10.1 (mm. 1-9 from 0:00 to 0:30)
Francesco Guardi, Andrea Sacchi, Marcantonio Pasqualini (1614–1691) Crowned by Apollo (1641). The Metropolitan Museum
Figure 10.2
Tomaso Antonio Vitali, Sonata Op. 1, No. 12 (1693), performed by Semperconsort, conducted by Luigi Cozzolino:
Example 10.4 (example begins at 1:02:25)
Global Resources Chapter 10
Further Reading
Barnett, Gregory. Bolognese Instrumental Music, 1660–1710: Spiritual Comfort, Courtly Delight, and Commercial Triumph. Aldershot, Hants, and Burlington, VT: Ashgate, 2008. http://www.worldcat.org/oclc/85862497
Chevill, Elizabeth. “Clergy, Music Societies and the Development of a Musical Tradition: A Study of Music Societies in Hereford, 1690–1760.” In Concert Life in Eighteenth-Century Britain, ed. Susan Wollenberg and Simon McVeigh. Aldershot, Hants, and Burlington, VT: Ashgate, 2004. http://www.worldcat.org/oclc/52554434
De Lucca, Valeria. “Strategies of Women Patrons of Music and Theatre in Rome: Maria Mancini, Queen Christina of Sweden, and Women of Their Circles.” Renaissance Studies 25, no. 3 (2011): 374–92. http://www.worldcat.org/oclc/730476950
Goodman, Katherine. Amazons and Apprentices: Women and the German Parnassus in the Early Enlightenment. Studies in German Literature, Linguistics, and Culture. Rochester, NY: Camden House, 1999. http://www.worldcat.org/oclc/40813467
Gordon-Seifert, Catherine. Music and the Language of Love: Seventeenth-Century French Airs. Bloomington: Indiana University Press, 2011. http://www.worldcat.org/oclc/639940416
Hawkins, John. A General History of the Science and Practice of Music, vol. 2. London: Novello, Ewer & Co., 1853; New York: J. L. Peters, 1875. http://www.worldcat.org/oclc/1243094
Heller, Wendy. “Barbara Strozzi and the Taming of Male Poetic Voice.” In Passaggio in Italia: Music on the Grand Tour in the Seventeenth Century, ed. Margaret Murata and Dinko Fabris. Turnhout: Brepols, 2013. http://www.worldcat.org/oclc/676870298
Heller, Wendy. “Usurping the Place of the Muses: Barbara Strozzi and the Female Composer in Seventeenth-Century Italy.” In The World of Baroque Music: New Perspectives, ed. George P. Stauffer. Bloomington: Indiana University Press, 2006. http://www.worldcat.org/oclc/65165344
Kendrick, Robert. “Intent and Intertextuality in Barbara Strozzi’s Sacred Music.” Recercare 14 (2002): 65–98. http://www.jstor.org/stable/41701379
Kevorkian, Tanya, “Changing Times, Changing Music: ‘New Church’ Music and Musicians in Leipzig, 1699–1750.” In The Musician as Entrepreneur, 1700–1914: Managers, Charlatans, and Idealists, ed. William Weber. Bloomington: Indiana University Press, 2004. http://www.worldcat.org/oclc/54778512
Newman, Karen. Cultural Capitals: Early Modern London and Paris. Princeton, NJ: Princeton University Press, 2007. http://www.worldcat.org/oclc/70054181
Rosand, Ellen. “Barbara Strozzi, virtuosissima cantatrice: The Composer’s Voice.” Journal of the American Musicological Society 31, no. 2 (Summer 1978): 241–81. http://www.jstor.org/stable/830997
Weber, William. The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual, and Ideology. Oxford: Clarendon Press; New York: Oxford University Press, 1992. http://www.worldcat.org/oclc/25628752
Music in the Baroque: Companion Website by Wendy Heller 