L'Eraclito Amoroso

L'Eraclito Amoroso

Listen, lovers,
the reason, oh heavens!
that leads me to weep.

Oh heavens! in my cherished
and beautiful beloved,
that I thought so faithful,
faith is dead.

My only pleasure is weeping,
I only revel in my tears.
Grief is my delight,
and wailing is my joy.

Every torture enchants me,
every pain pleases me.
Sobbing heals me,
sighing comforts me.

Oh heavens! in my cherished
and beautiful beloved,
that I thought so faithful,
faith is dead.

But, if this inconstant and treacherous lover
denies me his faith,
at least, o tears,
be faithful to me until death.

May every sadness assail me,
every mourning last forever.
So much sorrow afflicts me,
that it kills me, and buries me.

Notice the similarities between this piece and Lagrime Mie. Not only are the lyrics similar, but also listen for the hesitations, dissonances, and sob-like embellishments. Both of these pieces typify Strozzi style and I think exemplify a lot of the emotions she probably struggled with in a "man's world" both in love and life.

My Tango With Barbara Strozzi

As I was researching Barbara Strozzi at Bobst, I came across the title My Tango With Barbara Strozzi. It sounded intriguing so I thought I'd at least give it a look. As I started to read it I was surprised to find that it is a novel in which the protagonist is infatuated with Barbara Strozzi. The book, published in 2007, is proof (and hope) that Barbara Strozzi has impacted not only Western music, but also western society and culture. Here are some quotes I found particularly amusing.

“Not a beauty but she had a slightly sluttish look that was irresistible. Her eyes, so languorous, so not caring, so haunting after three centuries and more! She leans back in her chair, her blouse well off her shoulders, her bodice lowered to expose her breasts, her left hand grasping the neck of a viola da gamba. Barbara Strozzi! Dead for so many years but she reached out of the frame and clasped me to her opulent bosom.” (Hoban 4)

"'When I saw you I saw Barbara Strozzi in you. Her music brought me to the tango but seeing you took me back to her music, her cantate and lamentate.'
'You're a pretty weird guy, aren't you.'
'Yes you might as well know that from the start.'...
'I'll have to listen to her music some time,' she said.
'How about now?' I said.
'You came prepared'" (Hoban 26).

Lagrime mie

Lagrime Mie
Cantata 1650s
PDF of Score

The lyrics of this piece are extraordinarily modern check out the translation and comparison to some more modern love laments. Take a look at the video below and listen to the composition. You can hear the pain and grief in the voice of the singer as she emulates the sobs of an unrequited love.

"Tears of mine, what holds you back,
why don't you give vent to the fierce pain
that takes away my breath and weighs on
my heart?" - Barbara Strozzi

"You can reduce me to tears with a single sigh
Evry breath that you take
Any sound that you make is a whisper in my ear
I could give up all my life for just one kiss
I would surely die if you dismiss me from your love
You take my breath away" - Queen

"So many words for the broken heart
Its hard to see in a crimson love
So hard to breathe
Walk with me, and maybe
Nights of light so soon become
Wild and free I could feel the sun
Your every wish will be done" - Backstreet Boys

"Tears on my pillow, pain in my heart, caused by you" -Little Anthony and the Imperials

Letter From Barbara

I find that a direct source can give such insight into the life of a historical character. For me, reading this letter made Barbara Strozzi a real person with real concerns. This is a letter in which she is seeking exemption from a tax (which I'm sure we can all appreciate, especially at this time of year!)

“Most Serene Prince: From the time that this Most Benign country succumbed to the torment of war, even I, Barbara Strozzi, Your Most Serene Highness's humble servant, lamented Her misadventures. As my condition did not permit me to help Her with my blood, I gathered up all my possessions: I sold my belongings, and deposited all of the money in the Mint, well in agreement that the public calamity should become the calamity of private wealth. I believed that having, with this voluntary sacrifice, done my duty to the possible limit of my resources, I would never be constrained to do the impossible. Nonetheless, I suddenly see myself obligated by a mandate of the Most Excellent Governors of Income to pay into the Mint two taxes of 100 ducats each. These were imposed on me when I found myself far from the city, and thus I could not be heard. I am persuaded that if the Most Excellent Tax Assessors had reflected with justice that I have four children in addition to my aged mother, and on my miserable fortunes, this harassment never would have occurred. One can see clearly in the public books that I do not have anything listed in the property tax rolls, and God only knows that if the little interest that comes to me from the Mint were lacking, I would surely have to beg for my sustenance from some other charity. Kneeling, I implore Your Excellency not to permit the destruction of a household unable to pay, that has devoted to the Public as much as it had [to give]. Kneeling, I implore you to pity the miseries of a large family, and grant me pardon, so that my arguments will be heard by some tribunal; so that even I might achieve that charitable relief that in this Most Serene State has never been denied to the tears of poverty. Thank you” (Glixon 318).

Meet Barbara Strozzi

Barbara Strozzi impacted western music not only by what she composed but who she was: a woman. During this time in the Baroque period, it was still very uncommon for women to participate in musical activities, let alone composition. “The career of Barbara Strozzi, born in Venice in 1619, transpired outside the confines of either a court or a convent” (Glixon 311). Although she received encouragement and support from her father, Giulio Strozzi, a writer, she did not have the benefit or assistance of a musical family. With all odds against her, Barbara Strozzi radically transformed western music during the Baroque period. “By any standard, Barbara Strozzi, a student of Francesco Cavalli, was one of the most successful women composers of the seventeenth century; indeed, she was the most prolific composer-man or woman-of printed secular vocal music in Venice around the middle of the century, with seven different publications, along with one of sacred music, issued between 1644 and 1664” (Glixon 311). Her accomplishments as a composer and performer are truly impressive, so why is it that she does not enjoy the acclaim of artists such as Henry Purcell and J.S. Bach? In this blog, I will explore the life and career of Barbara Strozzi and share the little known knowledge about this astounding composer.