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491-00587

Extra Publication Resources

Six Arias, op. 6: Barbara Strozzi (491-00587)

The following extra resources are available for this publication.

Selected Bibliography

Works of Barbara Strozzi

Rosand, Ellen, comp. Cantatas by Barbara Strozzi. Vol. 5 of The Italian Cantata in the Seventeenth Century, ed. Carolyn Gianturco. New York: Garland Publishing, 1986. Facsimile edition of opp. 2, 3, and 6, and selections from opp. 7 and 8. Source for this edition.

Strozzi, Barbara. I primo libro di madrigali a due, tre, quattro e cinque voci, opus 1. Venice:
Vincenti, 1644. Microfilm; Bologna: Civico Museo Bibliografico Musicale, BB 366.

________ . Cantate, ariette e duetti, opus 2. Venice: Gardano, 1651. Microfilm; London: British Museum, K.7.g. 4. (2).

________ . Cantate ariete a una, due e tre voci, opus 3. Venice: Gardano, 1654. Microfilm; London: British Museum, K.7.g. 4. (1).

________ . I sacri musicali affetti, opus 5. Venice: Gardano, 1655. Introduction by Ellen Rosand. Facsimile reprint; New York: Da Capo Press, 1988. .

________ . Ariette a voce sola, opus 6. Venice: Magni, 1657. Microfilm; Bologna: Civico
Museo Bibliografico Musicale, BB 367.

________ . Diporte di Euterpe overo cantate e ariette a voce sola, opus 7. Venice: Magni, 1659 Facsimile reprint; Florence: Studio per Edizione Scelte, 1980.

________ . Arie, opus 8. Venice: Magni (detto Gardano), 1664. Facsimile reprint; Bologna: Antiquae Musicae Italicae Studiosi, 1970.

Biographical Sources

Glixon, Beth L. “More on the Life and Death of Barbara Strozzi”. The Musical Quarterly 83
(1999): 134-41.

________ . “New Light on the Life and Career of Barbara Strozzi.” The Musical Quarterly 81
(1997): 311-35.

Rosand, Ellen. “Barbara Strozzi, virtuosissima cantatrice: The Composer’s Voice.” Journal of the American Musicological Society 31 (1978): 241-81.

Critical Notes

The following notes refer to the musical setting of the first stanza of each aria. The same changes apply to the musical settings of subsequent stanzas. In addition, some note values were changed in subsequent stanzas to accommodate syllabification of text. They do not alter the melodic or harmonic structure of the original. These changes and suggested ornamentation are placed in smaller type.

Miei pensieri e che bramate?

  1. Beams added to reflect meter.
  2. Added bar lines between measures 4-5, 11-12, 19-20, 31-32, 34-35.
  3. Added tempo indication.
  4. Added slurs to melismas.
  5. Measures 1, 14, 33: F-natural changed to F-sharp in voice line, to avoid melodic augmented second.
  6. Measure 4: added word a to text, to correspond with measure 17.
  7. Measure 15: added G-sharp, to correspond with measure 2.
  8. Measure 24: repeat sign changed to double bar.

Amore e bandito

  1. Beams added to reflect meter.
  2. Added bar line between measures 14-15.
  3. Added tempo indication.
  4. Added slurs to melismas.
  5. Measures 6-7: repeat sign moved one eighth-note later. As in the original, this results in two incomplete measures, but is less awkward than dividing the dotted-quarter note beat across the bar line.
  6. Measure 16: final eighth-note added for setting of subsequent verses.

Lilla mia, non ti doler

  1. Beams added to reflect meter.
  2. Added bar lines between measures 3-4, 7-8, 16-17, 19-20, 23-24, 29-30, 32-33, 36-37.
  3. Added tempo indication.
  4. Added slurs to melismas.
  5. Measure 5: sharp sign used to raise E-flat in bass line changed to natural sign.
  6. Measure 14: repeat sign changed to double bar.
  7. Measure 15: meter indication 3 changed to 3/2
  8. Measure 16: E-flat changed to E-natural in voice line, to avoid melodic augmented second.
  9. Measures 25, 26: sharp signs used to raise B-flat in voice line changed to natural signs.
  10. Measure 34: figures omitted (but reflected in realization).

Lilla dici ch’io non t’ amo

  1. Meter indication 3 changed to 3/2
  2. Strozzi’s bar lines in this aria were irregular, with six and sometimes nine or twelve half notes per measure. Bar lines were added throughout to reflect 3/2 meter.
  3. Added tempo indications. (Presto marking in measure 9 is present in original score. Capitalization is editorial.)
  4. Added slurs to melismas.
  5. Measures 9-11: beams added to reflect meter (C). Bar lines added between measures 9-10, 11-12.
  6. Measures 19-21, 30-33: figures omitted (but reflected in realization).
  7. Measure 35: repeat sign changed to double bar.
  8. Measures 57-58 and 65-66: original whole note written as two half notes tied across bar lines in hemiolas.

Non ti doler, mio cor

  1. Meter indication 3 changed to 3/2
  2. As in the previous aria, Strozzi’s bar lines were irregular. Bar lines were added throughout to reflect 3/2 meter.
  3. Initial Adagio marking is present in original score, spelled adaggio.
  4. Added slurs to melismas.
  5. Measures 3, 20, 29, 40, 42, 43: sharp signs used to raise B-flat changed to natural signs.
  6. Measure 25: repeat sign changed to double bar.

Chi brama in amore

  1. Meter indication 3 changed to 6/8. Beams were added to reflect meter.
  2. Measures 3 and 4: Ornament sign t. changed to tr.
  3. Added bar lines between measures 8-9, 9-10, 13-14, 14-15, 23-24, 28-29.
  4. Added tempo indications. (Adagio [spelled adaggio] in measure 21 and Presto [presto] in measure 29 are present in original score.
  5. Added slurs to melismas.
  6. Measure 6: G-natural changed to G-sharp in voice line, to be consistent with previous measures.
  7. Measure 11: repeat sign changed to double bar.
  8. Measures 22, 24: flat signs used to lower C-sharp changed to natural signs.
  9. Measure 31: G-natural changed to G-sharp in voice line, implied by G-sharp in bass line.

Ellen Ritchey, editor

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