compositie

The First Book of Madrigals : for 2, 3, 4 & 5 voices and basso continuo / Barbara Strozzi; transcribed and edited by Cees Wagemakers

Uitgavenummer: 16087
Genre: Vocaal
Subgenre: Gemengd koor
Bezetting: GK
Bijzonderheden: Early Music Edition.
Compositiejaar: 1644
Status: volledig gedigitaliseerd (direct leverbaar)

Overige auteurs:
Strozzi, Barbara (componist)
Wagemakers, Cees (editor)
Bevat:
Mercé di voi | SS (6’30”)
Non ci lusinghi più | TTB (5’45”)
Mi tien Filli | SATB (3’30”)
Nel bel fior di gioventù | SSB (4’30”)
Volano frettolosi i giorni | SATTB (5’45”)
Chi di noi vaglia più | SSATB (3’)
Pietosissimo Amore | SATTB (3’15”)
Amor, Amor | SATTB (3’30”)
Lascia di Libia | SB (3’30”)
Quante volte ti bacio | TT (3’45”)
Come può, non come suol | ATB (4’15”)
Che dolce udire una leggiadra bocca | SA (5’15”)
Io cedo, Amor | 2 Violins and ATB (8’45”)
Mordeva un bianco lino | SS or TT (4’)
È tornato il mio bene | ST or TS (4’30”)
Il gran Giovere | SS (2’30”)
T’ invito a godere | ST (2’45”)
Voi sete, i begli occhi | ATB (5’15”)
O soffrire, o fuggire, o tacer sempre | SSB (4’30”)
Bella madre d’ Amore | SSS (3’45”)
Quel misero usignuolo | SATB (4’)
Dolcissimi respiri | SATB (3’)
Vago, instabil’, leggiero | SATB (2’45”)
Anima del mio core | SA (5’45”)
Gioisca al gioir nostra | SS (8’15”)
Toelichting:
Barbara Strozzi was a rather prolific composer. The underlying First Book of Madrigals is built like a cantata; a slight connection between all the pieces, though not being a complete story like an oratorio or opera. All the pieces in this First Book have subtitles indicating a relationship with the gods of love and their shenanigans and manoeuvrings. The last pieces has the subtitle Conclusione dell’ opera, thus indicating the coherence of all the pieces. By style and nature however all the works are madrigals, hence the name of the book.
She wrote more cantatas for 1 to 3 voices, e.g. Diporti di Euterpe ovvero Cantate e ariette a voce sola (1659). Barbara Strozzi wrote only one volume of sacred music. Her compositions are firmly rooted in the seconda prattica, existing since half a century in Italy: the emphasis on the lyrics, and the music following the meaning of the words. This is clearly audible in songs like #18 (Quante volte): you hear the laughter (riso) as a sort of whinnying.
Her style evokes the spirit of Cavalli and even Monteverdi, although more lyrical and more dependent on the very sound of the voice. The lyrics (called libretto!) of this book are written by her father Giulio. In later works she used texts by other poets and even of her own hand.
Music by Barbara Strozzi has been performed now and then through the ages, but the last time there is a certain rediscovery. May this album be a help to hear more of her beautiful and pleasant compositions.
Cees Wagemakers

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