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Essay on Barbara Strozzi. Specified length is an
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<p>Barbara Strozzi studied composition with Francesco Cavalli and XXXXXXX XXXXXXXXXX in the XXXXXXX humanists she XXXXXXX, XX an excellent performer XXX composer of great XXXXXX. XXXXXXXXX XX secular XXXXX music (XXXXXXXXX, XXXXXXXX, XXXXX) and XXXXXX, XXXX XX XXX XXXXX XXX XXXXXXX to a libretto by X. Strozzi. Between 1644 and 1664, she XXXXXXXXX in XXXXXX, eight XXXXXXX XX XXXXX pieces in one or XXXX voices, XXXXXXXXXXX by continuo or a XXXXX instrumental XXXXXXXX.</p> <p>X XXXXXX XXXXXX of XXXX XXXXXXXX, Barbara Strozzi is the XXXXX XXXXXXXXXXXX composer in XXX XXXXXXX XX music. Moreover, XXX texts it has music were XXXXX either his own or those of his adoptive XXXXXX.</p> <p>n 1644 - XXX is XX - XXXXXXX Strozzi published her only XXXX XX madrigals XXX XXX, XXXXX, four XXX XXXX XXXXXX (Opus 1). His counterpoint, in line with XXX recent XXXX XXXXX XX Monteverdi, abounds: XXX vocal lines XXXXX XXXXX XXX it XX XXX XXXX wise school compositions. XXXXXX seven XXXXX - XXX including cantatas and XXXX published in anthologies where XXX XXXXXX alongside XXXXXXX, XXXXXXXX, XXXXXXX, XXX. - XX XXXXX the madrigal, now well out of fashion, XXXXXX XXX to XXXX XXXXXXXX and XXXXXXX. Upon XXXX X, cantata aria e XXXXXX, published in 1656 (I will XXXXX to XXX XXX of XXXX post a very XXXX XXXX after this XXXX, and XXXX way to hear), style, staff and flowers is widely asserted. We XXXX it XX his latest work, XXX Arie XXXX sola, op. 8, published in XXXX.</p> <p>XXXXX vast cantatas are biased to the voice but XXXX very neat XXXXXX, they XXX entrusted XX XXX only XXXXXXXX or a continuo increased XXX XXXXXXX. It is XXX from monody XXXXXXXXXXX by some XXXXXXXXXXXX agreements. XXXX XXXXXXX are loose or XXXXXXXXXXXX: without extreme virtuosity - no voice XXXXX pyrotechnics - XXXXXXXXXX adorning XXXXXXXX vocal XXXX. XXXXX is XXXX XXXXXXXXX XXXXXXXXXXXXX in the course of this XXXX ...</p> <p>XXXX XXXX XXX XXXXXXXXXX XXXXX. XXXXXX of XXXX XXXXXXXX, XXXXXXX Strozzi remain XXXXXXX a husband and XXXXX them XXXXXXX their XXXXXXX - XXXXX XXXXX her a XXXXXX XXXXXXXXX in the XXX of XXX time. XXXXXXXX, the XXXXX it has XXXXX XXXX XXXXX XXXXXX his own or XXXXX of his XXXXXXXX XXXXXX XXX XXXXXXXXXX</p> <p>XXXXXX XX home, XXXXXXXX XXXXXX-XXXXXXX and his XXXXXXXX Mediterranea Virtuosissima XXXXXXXXXX composer in a XXXXXXX XXXXX pages XXXXXX selected XXXX XXXX 1, but also in XXX. X and 8, rub - XXXXXXX XXX demerit - "Hor che 'XXX sky e terra" by XXXXXXXXXX and "XXXXXXXXXX pietate" XX Sigismondo d'XXXXX (Ambronay, 2009). XXXXXX La Venexiana who XXXX XXXXXXXXX XX XXX only voices or XXXXXXXX XXXXXXXXXXX XX continuo, Alarcón XXXXX chose to double the XXXXXX XXXX instruments (XXXXXXX, XXXXXX, bags and XXXX flute) XXX add XXXXXXX. The XXXXXX is XXXXXXXXXXX XXXX attractive, Cappella Mediterranea XXX XXXXXX at creating XXXXXXXXXXX. XX each XX the XXX sopranos XXXXX a solo XXXXX: XXX XXXXXX "XXXXXXX XXX" XXXXXX XXXXXX here in top XXXX, XXX Mariana Flores "XXX si XXX fare" - delicate timbre, XXXXXX touching, XXXXX wonderful XXXXXXXXX and phrasing, XXX this XX one XX the XXXXXX XX XXX disc XXXX I prefer (it is XXXXXXX XXX XXX I have XXXXXX XX XXXXX in the introduction). The disc is XXX additional XXXX XX XXX two most economical achievements, but also more austere, XXXXXXXXX XXXXX.</p> <p>Finally, I XXXXX XXXX XX mention XXXXX fine achievements in XXXXX that have not been XXXXXXXX devoted to XXXXXXX XXXXXXX. XX XXX light and agile XXXXX XXXXX Emmanuella Galli, XXXXXXX Flores and XXXXXX Scheen - and Roberta Invernizzi see below - XXXX XXXXXX XXXXXXXX pages XX XXX composer, more XXXXXXX voice XXX not fail also XX them to interest</p><p>XXXXXXX XXXXXXX XXX dates:</p> <p>1644 publication XX his only XXXX of XXXXXXXXX for XXX, three, four and five XXXXXX (XX. 1)<br>XXXX XXXXXXX aria e XXXXXX XX.2<XX>1664 XXXX voce XXXX XX. X</p>">
