"

VISIT WESTCORKMUSIC.IE

LATEST ADDITION TO THE ARCHIVE

Hor Che Apollo (soprano, 2 violins & continuo)

Barbara Strozzi (b. 1619 - d. 1677)

Composer
Barbara Strozzi (b. 1619 - d. 1677)
Composition Year
1619 - 1677
Work Movements
Hor Che Apollo (soprano, 2 violins & continuo)
Artists
Ensemble Dagda (Clodagh Kinsella [soprano], Caitríona O'Mahony, Marja Gaynor [violins], Norah O'Leary [cello], Kieran Finnegan [harpsicord]) [baroque ensemble]

Programme Note Writer:
© Caitríona O'Mahony

As an illegitimate daughter and later unmarried mother-of-four, Strozzi is the composer to whom the suggestion of courtesan clings most closely. Some of this may be blamed on the only ascribed portrait of Strozzi, in which she stands with her breast bared, a viol in one hand. She was adopted to legitimize her status in the household of poet and librettist Giulio Strozzi, and was sponsored into the artistic world by him, in much the same way as Francesca Caccini. Taught by Francesco Cavalli, she also found it useful to dedicate works to powerful female patrons, including Anna de Medici and Duchess Sophie of Brunswick and Luneburg. Barbara undoubtedly had some relationship with married nobleman Giovanni Vidman, who fathered at least three of her four children. No record survives to suggest that he was her financial support - evidence suggests that after her father’s death she supported herself and her children by means of her composition and investments. It is also suggested that she may have had a relationship with the Count of Mantua. Again evidence is slim - while she composed for the Count and he often visited Venice, the highest proof lies in a few saucy lines of a letter between the Count and his Venetian agent.

Living in a city defined by opera, Strozzi’s mastery of the alternate (and more print-friendly) genre, the cantata, is one of the reasons she was the most published composer of the genre in her period. Strozzi’s work was always at the forefront of stylistic developments from madrigal to cantata and she is quite clearly a huge influence on composers like Caldara and Legrenzi. Her Hor che Apollo, written as a love song to the nymph Filli, takes the mythological background so popular in Venetian opera and frames it in the cutting edge of cantata writing at the time; instrumental ritornelli, emotive recitative-like passages and occasionally moving the story along with passages in more madrigal-like triple time.


Or che Apollo e a Teti in seno

Now that Thetis rests against Apollo's breast
e il mio sol sta in grembo al sonno, and my sun is in sleep's lap,
or ch'a lui pensand'io peno, now that I suffer thinking of him,

ne posar gl'occhi miei ponno,

on whom I may not rest my eyes,

a questo albergo per sfogar il duolo vengo piangente,

In this refuge, to relieve my pain,

innamorato e solo.

I come crying in love and alone.

Si, Filli, questo core, che per amor si more,

Yes, Filli, this heart that dies of love,

a te vien supplicante

beseeching comes,

de' tuoi bei lumi amante.

in love with your beautiful eyes.

Mira al pie' tante catene,

See my foot so heavily shackled

lucidissima mia stella,

my brightest star,

e se duolti ch'io stia in pene

and if my suffering hurts you so,

sii men cruda oppur men bella.

be less cruel - or if not, less beautiful;

Se men cruda, pietade avro del mio servir,

if less cruel, suffering from my slavery,

sapro che m'ami;

I would know you loved me

e se men bella,

and if you were less beautiful,

io frangero i legami.

I could elude these bonds.

Vedi al core quante spine

See with how many thorns my heart

tu mi dai, vermiglia rosa,

you do pierce, red rose,

e se sdegni mie rovine,

and when you scorn my misfortune

sii men fiera o men vezzosa.

be less fierce or less fair;

Ma isfogatevi,

but vent yourselves,

spriggionatevi, miei sospir,

be liberated, sighs of mine,

s'io gia comprendo

for I realize now

che di me ride Filli anco dormendo.

that I am mocked by Filli even as she sleeps.

Ride de' miei lamenti certo questa crudele

She laughs without a doubt at my disquiet

e sprezza i preghi miei, le mie querele.

and ignores the pleading of my lament.

Deggio per cio partir senza conforto:

I should therefore leave without consolation; if alive you do not love me, dead you will see me.

se vivo non mi vuoi, mi vedrai morto.

While to another place my steps do take me,

Mentre altrove il pie' s'invia,

I leave you in sweet forgetfulness,

io ti lascio in dolce oblio;

I am leaving Filli, my soul,

Parto, Filli, anima mia,

may this be the last goodbye.

questo sia l'ultimo addio!

that I am mocked by Filli even as she sleeps.

FULL DETAILS SEARCH FOR MORE

Hor Che Apollo (soprano, 2 violins & continuo)

Composer: Barbara Strozzi (b. 1619 - d. 1677)
Performance date: Sunday 30th June 2019
Venue: St. Brendan's Church, Bantry, Co Cork, Ireland

Share on Twitter | Share on Facebook
http://archive.westcorkmusic.ie/details/view/cmf/913

Composer Barbara Strozzi (b. 1619 - d. 1677)
Work Title Hor Che Apollo (soprano, 2 violins & continuo)
Composition Year 1619 - 1677
Work Movements Hor Che Apollo (soprano, 2 violins & continuo)
Language Italian
Artist(s) Ensemble Dagda (Clodagh Kinsella [soprano], Caitríona O'Mahony, Marja Gaynor [violins], Norah O'Leary [cello], Kieran Finnegan [harpsicord]) [baroque ensemble]
Performance Date Sunday 30th June 2019
Performance Venue St. Brendan's Church, Bantry, Co Cork, Ireland
Event Coffee Concert
Duration 00:12:56
Recording Engineer Gar Duffy, RTÉ
Instrumentation Category Baroque Ensemble
Instrumentation s-solo, 2vn, vc, hpd
Programme Note Writer © Caitríona O'Mahony

As an illegitimate daughter and later unmarried mother-of-four, Strozzi is the composer to whom the suggestion of courtesan clings most closely. Some of this may be blamed on the only ascribed portrait of Strozzi, in which she stands with her breast bared, a viol in one hand. She was adopted to legitimize her status in the household of poet and librettist Giulio Strozzi, and was sponsored into the artistic world by him, in much the same way as Francesca Caccini. Taught by Francesco Cavalli, she also found it useful to dedicate works to powerful female patrons, including Anna de Medici and Duchess Sophie of Brunswick and Luneburg. Barbara undoubtedly had some relationship with married nobleman Giovanni Vidman, who fathered at least three of her four children. No record survives to suggest that he was her financial support - evidence suggests that after her father’s death she supported herself and her children by means of her composition and investments. It is also suggested that she may have had a relationship with the Count of Mantua. Again evidence is slim - while she composed for the Count and he often visited Venice, the highest proof lies in a few saucy lines of a letter between the Count and his Venetian agent.

Living in a city defined by opera, Strozzi’s mastery of the alternate (and more print-friendly) genre, the cantata, is one of the reasons she was the most published composer of the genre in her period. Strozzi’s work was always at the forefront of stylistic developments from madrigal to cantata and she is quite clearly a huge influence on composers like Caldara and Legrenzi. Her Hor che Apollo, written as a love song to the nymph Filli, takes the mythological background so popular in Venetian opera and frames it in the cutting edge of cantata writing at the time; instrumental ritornelli, emotive recitative-like passages and occasionally moving the story along with passages in more madrigal-like triple time.


Or che Apollo e a Teti in seno

Now that Thetis rests against Apollo's breast
e il mio sol sta in grembo al sonno, and my sun is in sleep's lap,
or ch'a lui pensand'io peno, now that I suffer thinking of him,

ne posar gl'occhi miei ponno,

on whom I may not rest my eyes,

a questo albergo per sfogar il duolo vengo piangente,

In this refuge, to relieve my pain,

innamorato e solo.

I come crying in love and alone.

Si, Filli, questo core, che per amor si more,

Yes, Filli, this heart that dies of love,

a te vien supplicante

beseeching comes,

de' tuoi bei lumi amante.

in love with your beautiful eyes.

Mira al pie' tante catene,

See my foot so heavily shackled

lucidissima mia stella,

my brightest star,

e se duolti ch'io stia in pene

and if my suffering hurts you so,

sii men cruda oppur men bella.

be less cruel - or if not, less beautiful;

Se men cruda, pietade avro del mio servir,

if less cruel, suffering from my slavery,

sapro che m'ami;

I would know you loved me

e se men bella,

and if you were less beautiful,

io frangero i legami.

I could elude these bonds.

Vedi al core quante spine

See with how many thorns my heart

tu mi dai, vermiglia rosa,

you do pierce, red rose,

e se sdegni mie rovine,

and when you scorn my misfortune

sii men fiera o men vezzosa.

be less fierce or less fair;

Ma isfogatevi,

but vent yourselves,

spriggionatevi, miei sospir,

be liberated, sighs of mine,

s'io gia comprendo

for I realize now

che di me ride Filli anco dormendo.

that I am mocked by Filli even as she sleeps.

Ride de' miei lamenti certo questa crudele

She laughs without a doubt at my disquiet

e sprezza i preghi miei, le mie querele.

and ignores the pleading of my lament.

Deggio per cio partir senza conforto:

I should therefore leave without consolation; if alive you do not love me, dead you will see me.

se vivo non mi vuoi, mi vedrai morto.

While to another place my steps do take me,

Mentre altrove il pie' s'invia,

I leave you in sweet forgetfulness,

io ti lascio in dolce oblio;

I am leaving Filli, my soul,

Parto, Filli, anima mia,

may this be the last goodbye.

questo sia l'ultimo addio!

that I am mocked by Filli even as she sleeps.