In a time when many composers still didn't even publish their works, she published over 100 during her own lifetime, making her the most well-published composer of secular chamber music in the 17th century.

She was a professional composer, and her music is of the highest quality. That she was able to overcome the obstacles faced by a woman seeking any type of career in the 17th century speaks of both her drive and abilities.

Though neglected for centuries, fortunately it seems today that there is an increasing interest and effort among musicologists and performers to revive Strozzi's music.

This document fulfilled one of the requirements for my masters degree in Music History and Literature. In it I combined two of my musical interests, early music and music of female composers.

I found a facsimile edition of Barbara Strozzi's Sacri musicali affetti, which at the time (1993) had not been published in a modern edition. (My understanding now is that the entire volume has been transcribed as part of someone's doctoral dissertation, however, my edition was the first attempt.)

One of the most interesting things I find in this particular volume is the amount of musical expression written into the music. At the time it was rare to see dynamic or tempo markings, and ornamentation was typically improvised. Strozzi, however, included many of these.

Often times she writes out the ornaments, rather than notating them with symbols. As a virtuosic singer herself, she must have had a very specific idea of how she wanted her music to be performed.

The following is a summary, together with a few examples from my research, after which I provide some sources for listening and further research. Please feel free to use this information, however, if you do, please make the appropriate reference, and I'd appreciate it if you'd sign my guestbook also!