Performance and Pedagogy: The Music of Barbara Strozzi and Baroque Vocal Chamber Works
Senior Research Project, Messiah University
INTRODUCTION
This research presentation is an introduction to Baroque vocal music and its specific stylings through the work of Barbara Strozzi. It is my intent to provide a view of Baroque music that preserves the sound and sentiment of the time, without abandoning modern approaches to healthy vocal technique. Baroque music can be difficult to enjoy for singers and listeners, myself included, and much of my research has been centered around learning to sing this idiom in an exciting way, while still being backed in historical practices as accurately as possible. Large debates exist over the realization of Baroque music, so a definitive technical and historical approach largely does not exist. Striking this blend between historicism and modernity has been fun and challenging. It has been my pleasure to explore this wonderfully nuanced idiom and underrepresented composer.
Here is some more background on the performance :Barbara Strozzi (1619-1677) was a prolific composer of the Baroque Era responsible for major advancements in the vocal repertory and known for her intricate melodies, rich harmonies and counterpoint, and clarity of structure. While striking for the listener, Strozzi’s works are often overlooked by performers and pedagogues because of the vocal challenges they present. Likewise, Strozzi’s status as a female in 17th century Italy contributed to the overshadowing of her compositions in favor of her male counterparts. This presentation will explore the history of Strozzi as a composer, with a brief analysis of the transition from music of the late Renaissance to music of the Baroque.
In addition to the historical significance of Strozzi and Baroque vocal music, the presentation will examine the technical benefits of studying this idiom for a performer. Baroque vocalisms have a distinct sound, but are rooted in the standard (“Bel canto”) vocal pedagogy adopted by most teachers and institutions today.
The research attempts to understand technical benefits of the Baroque vocal style for the advancing (collegiate) singer, especially after a comfortable, consistent vibrato has been developed. A definition of Baroque vocal characteristics will be presented alongside a technical methodology to achieve the sound. Information has been gathered from contemporary scholars in the field and cross examined with scholarly sources of the time period. Finally, to display Strozzi’s compositional language, selections from her 7th volume of vocal music, Diporti di Euterpe will be presented. This performance will display an attempt at an historically accurate interpretation of the music through use of the vocal technique discussed in the presentation, as well as harpsichord accompaniment.