Emőke Baráth & Il Pomo D'Oro
PURE BAROQUE
Emőke Baráth & Il Pomo D'Oro
La Veneziana – Barbara Strozzi and Her Masters
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Program
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Last event date: Saturday, January 05 2019 7:30PM
Strozzi: Diporti di Euterpe ovvero Cantate e ariette a voce sola, Op. 7 – Lagrime mie
Marini: Affetti Musicali, Op.1 – 1. La Zorzi
Arie a voce sola de diversi auttori (Venice, 1656) – Strozzi: Chi brama in Amore
Merula: Canzoni overo sonate concertate per chiesa e camera (book 3), Op. 13 – Ballo detto Eccardo
Strozzi: Arie a voce sola, Op. 8 – 11. Ferma il piede
Rossi: Il terzo libro de varie sonate, sinfonie, gagliarde, brandi e corrente, Op. 12 – Gagliarda quarta detta la Disperata
Cavalli: Musiche sacre concernenti messa, e salmi concertati con istromenti, imni, antifone et sonate – Canzon a 3
Strozzi: Arie a voce sola, Op. 8 – 4. L’Astratto
intermission
Strozzi: Arie a voce sola, Op. 8 – 6. Che si può fare
Cavalli: Excerpts from Statira principessa di Persia – Sinfonia, Alba ch'imperli i fiori; Cresce, cresce il foco; Vanne intrepido o mio bene
Marini: Sonate, symphonie … e retornelli, Op. 8 – Sonata prima (Sonate op.8,1629)
Cesti: O quanto concorso – cantata
Strozzi: Arie a voce sola, Op. 8 – 3. Hor che Apollo
Emőke Baráth (soprano)
Il Pomo d'Oro
Conductor and harpsichord player: Francesco Corti
Although one of the first composers to be known by their first name was a woman (Hildegard von Bingen), men continue to dominate mainstream composition to this day. If one were to ask people in the street to name a few female composers, the majority would be unable to give a single example, irrespective of music genre. It is no secret that the January programme of the youthful albeit world-famous Hungarian soprano Emőke Baráth and Il Pomo d’Oro early music ensemble aims to change this lamentable state of affairs. In terms of numbers, prior to the second half of the 20th century most registered female composers were active in the 17th century and early 18th century. Italian Humanism was certainly more tolerant of the artistic ambitions of women than the later bourgeois world. The best-known female music composer of the 1600s was Barbara Strozzi, daughter of Venetian poet Giulio Strozzi; her songs, madrigals and cantatas speak of the influence of her teacher Francesco Cavalli, a student of Monteverdi.
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