Book contents
- Barbara Strozzi in Context
- Composers in Context
- Barbara Strozzi in Context
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Musical Examples
- Contributors
- Acknowledgments
- Barbara Strozzi Chronology
- Abbreviations
- Introduction
- Part I The “Exceptional” Woman
- Part II Family, Sex, and the Problem of Women in Seicento Venice
- Part III Gender Ideology and the Venetian Academies
- Chapter 11 The Virtuosa and the Academy
- Chapter 12 Artemisia Gentileschi, Padovanino, and the Venetian Academies
- Chapter 13 Barbara Strozzi, Nicolò Fontei, and the Accademia degli Unisoni
- Chapter 14 The Strozzis and the Unisoni
- Chapter 15 The Unknown Goddess, Opus 3, and the Art of Dissimulation
- Part IV Contextualizing Strozzi’s Music
- Part V Poetry and Music
- Part VI Strozzi and Material Culture
- Part VII Performing Strozzi
- Afterword
- Further Reading
- Index
Chapter 14 - The Strozzis and the Unisoni
from Part III - Gender Ideology and the Venetian Academies
Published online by Cambridge University Press: 19 March 2026
Book contents
- Barbara Strozzi in Context
- Composers in Context
- Barbara Strozzi in Context
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Musical Examples
- Contributors
- Acknowledgments
- Barbara Strozzi Chronology
- Abbreviations
- Introduction
- Part I The “Exceptional” Woman
- Part II Family, Sex, and the Problem of Women in Seicento Venice
- Part III Gender Ideology and the Venetian Academies
- Chapter 11 The Virtuosa and the Academy
- Chapter 12 Artemisia Gentileschi, Padovanino, and the Venetian Academies
- Chapter 13 Barbara Strozzi, Nicolò Fontei, and the Accademia degli Unisoni
- Chapter 14 The Strozzis and the Unisoni
- Chapter 15 The Unknown Goddess, Opus 3, and the Art of Dissimulation
- Part IV Contextualizing Strozzi’s Music
- Part V Poetry and Music
- Part VI Strozzi and Material Culture
- Part VII Performing Strozzi
- Afterword
- Further Reading
- Index
Summary
The Veglia prima, ..seconda, and ..terza degli Unisoni (Venice, 1638) describe three meetings of the Academia degli Unisoni founded and hosted in 1637/8 by Giulio Strozzi (1583–1652). They reveal details of Barbara Strozzi’s public role as composer and performer, and the defend the Strozzis and Unisoni from anonymous libel and slander, compiled in the manuscript Satire et altre raccolte per l’Accademia de gli Unisoni in casa di Giulio Strozzi (Marciana, It X, Codice 115 (=7193)) [Satires and other collected works regarding the Academy of the Unisoni in the home of Giulio Strozzi]. This essay clarifies the chronology and relationship between these two bodies of writing discussed by Ellen Rosand. I identify the Academico Spensierato as the author of the three letters that conclude the Satire: the letter from the Spensierato to Giulio Strozzi, and the two letters following that ventriloquize Giulio and Barbara Strozzi.
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- Barbara Strozzi in Context , pp. 145 - 152Publisher: Cambridge University PressPrint publication year: 2026
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