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 IThe “Exceptional” Woman
- Part IIFamily, Sex, and the Problem of Women in Seicento Venice
- Part IIIGender Ideology and the Venetian Academies
- Part IVContextualizing Strozzi’s Music
- Chapter 16The Religious Landscape of Early Modern Venice
- Chapter 17The Sacred Context for Strozzi’s Opus 5
- Chapter 18Strozzi and the Habsburg Connection
- Chapter 19The French Context for Barbara Strozzi’s “Sul Rodano severo”
- Chapter 20Sketching a Context for the Refrain Structures in Barbara Strozzi’s Opus 1
- Part VPoetry and Music
- Part VIStrozzi and Material Culture
- Part VIIPerforming Strozzi
- Afterword
- Further Reading
- Index
Chapter 18 - Strozzi and the Habsburg Connection
from Part IV - Contextualizing Strozzi’s Music
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 IThe “Exceptional” Woman
- Part IIFamily, Sex, and the Problem of Women in Seicento Venice
- Part IIIGender Ideology and the Venetian Academies
- Part IVContextualizing Strozzi’s Music
- Chapter 16The Religious Landscape of Early Modern Venice
- Chapter 17The Sacred Context for Strozzi’s Opus 5
- Chapter 18Strozzi and the Habsburg Connection
- Chapter 19The French Context for Barbara Strozzi’s “Sul Rodano severo”
- Chapter 20Sketching a Context for the Refrain Structures in Barbara Strozzi’s Opus 1
- Part VPoetry and Music
- Part VIStrozzi and Material Culture
- Part VIIPerforming Strozzi
- Afterword
- Further Reading
- Index
Summary
Barbara Strozzi dedicated two of her music prints, Cantate, ariette, e duetti (Opus 2, 1651) and Sacri musicali affetti (Opus 5, 1655), to the Austrian Habsburgs, which raises questions about the nature of her relationship to the powerful imperial family. This essay places her prints into the context of the Habsburg courts and examines textual and paratextual elements of the prints to suggest reasons why she may have chosen to dedicate them to the Habsburgs. It argues that the dedications served different purposes but that both of them ultimately served as publicity for the composer herself, in that she used a connection to the Habsburgs to help shape her public image.
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- Barbara Strozzi in Context , pp. 189 - 197Publisher: Cambridge University PressPrint publication year: 2026
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