In 1655, Barbara Strozzi issued her fifth and only sacred opus, the Sacri musicali affetti, a print comprising fourteen passionately religious motets for solo voice and continuo. This article demonstrates how Strozzi's final motet to Saint Anthony reflects a surge in trans-Alpine Antonine devotion--a devotional trend in which both Strozzi's dedicatee, Anna de' Medici, and possibly the composer herself, participated. This essay examines two particular events: a procession of Saint Anthony’s relics from Venice to Padua in 1652, and the founding of a Antonine confraternity at the court of Innsbruck in the same year. When these phenomena are examined alongside Strozzi’s composition, intriguing relationships come to light. The thread woven throughout these relationships is the notion of the affetti—affections or passions—an idea that pervades seventeenth-century religious art and music.
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Pecknold, Sara M.
"Relics, Processions and the Sounding of Affections: Barbara Strozzi, the Archduchess of Innsbruck, and Saint Anthony of Padua,"
Yale Journal of Music & Religion:
2, Article 5.