Strozzi’s L’Eraclito amoroso immerses the listener into a dramatic recitation full of grief and agony. The textual emphasis of sobs and sighs are brought forth in the musical performance through repetition and descent in tone — “sospir, sospir, sospir.” Throughout the cantata, we hear the melody and rhythm change to suit the text. Although the piece has instances of major and minor-sounding chords, in its entirety, there seems to be a lack of harmony. We see tonal changes from phrase to phrase, particularly, toward the end of each one. For instance, the text “la fede è morta” pivots around a G# and resolves in a major chord, contrasting the previously-set musical tone.
The piece is interesting because it seems to lack a general key signature, sounding atonalat times. It has similarities to both medieval and baroque music. The heavy legato brings thelistener into a state of grief and mourning. The instrumental accompaniment is scarce, setting thesinger at the forefront of the cantata. Although set in 4/4, it sounds rather arhythmic anddissonant. Repetitions of words or phrases present certain lines of text in varying dynamics andpitches — “esotterrimi” in the final measures changes from an initial major to a minor harmony.The melodic line is dense and scarce in repetition, giving the impression of a recitative.
Although there is a general form to the text, this piece lacks a clear structure. There is no indication whether we are listening to a verse or a chorus — the text and melody flow as a stream of consciousness. Overall, the cantata leaves the listener with weight and dramatic energy, achieving the underlying message of the text.
Facsimile of Strozzi’s Cantatas, found on IMSLP
L’Eraclito amoroso on PDF pg 27