FOOTNOTES

1. [01:27] Among others, Paolo Fachoni [sometimes spelled Facone] was responsible for the recruitment of the famous keyboard player Girolamo Frescobaldi, as well as the star soprano Adriana Basile to work for the Gonzagas in Mantua. More about Fachoni: see Parisi’s Ducal patronage of music in Mantua (details above) pp. 75-78.

2. [04:13] “Die Manier des Cantar Passagiato oder alla Lombarda ist eine Art zu singer, in welcher man nicht bei den angetroffenen Noten verbleibt, sondern dieselben verändert, und geschieht entweder per Diminutionen, oder Coloraturen.” Josef Maria Müller-Blattau, Die Kompositionslehre Heinrich Schützens in der Fassung seines Schulers Christoph Bernhard (2nd ed. Bärenreiter, 1963), p. 37.

3. [06:24] See Edmond Strainchamps, "The Life and Death of Caterina Martinelli" (details above), p. 162, and also the Grove article Giuseppe Cenci [link].

4. [06:38] The song “Fuggi fuggi fuggi” by Giuseppe Cenci [Giuseppino] can be found on [internetcolturale] and [imslp]. The keyboard variation that is shown in the video is by Giovanni Ferrini: “Ballo di Mantova”, Biblioteca Apostolica Vaticana, MS VAT. MUS. 569, ff.21r-24r [link]. For a full list of the instrumental arrangements of "Fuggi fuggi fuggi", very often under the title “Ballo di Mantova” - see Luigi Ferdinando Tagliavini, “‘Il Bollo di Mantova’, or ‘Fuggi, fuggi do quesio cieio’, or ‘Cecilia’, or…”, in Max Lütolf zum 60. Geburtstag (Basel: Wiese Verlag, 1994), pp. 135-175.

5. [07:55] In the decree it is noted that the price of the house given to Martinelli is 1000 scudi. According to Ermanno Finzi, this is at least double the price of a large house. Private correspondence with Ermanno Finzi, Nov. 2022.

6. [08:18] Martinelli is mentioned in one surviving paying role as receiving provisions only, and no salary. See Susan Helen Parisi, Ducal patronage of music in Mantua (details above), p. 56.

7. [08:45] “...il che felicemente consegui la Sig. Caterina Martinelli la quale contanta leggiadria la canto, ch’empie di diletto, e di meraviglia.” Marco da Gagliano, La Dafne (Florence, 1608), preface.

8. [14:14] Tim Carter has suggested that the famous Lamento d’Arianna was actually added to the opera after Martinelli died, and thus was composed especially for the singer Virginia Andreini who actually sung the part. Tim Carter, "Lamenting Ariadne?", Early Music (August 1999), Vol. 27, No. 3, pp. 395-405 [Jstor].