who, pursued by Apollo, is changed by the earth-mother Gaea into a laurel tree. The music is by the same
team later responsible for the 1600 Euridice. The poem, by Rinuccini, was an adaptation and enlargement
of the third intermedio of 1589. The music was by Peri, with some assistance (probably unasked for)
from Jacopo Corsi, a noble dilettante who after 1592 (when Count Bardi was summoned to Rome to
serve as chief of staff to Pope Clement VIII) cast himself as primary supporter and promoter of
neoclassical musico-dramatic experimentation. Corsi maintained at his palace what Claude Palisca, the
leading historian of the early musical plays, calls “a kind of semi-professional musical and dramatic
workshop.”^10
EX. 19-7C Girolamo Frescobaldi, Dunque dovro (Aria di romanesca), mm. 37–42EX. 19-7D Girolamo Frescobaldi, Dunque dovro (Aria di romanesca), mm. 55–60