Italian Jewish Musicians In Western Musical Tradition

contributed to the transformation of the latter into the trio sonata, in which two
equal upper parts are set against a supporting bass. The trio sonata fully
developed during the ensuing stylistic period, the Baroque, becoming one of
the most cultivated musical forms.
Salomone de' Rossi and his group of musicians were closely con-
nected to one of the Jewish theatrical companies which had an important part
in the theatrical life of Mantua, in the Jewish and non-Jewish communities,
and at the court. He composed five Intermedii to the comedy L' Idropica by
the poet Guarini, a play presented on the occasion of the wedding of Duke
Francesco Gonzaga to Marguerite of Savoy in 1617. Nothing is known of
Salomone de' Rossi after 1628, the date of his last publication. He is thought
to have perished of the plague which erupted in Mantua after the sack of the
city and the destruction of the ghetto by the Austrian troops in 1630.
Salomone de' Rossi was highly regarded by the Mantuan ruling
dynasty. By ducal decree, he was exempted from wearing the distinctive
yellow badge imposed upon all of the Jewish community as part of the
restrictions for circulation in the city. This was, indeed, a great priviledge for
1 Jew at the time, considering the contempt of the non-Jewish population
:oward this minority, a contempt which increased with the growing success
)f the Jews in society. Without the yellow badge Rossi could mingle,
mdisturbed, with the people outside the ghetto. Nevertheless, Salomone de'
cossi found another way of expressing his Jewishness by adding the epithet
;;breo (Jew) to his signature. Perhaps in so doing he wanted to distinguish
iimself from other musicians at the court of Mantua; Carlo, Matteo, and
vnselmo Rossi, who are not identified as Jewish. Regarding this, the family
elationship of the above musicians to Salomone de' Rossi is a matter of
ontroversy among scholars",
The relationship of Salomone de' Rossi to the celebrated soprano,
1adama Europa, who too, was part of the musical entourage at the court of
Iantua during the same period is also uncertain. There is no clear evidence
she was de' Rossi's sister or wife. Her real name is not known; she was
illed Madame Europa after her successful interpretation of the role of
uropa in Guarini's L' Idropica .. She was also the celebrated interpreter of

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