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16
Karl Appuhn, A Forest on the Sea: Environmental Expertise in Renaissance Venice, Johns Hopkins University Press, 2009, p. 164.
17
Eleanor Selfridge Field, Venice in an Era of Political Decline, in G. J. Buelow (ed.), The Late Baroque Era, Man & Music, Palgrave Macmillan, 1993, p. 74.
18
David D. Boyden, The History of Violin Playing from Its Origins to 1761, Clarendon Press, 1965, p. 243.
19
John Spitzer and Neal Zaslaw, The Birth of the Orchestra: History of an Institution, 1650—1815, Oxford University Press, 2005, p. 117.
20
Ibid., p. 122.
21
Denis Arnold, Orphans and Ladies, Proceedings of the Royal Musical Association, 89th Sess. (1962—3), pp. 31—47, 35.
22
Жан-Жак Руссо, Исповедь, изд. Азбука, Москва, 2013 (Jean-Jacques Rousseau, Confessions, https://bit.ly/2KZgoiy)
23
Giuliano Procacci, The History of the Italian People, Penguin, 1978, p.248.
24
Charles Dickens, Pictures from Italy, Bradbury and Evans, 1846, p. 112.
25
Cissie Fairchilds, Marketing the Counter Reformation, in Visions and Revisions of Eighteenth-Century France, ed. C. Adams et al., Penn State Press, 2005.
26
Peter Spufford, Power and Profit: The Merchant in Medieval Europe, Thames & Hudson, 2006.
27
Rachel King, The Beads with which we Pray are Made of It, in Wietse de Boer and Christine Göttler, Religion and the Senses in Early Modern Europe, Brill, 2013, p. 165.
28
Rachel King, Finding the Divine Falernian, V&A Online Journal, Issue no. 5, Autumn 2013, ISSN 2043-667X. https://bit.ly/2BTe08p.
29
K. G. Fellerer and Moses Hadas, «Church Music and the Council of Trent», The Musical Quarterly, vol. 39, no. 4 (October 1953), pp. 576—7.
30
John Spitzer and Neal Zaslaw, The Birth of the Orchestra: History of an Institution, 1650—1815, Oxford University Press, 2005, p. 118.
31
Ibid., p. 160.
32
Michael Talbot, The Sacred Vocal Music of Antonio Vivaldi, L. S. Olschki, 1995, p. 61.
33
Paul Henry Lang, Tales of a Travelling Musical Historian, The Journal of Musicology, vol. 2, no. 2 (Spring 1983), pp. 196—205.
34
Charles Burney, The Present State of Music in France and Italy, Elibron Classics, 2005, p. 184.
35
David Schoenbaum, The Violin: A Social History of the World's Most Versatile Instrument, Norton, 2013, p. 289.
36
Charles Burney, The Present State of Music in France and Italy, p. 326.
37
Ibid., pp. 325-6.
38
Ibid., p. 327.
39
Toby Faber, Stradivarius: Five Violins, One Cello and a Genius, Macmillan, 2004, р.72.
40
С.Burney, The Present State of Music in France and Italy, pp. 273 and 303.
41
Ibid., p. 72.
42
Ibid., pp. 129—30.
43
Из письма, опубликованного в статье Alessandra Barabaschi, Tarisio's Cozio archive (https://bit.ly/2HU88zC). Позже Страдивари изготовил еще два инструмента, завершив комплектацию квинтета.
44
Gabriele Rossi Rognone (ed.), Strumenti musicali, guida alle collezione medicee e lorenesi, Galleria dell'Academia, Giunti, 2018, p. 327.
45
Bishop Burnet's Travels through France, Italy, Germany and Switzerland, 1750.
46
Harold Acton, The Last Medici, Cardinal, 1988, pp. 151-152.
47
Suzanne G. Cusick, Francesca Caccini at the Medici Court: Music and the Circulation of Power, University of Chicago Press, 2009, p. 61.
48
Ibid., p. 63.
49
Charles Burney, The Present State of Music in France and Italy, Elibron Classics, 2005, p. 303.
50
Toby Faber, Stradivarius: Five Violins, One Cello and a Genius, Macmillan, 2004, pp. 155—6.
51
John Dilworth and Carlo Chiesa, «Luigi Tarisio, part 1», Cozio Archive, 22 November 2017.
52
David Schoenbaum, The Violin: A Social History of the World's Most Versatile Instrument, Norton, 2013, p. 150.
53
Toby Faber, Stradivarius: Five Violins, One Cello and a Genius, Macmillan, 2004, P. 79.
54
Schoenbaum, The Violin, p. 42.
55
Toby Faber, Stradivarius: Five Violins, One Cello and a Genius, Macmillan, 2004, p.112.
56
Ibid., p. 143.
57
John Dilworth and Carlo Chiesa, Luigi Tarisio, part 2, Cozio Archive, 22 November 2017.
58
Faber, Stradivarius, pp. 143—5.
59
Jon Whiteley, Stringed Instruments, Ashmolean Museum, Oxford University Press, 2008, p. 56.
60
Ibid., p. 147.
61
Charles Beare, The Life of a Masterpiece, in The Absolute Stradivari: The «Messie» Violin 1716/2016, Catalogue for 'Lo Stradivari Messia torna a Cremona' Exhibition, 2016, pp. 26—7.
62
H. R. Haweis, My Musical Life, Longmans, 1868, p.317.
63
oneredpaperclip.blogspot.com
64
Elisabeth Braw, Stradivariuses, the Latest Financial Fiddle: Investors are Using Stradivariuses as a Hedge Fund, in Newsweek, 22 May 2014. https://bit. ly/2kxFzPt
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