 These composers wrote music either inspired by the concerto delle donne or specifically for them. Such works are characterized by a high tessitura, a virtuosic and florid style, and a wide range. Lodovico Agostini's third book of madrigals was perhaps the first publication fully dedicated to the new singing style. Agostini dedicated songs to Guarini, Peverara, and Luzzaschi. Gesualdo wrote music for the group in 1594 while visiting Ferrara to marry the Duke's niece Leonora d 'Este. De Wert's Seventh Book of Madrigals à 5 and Marenzio's First Book à 6 were the first true musical monuments to the new concerto delle donne. Monteverdi's Canzonette a tre voci was probably influenced by the "Ladies of Ferrara". Although the only works clearly intended for or inspired by the concerto delle donne were works for multiple high voices executing written-out diminutions, in practice concerts with the concerto delle donne included the older style of solo ornamented madrigals with instrumental accompaniment. Peverara was singularly lauded for her skill in this genre. Works written for the concerto delle donne were not limited to music: Torquato Tasso and G.B. Guarini wrote poems dedicated to the ladies in the concerto, some of which were later set by composers. Tasso wrote over seventy-five poems to Peverara alone.
