Religious History and Composition
Caterina's style drew from her teacher, Re, and the influence of local composer Agazzari. Her motets are often written for two sopranos, alto, bass, and continuo; however the similarities between the bass and continuo parts enables them to be performed without male singers, as it would have been in her convent. She composed both traditional and innovative pieces for a variety of settings, and was well-known for her strong abilities as an organist.1 5