274:
35:
51:
368:
285:"Festival books", produced as souvenirs of lavish festivities, contain detailed descriptions of many important intermedi, such as those for the Medici wedding of 1589, for which 286 costumes were made. Although music written specially for this occasion survives (see discography below), this is usually not the case, and music written for other occasions, for example
305:, or any combination of these. There was invariably a political message, even if this was limited to general glorification of the ruling family; at times more specific messages were intended. Some thematic connection with the main play might be made, though intermedii could be repeated with different plays from the one they were written for.
204:
As the intermedio developed in the 16th century, it grew more and more elaborate, often becoming a "play within a play"; for example during a five-act play, an intermedio would consist of four parts, which might be presented as a four-part metaphor of time passing in the play. This stage begins with
392:
In 1539 most of the pieces are in four and five parts so much of this music is suitable for domestic playing. The 1589 music is very different being largely big set pieces for 6, 12, 18 or even 30 parts; 41 instrumentalists were required in all, some hidden around the stage as there was not room for
221:
in 1539, where the four parts were morning, noon, afternoon, and night, represented with an elaborate mechanical artificial sun, with singing and dancing appropriate to each time. Some critics of the time noted that the intermedi had become so elaborate that the play had begun to serve as intermedi
243:
behind which receded ranks of side wings, the vista closed by a back-shutter." Eventually the form acquired a tradition and cohesiveness that allowed it to stand on its own, and it was thus a logical development to combine the existing features with sung, acted parts, and be absorbed into the new
150:
Intermedi were written and performed from the late 15th century through the 17th century, although the peak of development of the genre was in the late 16th century. After 1600 the form merged with opera, for the most part, though intermedi continued to be used in non-musical plays in certain
324:". The actual content in terms of staging, music, instrumentation, presence of singers, actors, dancers, or mime was highly variable throughout the period, and sometimes all of these features were present. The 1589 intermedi were performed in the recently completed theatre in the
230:
Originally intermedi had used the sets already on the stage from the main play, typically fairly simple ones for a comedy, with a few extra pieces, but later they had their own sets, which a mythological subject required to be more elaborate.
328:
before an audience of about three thousand, and three further performances were given some days after the end of the wedding festivities. Further significant sets of Medici intermedi were produced for the weddings in 1600 of
239:: "the designs for the 1589 intermezzi are crucial, for they are the earliest mass-disseminated illustrations of what became a norm throughout Europe for theatrical visual experience for the next three hundred years, the
235:'s production for yet another Medici wedding in 1565 "embodied stupendous advances in engineering technique" with all the elaborate movements of scenery done without a curtain in full view of the audience. According to
420:
Classical humanist dramatic theory says a play should have action taking place during one entire day. These intermedi do not follow what were believed to be the classical instructions, having an overture item,
837:, Capriccio Stravagante Renaissance Orchestra and Collegium Vocale Gent conducted by Skip Sempe, singers: Dorothée Leclair, Soprano / Monika Mauch, Soprano / Pascal Bertin, Alto / Stephan van Dyck, Tenor /
273:
136:
465:
in
England also had many similarities to the intermedio, although it did not originate as a "filler" between acts in a play in the same way. The later 18th century
786:, Centro de Musique Ancienne di Genevra / Studio di Musica Rinascimentale di Palermo / Schola "Jacopo da Bologna", conducted by Gabriel Garrido, (TACTUS TC 500301).
784:
Firenze 1539 - Musiche fatte nelle nozze dello illustrissimo duca di
Firenze il signor Cosimo de Medici et della illustrissima consorte sua mad. Leonora da Tolletto
338:
183:, "a remark destined to be often repeated". Ferrara intermezzi at this period were short and without a unifying theme; they included choruses, recitations and
214:
34:
458:
139:), which featured what was undoubtedly both the most spectacular set of intermedi, and the best known, thanks to no fewer than 18 contemporary published
417:
which were sung at the banquet in 1539 which of course are not intermedi). This means we have surviving descriptions of precise instrumentation.
50:
346:
201:
in the early 16th century, and the returning Medici adopted a policy of keeping the aristocracy occupied by involving them in productions.
262:, the first opera, was one of the composers, and almost certainly performers, in the 1589 Medici intermezzi, and the librettist for both,
312:
and descriptions of the music and action; the 1589 Medici intermezzi were especially well recorded, and "were to be the fount of
Italian
864:
367:
884:
729:
712:
692:
674:
660:
647:
469:
in opera showed a reversal of the
Renaissance scheme; now a single short comic intermezzo was inserted between the acts of a heroic
119:. Weddings in ruling families and similar state occasions were the usual occasion for the most lavish intermedi, in cities such as
193:, explained at the end. It was for Florentine public celebrations that Intermedii came into their own; several were organised by
618:
879:
874:
869:
548:
854:
757:
564:
516:
277:
Another of the 1589 intermedi; 6th intermedio: Apollo and
Bacchus descend, accompanied by Harmony, Rhythm, the
838:
316:
scenography as well as influencing the development of the stage north of the Alps, above all the Stuart court
454:
817:
La
Pellegrina - Music for the Wedding of Ferdinando De Medici and Christine de Lorraine, Princess of France
289:
and instrumental pieces, was often used in intermedi. The subject matter of the intermedio was usually a
349:. However the 1600 celebrations also included a portent of things to come in the form of performances of
798:
Tage alter Musik in Herne 2001: Allianzen - Musik und
Politik in Werken vom Mittelalter bis zur Romantik
132:
198:
39:
151:
settings (for example in academies), and also continued to be performed between the acts of operas.
380:
334:
96:
330:
176:
725:
708:
688:
670:
656:
643:
385:
263:
218:
104:
100:
42:
for the third intermedio from the 1589 Medici wedding: Apollo defeats the monster terrorizing
28:
414:
286:
144:
67:
770:
107:, which was performed between the acts of a play to celebrate special occasions in Italian
742:
552:
355:
249:
240:
172:
128:
859:
820:
811:
La
Pellegrina - Music for the Wedding of Ferdinando De Medici and Christine de Lorraine
398:
163:
at the end of the 15th century between the five acts of plays by the classical authors
54:
Another of the 1589 intermedi: number 4: the demons lament that with the coming of the
848:
824:
700:
680:
325:
140:
308:
Numerous drawings and engravings of the stage sets survive, as well as texts of the
430:
450:
453:; it was more reliant on dance than the Italian version. The French court under
470:
350:
321:
298:
253:
194:
108:
717:
655:, ed. Don Randel. Cambridge, Massachusetts, Harvard University Press, 1986.
466:
434:
409:
375:
Of the various intermedi that were performed, only the music to some parts of
236:
55:
758:
https://web.archive.org/web/20080419100949/http://www.alfredston-music.co.uk/
545:
290:
449:
The similar form which developed in France at the same time was called the
615:
Sixteenth-century instrumentation: the music for the
Florentine intermedii
127:. Some of the best documentation of intermedi comes from weddings of the
773:, complete 1539 music in modern performing edition, with additions (2017)
642:, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980.
342:
309:
294:
278:
210:
190:
120:
17:
393:
them all in one place. Smaller scale pieces are often difficult florid
426:
313:
185:
168:
164:
160:
124:
697:
James Saslow, The Medici
Wedding of 1589, Yale University Press, 1996
626:"Europa Triumphans": Court and Civic Festivals in Early Modern Europe
462:
394:
317:
270:
some of the material from the 1589 Delos scene (illustrated at top).
245:
232:
116:
624:
J.R. Mulryne, Helen Watanabe-O'Kelly and Margaret Shewring (eds.),
371:
Another of the 1589 intermedi: number 1: Harmony descends to earth
366:
302:
272:
258:
112:
49:
43:
33:
801:
461:– Catherine's granddaughter was the Medici bride in 1589. The
841:, Tenor / Antoni Fajardo, Bass. (2 CDs Paradizo PA0004 - 2007)
425:, and a night time ending for tenor voice accompanied by four
244:
artform of opera, which also drew from the traditions of
115:, and an influence on other forms like the English court
800:. Westdeutscher Rundfunk Köln / Tage alter Musik Herne,
179:
said that they were more interesting than the boring
813:, Florence 1589, conducted by Andrew Parrot, (EMI).
159:The first intermedii were not in Florence but in
99:, was a theatrical performance or spectacle with
407:Of the surviving intermedi only two numbers were
131:, in particular the 1589 Medici wedding (between
171:. Writing of the "intermezzi" at the wedding of
756:, (Modern playing edition of 1539 Intermedio),
640:The New Grove Dictionary of Music and Musicians
722:Art and Power; Renaissance Festivals 1450-1650
667:Italian Etchers of the Renaissance and Baroque
665:Reed, Sue Welsh & Wallace, Richard (eds),
628:, (Aldershot and Burlington VT: Ashgate, 2004)
379:(1539) and, through a 1591 printed edition by
359:, the earliest surviving example of the form.
137:Ferdinando I de' Medici, Grand Duke of Tuscany
111:. It was one of the important precursors to
8:
687:. New York, W.W. Norton & Co., 1954.
752:Martin Grayson, George and Rosemary Bate,
633:Theatre Festivals of the Medicis 1539-1637
584:liner noters to Sempé, "La Pellegrina", 30
459:court festivities of increasing lavishness
197:when he was part of the government of the
189:dances. But by 1513 there was a unifying
796:Bremen, conducted by Manfred Cordes, in:
765:Musique des Intermedes de "La Pellegrina"
565:British Library festival book online text
767:, (CNRS, Paris), (1963, reprinted 1986).
771:Edward Lambert, "A Wedding in Florence"
482:
301:, by costumed singers or actors, or by
58:there will be no more souls to torment.
831:(Sony/Columbia - 63362, 1998). 2 CDs.
608:Emilio De' Cavalieri Gentiluomo Romano
147:that were financed by the Grand Duke.
669:, 1989, Museum of Fine Arts, Boston,
66:
7:
653:The New Harvard Dictionary of Music
389:(1589) are known to have survived.
823:, singers: Katelijne Van Laethem,
25:
806:Only the intermedii by Corteccia.
790:Ein Hochzeitsfest in Florenz 1539
619:American Institute of Musicology
383:, an almost complete version of
835:La Pellegrina - Intermedii 1589
749:, (Univ. Missouri Press, 1968).
819:, Florence 1589, conducted by
802:http://www.tage-alter-musik.de
601:References and further reading
555:, showing several of the sets.
297:story, which could be told in
1:
363:Music of the Medici intermedi
209:, from the Medici wedding in
266:, seems to have recycled in
747:A Renaissance Entertainment
445:Similar forms outside Italy
901:
865:European court festivities
754:Music for a Medici Wedding
724:, 1984, The Boydell Press;
347:Maria Magdalena of Austria
26:
885:Italian words and phrases
707:, 1967, Pelican, London,
638:Article "Intermedio", in
685:Music in the Renaissance
489:Reed & Wallace:205-7
439:Baccho, Baccho, E U O E
880:Classical music styles
593:Grout and Williams, 27
372:
337:, and then in 1608 of
282:
68:[interˈmɛːdjo]
59:
47:
839:Jean-François Novelli
736:Editions of the music
370:
276:
133:Christina of Lorraine
53:
37:
875:17th-century theatre
870:16th-century theatre
741:Andrew C. Minor and
613:Howard Mayer Brown,
517:Festival Book online
455:Catherine de' Medici
413:, (not counting the
339:Grand Duke Cosimo II
199:Republic of Florence
40:Bernardo Buontalenti
38:Setting designed by
610:, (Florence, 2001).
606:Warren Kirkendale,
546:Album of engravings
423:Vattene almo riposo
381:Cristofano Malvezzi
281:, Flora and others.
97:Italian Renaissance
551:2011-07-17 at the
373:
331:Henry IV of France
283:
256:, the composer of
222:to the intermedi.
60:
48:
27:For the film, see
855:Renaissance music
794:Weser-Renaissance
457:was also staging
264:Ottavio Rinuccini
226:Mature intermedio
219:Eleanor of Toledo
29:Intermedio (film)
16:(Redirected from
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335:Marie de' Medici
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743:Bonner Mitchell
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635:, 1964, Yale UP
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553:Wayback Machine
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250:madrigal comedy
241:proscenium arch
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177:Isabella d'Este
173:Lucrezia Borgia
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129:House of Medici
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141:festival books
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730:0-85115-200-7
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713:0-14-020808-9
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699:
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693:0-393-09530-4
690:
686:
682:
681:Gustave Reese
679:
677:or 304-4 (pb)
676:
675:0-87846-306-2
672:
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661:0-674-61525-5
658:
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648:1-56159-174-2
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507:Shearman, 105
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498:Shearman, 105
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476:
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429:and an extra
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386:La Pellegrina
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326:Uffizi Palace
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30:
19:
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541:
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527:Strong:134-6
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512:
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494:
485:
448:
438:
422:
419:
408:
406:
401:
391:
384:
376:
374:
354:
320:designed by
307:
291:mythological
284:
279:Three Graces
267:
257:
229:
206:
203:
184:
180:
158:
149:
143:and sets of
92:
88:
84:
80:
76:
72:
63:
61:
778:Discography
471:opera seria
351:Jacopo Peri
322:Inigo Jones
254:Jacopo Peri
195:Machiavelli
155:Development
849:Categories
718:Roy Strong
575:Strong:136
536:Strong:140
477:References
467:intermezzo
435:bacchanale
410:a cappella
377:Il commodo
345:princess,
237:Roy Strong
207:Il commodo
103:and often
95:), in the
93:intermedii
89:intermezzo
77:introdutto
73:intromessa
64:intermedio
56:Golden Age
705:Mannerism
451:intermède
415:madrigals
404:variety.
402:new music
353:'s opera
287:madrigals
175:in 1502,
18:Intermedi
804:(2001).
621:, 1973).
549:Archived
427:sackbuts
356:Euridice
343:Habsburg
310:libretti
295:pastoral
215:Cosimo I
211:Florence
191:allegory
181:commedia
121:Florence
85:tramezzo
81:tramessa
760:(1994).
399:Caccini
397:of the
318:masques
314:baroque
186:moresca
169:Terence
165:Plautus
161:Ferrara
125:Ferrara
829:et al.
728:
711:
691:
673:
659:
646:
463:masque
395:monody
341:and a
246:monody
233:Vasari
145:prints
117:masque
109:courts
71:(also
860:Drama
303:dance
268:Dafne
259:Dafne
113:opera
105:dance
101:music
44:Delos
726:ISBN
709:ISBN
689:ISBN
671:ISBN
657:ISBN
644:ISBN
433:the
431:coda
333:and
299:mime
248:and
217:and
167:and
135:and
123:and
62:The
617:, (
293:or
213:of
851::
827:,
792:,
745:,
720:;
703:.
683:,
473:.
441:.
437:,
252:.
91:,
87:,
83:,
79:,
75:,
46:.
31:.
20:)
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