Girolamo Bargagli

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Endpaper of the comedy La Pellegrina by Girolamo Bargagli, 1589

Girolamo Bargagli (* 1537 in Siena ; † 1586 there ) was an Italian poet and lawyer .

biography

Panorama of Siena

Girolamo Bargagli was born in Siena in 1537 as the son of the lawyer Giulio Bargagli and his wife Ortensia Ugurgieri. An immigration of the family from the town of the same name in Bargagli in Liguria a generation earlier is quite possible, as Giralmo later moved to Genoa , which is only 18 km away from Bargagli. The father worked in various public offices in the years immediately after the Florentine conquest of Siena (1555). In 1557 Girolamo Bargagli joined the Accademia degli Intronati , initially by the Grand Duke Cosimo I de 'Mediciwas forbidden. That phase of the last clashes between Florence and Siena, who was loyal to the emperor, which ultimately led to the incorporation into the Grand Duchy of Tuscany , was one of the upheavals that offered opportunities for new incoming talents.

Girolamo Bargagli completed his studies in 1563/64 and taught private law at the University of Siena , where he was listed as lettore di Instituta in the academic year 1563/64 . The city of Siena then appointed him as a civil judge ( corte civile della città ). He held this office until 1567. For the following period between 1567 and 1574 there are only a few reports, apart from the report that he went to Genoa to take up the post of hearing officer for the Rotuli and civil rights vis-à-vis the public prosecutor . It is unclear exactly when he returned to his hometown to settle there as a lawyer . It is only known that he was in the process of preparing to take over his old post in Genoa when he died in 1586.

In 1572 Girolamo Bargagli wrote his Intronati in dialogue form ( Dialogo de 'giuochi ), which were performed as witty puns at the Sienese evening parties ( veglie senes ) in the interplay between man and woman, especially during the rough carnival season . His younger brother Scipione Bargagli (1540-1612) tried to continue this tradition with the Trattenimenti . Both the Intronati and the anticlassical and more rustic Congrega dei rozzi that compete with them still live on as an institution in Siena and are still performed in special theaters. In addition, their influence reached as far as Venice at the beginning of the 17th century, where 38 short pieces by a long anonymous author in the form of veglie senes were performed as part of a banquet in honor of Doge Marino Grimani - an art form that was used until then Venice did not know. These pieces were later attributed to a single author: Enea Piccolomini . In an analysis, Natascha Adamovsky compared the Dialogo de 'giuochi with the female conversation games (1641–1649) by Georg Philipp Harsdörffer . A wealth of games are collected in both, “in which, with the help of rules, a large amount of linguistic material and a broad knowledge is available. By talking about moralia, emblemata , allegories , symbols and metaphors , terms are clarified and defined and distinctions are practiced. Puzzles and parables bring patterns of thought to light and inspire the tools of curiosity . "

First interlude in La Pellegrina , harmony of the spheres for the Medici wedding, 1589, by Bernardo Buontalenti designed

Bargagli created his most famous work, the comedy La Pellegrina , which premiered on the wedding of the Medici Prince Grand Duke Ferdinand I with the Princess Christine of Lorraine in 1589. The comedy, which is close to a tragedy due to its numerous mix-ups and apparent disappointments, was seen in a tradition with Pietro Aretino's Il Marescalco , Giovanni Maria Cecchi's L'assiuolo and Annibale Caros Gli Straccioni as well as the less known work Alessandro Piccolomini's L'Alessandro .

At the posthumous performance during the wedding, the musical and scenic intermedia of the hottest composers of the time in Florence impressed : Giulio Caccini , Emilio de 'Cavalieri , Cristofano Malvezzi and Luca Marenzio as well as the young Jacopo Peri . Ottavio Rinuccini , Giovanni de 'Bardi and Laura Guidiccioni were responsible for the libretto for these interludes . Due to the unexpectedly great success of the intermedia with the audience, a music editor of today described the underlying play as “rather [than] the weak point of the festival. [The intermedia would have] (...) then also ripped everything out splendidly. "

What is certain is that the Medici established a trend with the way of the courtly festival as theatrum mundi , i.e. the theater of the world, which in an almost straight line over Louis XIII. and his mother, Maria de 'Medici, who not only came from the Tuscany family, but was the niece of Ferdinando I de' Medici , who was married in 1589 , led to the courtly ideal type of absolutism Louis XIV , which ultimately all European princes emulated. That this laid the foundation for the early form of the opera was shown by the participation of Jacopo Peris, who was considered to be the co-founder of the opera. Peri sang the role of Arion himself in the 5th intermediate of his own aria Dunque fra torbide onde ( So between the murky waves ), in which he praised the wondrous powers of music. According to the descriptive commentary that was published together with the piece in 1591, Jacopo Peri is said to have cast a spell over the audience with his singing and his skill on the chitarrone . Furthermore, Agostino Carracci must have engraved the sky scene from La Pellegrina , although his sphere of activity was less related to Siena.

In addition to these two main works, Bargagli wrote around 50 sonnets , some of which became known in various collections and some of which remained unpublished. Even the vocal pieces in La Pellegrina were written in sonnet form.

Bargagli also published under the following pseudonyms : Materiale Intronato, Il Materiale and Hieronymus Bargagli.

Works

  • Dialogo de'Giuochi che nelle vegghie Sanesi si usano di fare. Siena 1572.
  • La Pellegrina. Siena 1605.

literature

  • L. de Angelis: Biografica degli srittori sanesi . Vol. 1, Siena, 1824-26, p. 67.
  • Nino Borsellino:  BARGAGLI, Girolamo. In: Alberto M. Ghisalberti (Ed.): Dizionario Biografico degli Italiani (DBI). Volume 6:  Baratteri – Bartolozzi. Istituto della Enciclopedia Italiana, Rome 1964.
  • Florindo Cerreta: The Entertainments for the Baptism of Eleonora de Medici in 1568 and a Letter by Girolamo Bargagli. In: Italica. Vol. 59, No. 4, Renaissance (Winter, 1982), pp. 284-295.
  • James Haar: On Musical Games in the 16th Century . In: Journal of the American Musicological Society. Vol. 15, No. 1 (Spring, 1962), pp. 22-34.
  • James M. Saslow: The Medici wedding of 1589: Florentine festival as Theatrum Mundi . Yale University Press, 1996, ISBN 0-300-06447-0 .
  • F. Bonciani, G. Bargagli, F. Sansovino: Traités sur la nouvelle à la Renaissance . Introduction and Notes by Nuccio Ordine. Translation by Anne Godard. Aragno, Turin 2002, ISBN 2-7116-1543-X .

Web links

Individual evidence

  1. ↑ bargagli.com ( Memento of the original from November 28, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.bargagli.com
  2. ^ George W. McClure: Women and the politics of play in sixteenth-century Italy: Torquato Tasso's theory of games. In: Renaissance Quarterly. Fall 2008, p. 10.
  3. ↑ jrank.org
  4. ↑ jrank.org
  5. ^ M. Pieri: La nascita del teatro moderno in Italia tra XV e XVI secolo. 1989.
  6. ↑ jrank.org
  7. ↑ Jonathan Shiff: Venetian State Theater and the Games of Siena, 1595-1605. The Grimani Banquet Plays. Edwin Mellen Press, 1994, ISBN 0-7734-9424-3 .
  8. ↑ Natascha Adamovsky: Play and Science Culture - A Guide. ( Memento of the original of December 29, 2009 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. (PDF; 218 kB) transcript verlag 2005, p. 25. @1@ 2Template: Webachiv / IABot / www.transcript-verlag.de
  9. ↑ Pasqui Teresa: "Libro di Conti della Commedia". La sartoria teatrale di Ferdinando I De 'Medici nel 1589 . Nicomp Laboratorio Editoriale 2010.
  10. ↑ On the tradition of confusion and the transgender role and costume swap as an element of burlesque giuochi (jokes), cf., Laura Ginetti: On the Deceptions of the Deceived: Lelia and The Pleasures of Play . In: MLN - Volume 116, Number 1, January 2001 (Italian edition), pp. 54–73.
  11. ↑ Review of the English translation ( Memento of the original from March 6, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.spunti.com.au
  12. ↑ Description of the sequence of scenes ( memento of the original from May 15, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (engl.)  @1@ 2Template: Webachiv / IABot / www.isebastiani.com
  13. ↑ Playlist of a reconstruction by Andrew Parrott and Taverner Consort
  14. ^ Playlist of the reconstruction by Paul Van Nevel and the Huelgas Ensemble
  15. ↑ www.br-online.de/br-klassik/  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Dead Link / www.br-online.de  
  16. ↑ baroquelibretto.free.fr
  17. ↑ SWR2 music lesson with Jürgen Liebing: "Weddings - High Times for Music" (1-5) . "A king marries a kingdom" - when marriages serve to maintain power , Editor: Martin Roth, April 7, 2008 ( RTF ; 56 kB)
  18. ^ Similar judgment at: http://arts.jrank.org/pages/3441/intermedio.html : "In 1589 the wedding of Ferdinando de 'Medici and Christine of Lorraine was celebrated with the most lavish and expensive intermedi yet, the scale of which completely overshadowed [!] the play, Girolamo Bargagli's La pellegrina. "
  19. ↑ On the concept of the court festival ; Michael Maurer: Cultural history: an introduction . UTB, 2000, ISBN 3-8252-3060-0 , p. 241.
  20. ^ Richard Alewyn : The great world theater. The era of courtly festivals . Munich 1985.
  21. ↑ cf. Nina Treadwell: Music and Wonder at the Medici Court. The 1589 Interludes for La pellegrina . Including CD. Indiana University Press 2008, ISBN 978-0-253-35218-7 .
  22. ↑ classicalmusic.about.com
  23. ^ Richard Somerset-Ward: The Story of Opera . Harry N. Abrams, 2006, ISBN 0-8109-9254-X .
  24. ↑ Jacopo Peri - arts.jrank.org
  25. ^ Exhibition: Musicians in the Graphic Art of the 16th-18th centuries Century, 43rd conference of the "International Society for New Music" in Hamburg / Alexander Pilipczuk, 1969
  26. ↑ d-nb.info
  27. ↑ Partial view of the edition from 1582
  28. ↑ online at: jstor.org
personal data
SURNAME Bargagli, Girolamo
BRIEF DESCRIPTION Italian poet and lawyer
DATE OF BIRTH 1537
PLACE OF BIRTH Siena
DATE OF DEATH 1586
Place of death Siena