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Updated: June 4, 2025
The main movement of Poliziano's poem is intrusted to the traditional octave stanza, but we find passages of terza rima. There are also choral passages which suggest the existence of the frottola, the carnival song and the ballata. The play is introduced by Mercury acting as prologue. This was in accordance with time honored custom which called for an "announcer of the festival."
the condition being that he shall not turn to behold her before attaining once again to the land of the living. The condition, of course, is not fulfilled. Orfeo seeks to clasp 'his half regain'd Eurydice, with the triumphant cry of Ovid holding the conquered Corinna in his arms: Lyrical beauty rather than dramatic power was, it has already been remarked, Poliziano's aim and achievement.
There was also a concert of voices which did not come off quite so well, in my opinion, as other parts of the music." This confusion of Poliziano's "Orfeo" with spoken drama interspersed with intermezzi is unfortunate. There were no intermezzi at the representation of this lyric drama.
He was received with jubilant celebrations. There were banquets, processions and public rejoicings. It would have been quite unusual if there had been no festival play of some kind. It is uncertain whether Poliziano's "Orfeo" was written for this occasion, but there seems to be a fair amount of reason for believing that it was.
We are at least free to conjecture that before 1479 Lavagnolo trained the chorus of Mantua in dancing so that he may have contributed something to the ballata which we shall at the proper place see as a number in Poliziano's "Orfeo."
The performance of Poliziano's "Orfeo," however, took place some forty years earlier than that of "Calandra," and it was without doubt in a closed hall and therefore most probably with artificial light of flambeaux and lamps. [Footnote 21: "Histoire du Théâtre de l'Opéra en France depuis l'Etablissement de l'Académie Royale de Musique jusqu'
If this is with your permission, I am patient, but I cannot believe such a thing." Lorenzo's behavior upon the receipt of this letter will be of interest and will throw much light upon the question involved. Did he burn with indignation at this story of Poliziano's disgraceful conduct and did he dismiss him from his service forthwith as one unworthy of his trust? By no means.
A little examination into the character of these early "orchestras" may serve to throw light on the nature of the instrumental accompaniments in Poliziano's "Orfeo." Another interlude showed David dancing to lute, viol, trombone and harp. It is evident, therefore, that at a period a century after that of the "Orfeo" there was a certain sort of orchestra.
It seems, then, that we shall not be far astray if we conclude that the solo parts of Poliziano's lyric drama consisted of music of the better frottola type and that the moving appeals of his hero were accompanied on a "lyre" of the period in precisely the same manner as frottole transformed into vocal solos were accompanied on the lute.
It was not the first attempt at bringing the pastoral upon the boards, since Poliziano's Orfeo with its purely bucolic opening had been performed as early as 1471; but Castiglione's ecloga rappresentativa was the first of any note to depend purely on the pastoral form and to introduce on the stage the convention of the allegorical pastoral.
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