One of the first practical demonstrations, or tests, of the new radical–humanist esthetic came in 1589, when Count Bardi was asked to organize the entertainment for the wedding of the Grand Duke Ferdinando de’ Medici of Tuscany, the brother and successor (some said the murderer) of Bardi’s original patron Francesco, to the Princess Christine of Lorraine. Seizing the opportunity, he put his friends to work on a colossally extravagant set of intermedii, allegorical pageants with music to be performed between the acts of a spoken comedy (La pellegrina, “The pilgrim girl,” by the court poet Girolamo Bargagli).
- Citation (MLA):
- Richard Taruskin. "Chapter 19 Pressure of Radical Humanism." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 2 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-019004.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 19 Pressure of Radical Humanism. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 2 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-019004.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 19 Pressure of Radical Humanism." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 2 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-019004.xml