By Tim Carter
The Florentine musician Jacopo Peri (1561-1633) is called the composer of the 1st operas--they comprise the earliest to outlive whole, Euridice (1600), within which Peri sang the function of Orpheus. a wide number of lately found account books belonging to him and his relatives allows a better exploration of Peri's specialist and private lifestyles. Richard Goldthwaite, an fiscal historian, and Tim Carter, a musicologist, have performed even more, even though, than write a biography: their research exposes the extraordinary price of such monetary records as a chief resource for a complete period.
This checklist of Peri's wide-ranging investments and actions available to buy permits the 1st special account of the Florentine economic system within the past due 16th and early 17th centuries, and in addition opens a totally new standpoint on one among Europe's relevant facilities of capitalism. His monetary conditions mirror continuities and adjustments in Florentine society, and the ideas for negotiating them, lower than the Medici grand dukes. while they permit a reevaluation of Peri the singer and composer that elucidates the cultural lifetime of an incredible creative middle even in altering instances, supplying a relatively various view of what it intended to be a musician in past due Renaissance Italy.
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The Florentine musician Jacopo Peri (1561-1633) is named the composer of the 1st operas--they comprise the earliest to outlive entire, Euridice (1600), within which Peri sang the function of Orpheus. a wide selection of lately came across account books belonging to him and his relatives allows a better exploration of Peri's specialist and private lifestyles.
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Extra info for Orpheus in the Marketplace: Jacopo Peri and the Economy of Late Renaissance Florence
Less methodologically profound but still troublesome are matters of chronology and consistency. Peri made some of the entries later, on the basis of memory—“if I remember correctly” (se bene mi ricordo), he writes in one place, while in another he notes that he was making the entry on that date because he had not thought about it before (ne ho fatto ricordo questo dì sopradetto perché non ci havevo pensato). Elsewhere he loses track: on one occasion he starts a ricordo and then, realizing that he had already entered it earlier, interrupts what he was writing and adds that “it is not continued because it is written on the preceding page” (non segue perché è scritto nella faccia indreto), and another ricordo is entered twice, separated by only one folio, with no recognition of that fact.
56; and ASF, Decima granducale 3589 (campione, 1534), fols. 137–38. 11). Is it a relevant coincidence that these two surnames—Redditi and Bonsi— are linked in a partnership in Perugia (Vincenzo di Leonardo Bonsi and Giuliano di Francesco Redditi & Partners) that just a few years earlier, in 1580, had gone bankrupt (Ricci, Cronaca, 300, 307)? Corazzini’s family tree includes a daughter of Ser Francesco Peri, Margherita, who married Bartolomeo di Tommaso Capponi, but nothing at all about her has emerged from our research.
Source: Adapted from Corazzini, “Jacopo Peri e la sua famiglia,” where there is a more complete genealogical tree with collateral branches; the additions here come from the Peri ledgers. 5. JACOPO (1561–1633) = Lisabetta di Gilio Gamberelli = Dianora di Gio. ) = (1515) Margherita di Ser Antonio Lippi (d. by 1579) Ser Francesco (1494, d. by 1534) Matteo (1457, d. 7 In that document Antonio described his mother, Margherita Lippi, as the heir of her father, but Peri does not go on to say what this meant.