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Neapolitan Villanelle of 16th Century - Ensemble San Felice, and more
Neapolitan Villanelle of 16th Century - Ensemble San Felice, and more

Neapolitan Villanelle of 16th Century - Ensemble San Felice, and more

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FILIPPO AZZAIOLO, ADRIANO WILLAERT , GIAN LEONARDO PRIMAVERA, GIACOMO GORZANIS, IOAN DOMENICO DA NOLA, GIAN LEONARDO DELL’ARPA, ORLANDO DI LASSO, ANTONIO BARGES, ANONIMI
Neapolitan Villanelle of 16th Century

Composer: FILIPPO AZZAIOLO, ADRIANO WILLAERT , GIAN LEONARDO PRIMAVERA, GIACOMO GORZANIS, IOAN DOMENICO DA NOLA, GIAN LEONARDO DELL’ARPA, ORLANDO DI LASSO, ANTONIO BARGES, ANONIMI


Performers: Gloria Moretti, Mya Fracassini, Massimo Crispi, Diego Barretta, Adele Bardazzi arpa rinascimentale, Federico Bardazzi lira calabrese e viola da gamba, Marco Di Manno flauti dolci, Simone Erre flauti dolci e cornamuto, Giangiacomo Pinardi liuto, Erica Scherl scattagnetti, viella e violino, Eleonora Tassinari: cialamello, Fabio Tricomi flauto da tamburo, lira calabrese, tamburello, tammorra, tromba degli zingari


In light of the fact that the primitive canzone villanesca alla napolitana-a minor popular genre, according to the common, though imprecise, definition-existed on the border between written and oral musical tradition, any new handling of it necessarily foresees a correct and rational retrieval of the musical and poetic structures within which the genre developed. This, out of respect for a growing openness toward an anthropological view of music history. Such a view attempts, on the one hand, to focus on the “sonorous event” and to re-evaluate the social significance and means of making and transmitting music of the past, while, on the other, it looks closer at unwritten musical traditions and at the reciprocal influences between oral transmission and writing, especially in urban circles (all the more so if they are Neapolitan). It is well known that the musical circles of Naples under the Spanish viceroys may be analyzed from two different perspectives. Practices of polyvocal singing, detached and completely independent from cultured polyphony existed together with certain poetic and musical expressions connected to functions of everyday life (as documented by treatises, diaries, chronicles of travelers, and title pages of some collections of villanelle). Alongside these practices, cultured music was being written, with artistic aims which aspired to creating a product both elite and exclusive (the “grand” and “serious” musical tradition). Noble and lower social classes nonetheless shared analogous expressive forms in specific contexts–religious feasts, carnivals, taverns, “low class” establishments etc. –and when the two spheres interacted, hybrid musical products resulted which, irrespective of their artistic value, represented an extraordinary testimony of music-making in the past. The villanesca, without a doubt, was created in cultured circles where noblemen and amateur musicians looked “downward”, toward an awareness and entertaining rediscovery of a polyphonic language which was considerably distant from themselves and whose practice was to be regarded as little more than a game, of no importance.


1
Il secondo libro de villotte del fiore alla padoana con alcune napolitanae e madrigali: O Villanella quando all'acqua vai
Ensemble San Felice 0:43

2
Fra quante donne sono al mondo belle [16th Century Neapolitan]
Gloria Moretti 4:57

3
Canzone villanesche all napolitana, Book 1: Vecchie letrose
Ensemble San Felice 1:59

4
La morte di marito [16th Century Neapolitan]
Massimo Crispi 2:44

5
Tre donne belle: Il primo libro de canzone napolitane: Tre donne belle fanno gran battaglia
Ensemble San Felice 2:08

6
Il primo libro di napolitane ariose che si cantano et sonano in leuto: Questi capelli d'or
Mya Fracassini 4:29

7
Fontana che dai acqua a dui valluni
Gloria Moretti 2:08

8
7 Napolitane: 7 Napolitane: No. 1. Voria crudel tornare
Massimo Crispi 5:44

9
Chi passa per sta strada
Diego Barretta 3:04

10
Madonna tu mi fai lo scurrucciato [16th Century Neapolitan]
Ensemble San Felice 4:32

11
Catalina apr'a finestra moresca prima [16th Century Neapolitan]
Ensemble San Felice 4:01

12
Maldetta sia mia sorte sventurata
Gloria Moretti 3:57

13
Che sia malditta l'acqua sta matina [16th Century Neapolitan]
Mya Fracassini 3:07

14
Il primo libro di madrigali, insieme alcuni madrigali d'altri autori: O Lucia miau
Ensemble San Felice 1:54

15
Quanno nascette Ninno
Ensemble San Felice 4:52

16
Il primo libro de villotte: Madonna mia Pieta
Ensemble San Felice 2:13