Canzoni villanesche: Neapolitan Love Songs of the 16th century

Featuring

Roberto Festa
Mara Galassi
Hugh Sandilands
Daedalus
Anonymous
Giovanthomaso Cimello

Orlando di Lasso
Vincenzo Fontana
Perissone Cambio
Giovan Tomaso di Maio
Baldassare Donato
Gioseppe Caimo
Vincenzo Capirola
Adrian Willaert
Meo Fiorentino
Giovanni Domenico da Nola
Anonymous (16th century)
Gabriele Fallamero
Bernardo Pasquini
Giacomo Gorzanis
G. Capolongo

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Compositional Technique

The canzone villanesca marked a return to songs with verses, contrasting with the madrigal's trend to eliminate refrains and repeats.

Cultural Impact

The canzone villanesca emerged in Naples as a reaction against attempts to make Tuscan the national language and the madrigal the dominant secular musical style.

Compositional Technique

The Neapolitan villanesca repertory is characterized by parts moving in parallel fifths and unusual voice ranges.

Composition History

The canzone villanesca alla napolitana officially entered music history on October 24th, 1537, with the publication of the first collection of Neapolitan songs by Johannes de Colonia.

Historical Context

The first book of canzoni villanesche by Johannes de Colonia likely reflects the popularity of this repertoire during Emperor Charles V's visit to the Kingdom of Naples in 1536.

Compositional Technique

Early canzoni villanesche for three voices often feature a soprano in a medium range, accompanied by a tenor and bass singing at least a fifth above their usual ranges, with voices moving in parallel.

Cultural Impact

The frontispieces of the 1537 edition of canzoni villanesche feature engravings of three peasants singing, chosen by publisher Johannes de Colonia to highlight the popular origin of these songs.