PROGRAM
Giovanni L. dell' Arpa (1530-1602) - Villanella ch'all'acqua vai
Giovanni G. Kapsberger (1580-1561) - Avre vagh'aure
Giovanni Stefani (?-1626) - Amante felice
Andrea Antico (ca. 1480-1538) - Non piu morte al mio morire
Giovanni da Nola (1510-1592) - Fuggit 'Amore
Giovanni Bassano (1561-1617) - Oncques amour
Anonimo detto "Sbruffapappa" XVI a - Vurria ca fosse ciaola. Improvisation on the theme of an Italian lullaby
Anonimo (1537, Napoli) - Madonna tu mi fai lo scorrucciato
Stefano Landi (1587-1639) - Canta la Cicaletta
Giovanni G. Kapsberger (1580-1651) - Già risi
Andrea Falconieri (1585-1656) - Soave Melodia
Giovanni Stefani (?-1626) - Partenza
Si le femmene portassero la spauda Tre donne belle
Andrea Antico (c. 1480-1538) - Cantai mentre nel core
The last time in XVII century. Si le femmene portassero la spauda
Giovanni L. Primavera (1540-1585) - Tre donne belle
Andrea Falconieri (1585-1656) - E viver e morir
"It is a miracle when you can experience death and life at the same time, and I don't know myself whether I am dead or alive, but I know that I am there for you..." (G. Stefani "Amante felice", 1621)
The ensemble Chiaroscuro presents the genre of the secular song, the villanella (Italian villanella, or canzone villanesca). The year 1537 marks the beginning of this genre in the history of music, when Johannes de Colonia published the first collection of Neapolitan songs, Canzone villanesca alla napolitana, which contains 15 poems in Neapolitan dialect. The poet-musicians who lived and worked in Naples were influenced by a very rich everyday oral and singing tradition, which, enriched by literary and musical fashions, created the genre of the villanelle, which is a direct expression of the 'rural', simple, everyday song. The earliest villanelles are mostly found only in literary sources without written melodies.
The most significant publications of sheet music come to us in two phases. The first, usually up to three voices, are collections of villanelles published in Venice by Neapolitan and southern Italian composers (Giovane da Nola, Thomas di Maio, Vincenzo Fontana, Leonardo Primavera, Leonardo dell'Arpa, Massimo Troiano and others). The second is a set of villanelles for four voices by non-Italian composers (Adriano Willaerto, Luca Marenzio, Adriano Banchieri, Orlando di Lasso, etc.). In the 17th century, the genre of the villanelle spread not only in Italy but also throughout Europe, influencing other musical forms-genres, including the madrigal, and the poetic, word-raising style of recitar recitatives in Baroque opera.
The core of Villanelles' poetic text is the theme of love and the human emotions that surround it: nostalgia, joy, sadness, anger and forgiveness. The listener is invited to delve into the origins of the beauty of Neapolitan and Italian songs - the 16th and 17th century villanelles written by different composers.
