Alla Napoletana: Villanesche & Mascherate

00:00 Piva (Joan Ambrosio Dalza, fl. 1508) Intabulatura de lauto, Libro quarto 1508
02:01 O belle fusa (Orlando di Lasso, c1532-1594) Libro di villanelle, moresche e altre canzoni, 1581, d'après Giovanni da Nola
06:15 Tri cechi siamo (Giovanni Domenico da Nola, c1510-1592) Canzoni villanesche 1545
09:12 Madonna voi me fare una camisa (G. da Nola)
14:27 Pavana ¨La morte della ragione¨ (Anonyme)
17:20 Madonna tu mi fai lo scorruciato (ed. Johannes de Colonia) Canzone villanesche alla napoletana 1537
21:18 Schiarazula Marazula (Giorgio Mainerio, c1535-1582) Il primo libro di balli 1578
23:54 Cingari simo (G. da Nola)
28:11 Moresca 4a detta ¨La bergamasca¨, 1585 (Giulio Cesare Barbetta, 1540-1603)
29:27 Chi la gagliarda (G. da Nola)
33:23 Gagliarda ¨La lavandara¨ (Mainerio)
34:32 O quant´amore t´ho portato (Baldassare Donato, c1525-1603) Villanesche alla Napoletana 1545
39:12 Calata alla spagnola (Dalza)
40:55 Le fave ch´o chiantate (G. da Nola)
44:26 Madonna non e piu lo tiemp´antico (Giovan Tomaso di Maio, c1490-c1548) Canzon villanesche alla napolitana 1545
45:50 Medici nui siamo (G. da Nola)
48:51 Piva (Dalza)
52:08 Saltarello de la preditta (Pietro Paolo Borrono da Milano, c1490-c1563) Intabolatura de leuto, Casteliono 1538
54:34 Boccuccia d´uno persico aperturo (J. de Colonia)
57:30 La Paduana del rey (Anonyme)
1:00:12 Una lampuca ho visto (G. da Nola)
1:03:30 La lavandara gagliarda (Anonyme)

SUONARE e CANTARE
Francisco Orozco: chant, luth 5 choeurs, luth Renaissance, colasciontini
Françoise Enock: viole, violone, colascione
Jeanne Boëlle: luth & guitare Renaissance
Jean-Michel Deliers: chalumeaux soprano, vielle à roue, cornemuse, sourdine ténor, hautbois à capsule alto e contrebasse, tympanon, guimbarde
Eva Godard: cornet à bouquin, cornet muet, flûtes
Jean Gaillard, Sabrina Arunkumar: flûtes
Michèle Claude: tamburello, zarb, tambourins, tambours, castagnettes

Enregistré en décembre 2004 à la chapelle de Notre-Dame de Bon Secours, Paris

Art: Batalla naval en el golfo de Nápoles (1558-62), por Pieter Brueghel ¨el Viejo¨ (c1525-1569)
On October 24, 1537, fifteen anonymous “rustic songs” were published in Naples by Johannes de Colonia within an anthology entitled Canzone villanesche alla napolitana. The qualifying phrase ¨alla napolitana¨ meant that the style of the poetry and music was uniquely Neapolitan. The adjective ¨villanesca¨ (derived from ¨villano¨) means rustic or crude in the strict sense of the word, but in this new context it also suggests that Neapolitan poet-composers had been affected by the instinctive lyrical traditions of everyday people. In 1535 Benedetto Di Falco, the eminent poet and academician praised the innate musical talents of Neapolitan citizens for the benefit of Emperor Charles V, who was then visiting his southern Italian dominions: “Besides that natural instinct for music with which it appears that heaven has endowed every Neapolitan, almost everyone adds art to nature. And thus day and night, sometimes with voices, sometimes with instruments, diverse harmonies of heavenly sweetness are heard in various locations”. Moreover, during the carnival season of 1536, the Emperor toured Naples on horseback and observed a local musical tradition, which was reported by the ambassador from Mantua, Count Nicola Maffei: “Groups of musicians were competing with one another in singing the rustic songs in vogue there and very nicely composed madrigals. The musicians strolled through the streets improvising words and music in honor of the lovely ladies whom they saw in the windows and they rendered sweet harmony to the delight of those who could hear it”.

Neapolitan poet-composers were clearly inspired by the habits of self-accompanying improvisers whose specialty was the performance of ¨strambotti¨. The ¨canzone villanesca¨ is essentially a ¨strambotto¨ expanded by the insertion of a recurrent refrain after each of four couplets; the refrain normally consists of short-range, jingling rhymes that evoke the humorous utterances of popular singers. ¨Strambotti¨ influenced by oral traditions are generally composed of proverbs and rustic expressions loosely strung together, making a witty epigrammatic point at the end. These qualities characterized the ¨villanesca¨ well into the 1540s, thus confirming a continuing taste for picturesque evocation.

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