Viva Napoli - Canzoni Villanesche
A convincing and highly enjoyable evocation of a 16th-century evening’s entertainment, complemented by the booklet-notes
View record and artist detailsRecord and Artist Details
Composer or Director: Adrian Willaert, Francesco Bendusi, Cesare (de') Negri, Costanzo Festa, Orlande de Lassus, Filippo Azzaiolo, Antonio Valente, Giovanni Domenico del Giovane da Nola, Gasparo Zanetti, Giovanni Nasco, Fabritio Caroso
Label: Astrée
Magazine Review Date: /2000
Media Format: CD or Download
Media Runtime: 63
Mastering:
DDD
Catalogue Number: E8648
Tracks:
Composition | Artist Credit |
---|---|
Pass'e mezzo della Paganina, gagliarda |
Francesco Bendusi, Composer
Denis Raisin-Dadre, Flute Doulce Mémoire Francesco Bendusi, Composer |
(Il) secondo libro de villotte |
Filippo Azzaiolo, Composer
Denis Raisin-Dadre, Flute Doulce Mémoire Filippo Azzaiolo, Composer |
(Il) Ballarino, Movement: Chiarenzana |
Fabritio Caroso, Composer
Denis Raisin-Dadre, Flute Doulce Mémoire Fabritio Caroso, Composer |
Chi la gagliarda |
Giovanni Domenico del Giovane da Nola, Composer
Denis Raisin-Dadre, Flute Doulce Mémoire Giovanni Domenico del Giovane da Nola, Composer |
Madonna io sono un medico perfetto |
Costanzo Festa, Composer
Costanzo Festa, Composer Denis Raisin-Dadre, Flute Doulce Mémoire |
Vecchie letrose non valete niente |
Adrian Willaert, Composer
Adrian Willaert, Composer Denis Raisin-Dadre, Flute Doulce Mémoire |
O bene mio |
Adrian Willaert, Composer
Adrian Willaert, Composer Denis Raisin-Dadre, Flute Doulce Mémoire |
Madonna mia pietà |
Orlande de Lassus, Composer
Denis Raisin-Dadre, Flute Doulce Mémoire Orlande de Lassus, Composer |
(Il) Scolaro, Movement: La bella Pedrina |
Gasparo Zanetti, Composer
Denis Raisin-Dadre, Flute Doulce Mémoire Gasparo Zanetti, Composer |
(Il) Scolaro, Movement: Saltarello |
Gasparo Zanetti, Composer
Denis Raisin-Dadre, Flute Doulce Mémoire Gasparo Zanetti, Composer |
(La) Cortesia voi donne predicate |
Orlande de Lassus, Composer
Denis Raisin-Dadre, Flute Doulce Mémoire Orlande de Lassus, Composer |
Intavolatura di Cimbalo, Movement: Gaillarda Napolitana |
Antonio Valente, Composer
Antonio Valente, Composer Freddy Eichelberger, Harpsichord |
Intavolatura di Cimbalo, Movement: Tenore grande alla napolitana |
Antonio Valente, Composer
Antonio Valente, Composer Freddy Eichelberger, Harpsichord |
Tu sai, madonna mia, ch'io t'amo e voglio |
Orlande de Lassus, Composer
Denis Raisin-Dadre, Flute Doulce Mémoire Orlande de Lassus, Composer |
Pass'e mezzo ditto il romano, Pass'mezzo ditto il |
Francesco Bendusi, Composer
Denis Raisin-Dadre, Flute Doulce Mémoire Francesco Bendusi, Composer |
(Il) primo libro de villotte, Movement: Al di dolce ben mio |
Filippo Azzaiolo, Composer
Denis Raisin-Dadre, Flute Doulce Mémoire Filippo Azzaiolo, Composer |
(Il) primo libro de villotte, Movement: Chi passa per sta strada |
Filippo Azzaiolo, Composer
Denis Raisin-Dadre, Flute Doulce Mémoire Filippo Azzaiolo, Composer |
(Le) Gratie d'amore, Movement: Bizzarria d'amore |
Cesare (de') Negri, Composer
Cesare (de') Negri, Composer Denis Raisin-Dadre, Flute Doulce Mémoire |
(Il) Primo Libro di Canzone villanesche alla napol |
Giovanni Nasco, Composer
Denis Raisin-Dadre, Flute Doulce Mémoire Giovanni Nasco, Composer |
Madonna mia fa |
Adrian Willaert, Composer
Adrian Willaert, Composer Denis Raisin-Dadre, Flute Doulce Mémoire |
Author: Fabrice Fitch
Similarly, this disc’s other theme, the villanella and its more learned polyphonic offshoots, has been generously treated by native Italian ensembles in the last year or so (notably on the Opus 111 label); it is a great compliment to these French musicians that they can hold their own in their Italian masquers’ outfits. There is hardly a track that fails to convince; the diminutions in Madonna mia pieta, in common with the instrumental contributions in general, are skilfully done (even if they place more rhythmic constraints on the voices than one would like), and Vecchie letrose is as nasty as it ought to be. Even when the improvisatory licence is occasionally exceeded, the general tenor of this recital is strong enough to be convincing. As I mentioned before, the ensemble takes great care to present the booklet-notes as integral to the disc’s conception; and after an hour’s entertainment, a little unscripted surprise awaits the listener … which I won’t give away. As I’ve already suggested, this repertory is slowly gaining decent representation on disc, but I doubt that you’ll find a better-judged recital than this one.'
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