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Renaissance Poetry: Madrigals, Chansons, and Villancicos

A look at the poetry behind some of the most popular Renaissance vocal music. Plus, Nigel North performs in a featured release of music by Robert Johnson.

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Photo: Detail from Girolamo dai Libri

Throughout the late-Renaissance, the villancico was a favorite of composers for the vihuela, the principal accompanying instrument for Spanish solo song.

Time capsule for this episode: 1669

The Italian Madrigal

During the 16th Century, the “madrigal” was a generic term that covered many Italian poetic forms, including sonnets, canzoni, and pastoral verse, just to name a few. It was a type of secular composition that was popular because of its expressive relationship between text and music.

One of the greatest madrigal composers was not an Italian, but a Frenchman named Philippe Verdelot, who spent most of his life in Italy. Not only was Verdelot unusually creative with the way he composed madrigals, but he was quite prolific.

Philippe Verdelot: “Italia mia bench’ el parlar,” “Quanta dolceza amore," “O dolce nocte,” “Madonna qual certeça,” and “Donna leggiadr’ et bella”
Alamire/David Skinner, Fretwork, and Lynda Sayce, lute — Madrigals for a Tudor King (Obsidian, 2007)
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Chanson – A word that literally means “song

The 16th-century chanson was, in general, divided into two types of secular song. The first, known a Burgundian chanson, was a hold-over from the previous century and was based on poetry such as ballade or rondeau. The second took hold by the middle of the 16th century and was called Parisian chanson, which let go of the earlier fixed poetic forms in favor of a freer lyric.

Some of the most prominent masters of 16th-century chanson were Claude Lejeune, Claudin de Sermisy, and Guillaume Costeley.

Claude Lejeune: “Une puce”
Ensemble Clement Janequin/Dominique Visse — Early Music: Songs of the Renaissance, CD 9 (harmonia mundi , 2010)
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The Villancico

The villancico was invented some time in the middle of the 15th century as a poetic verse in Spanish specifically to be sung. Within a hundred years it took its rightful place as one of the principal song types unique to Spain. Throughout the late-Renaissance it was often a favorite of composers for the vihuela, the principal accompanying instrument for Spanish solo song, (much like the lute).

Simply put, the villancico referred to poetry that was constructed as a refrain with a set of verses.

The principal composers of solo Renaissance villancico were Luys Milán, Miguel de Fuenllana, Luys de Narváez, Diego Pisador, Alonso de Mudarra, and Enríquez de Valderrábano.

Luys de Narvaez: “Con que la lavare” ("With What Shall I Wash")
Marta Almajano, soprano, and Juan Carlos Rivera, vihuela — El Delfin de Musica: Obras de Luys de Narvaez (Alamviva, 1996)
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Alonso Mudarra: “Si me llaman a mi,” “Gentil cavallero,” “Isabel, perdiste la tu faxa,” and “Si viesse e me levasse”
Raquel Andueza, soprano, and Private Musicke/Pierre Pitzl — Tres Libros de Musica en cifra para vihuela, Sevilla 1546 (Accent, 2009)
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Featured release: Lute music by Robert Johnson

Our featured release is a 2010 Naxos recording of lute music by Renaissance composer Robert Johnson. Nigel North performs the Prince’s Almain, Masque, and Coranto; the Fairie’s Dance; Dances from the King’s Masque; and the Satyre’s Dance.

Robert Johnson: The Prince’s Almain, Masque and Coranto; The Fairies' Dance; The First, Second and Third Dances in the Prince's Masque; The Satyre's Dance
Nigel North, lute — The Prince’s Almain and other Dances for Lute (Naxos, 2010)
Buy from Amazon »
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Philippe Verdelot: “Italia mia bench’ el parlar,” “Quanta dolceza amore," “O dolce nocte,” “Madonna qual certeça,” and “Donna leggiadr’ et bella”
Alamire/David Skinner, Fretwork, and Lynda Sayce, lute — Madrigals for a Tudor King (Obsidian, 2007)
Buy from Amazon »
album cover
Claude Lejeune: “Une puce”
Ensemble Clement Janequin/Dominique Visse — Early Music: Songs of the Renaissance, CD 9 (harmonia mundi , 2010)
Buy from Amazon »
album cover
Claudin de Sermisy: “Tant que vivray”
Ensemble Clement Janequin/Dominique Visse — Early Music: Songs of the Renaissance, CD 9 (harmonia mundi , 2010)
Buy from Amazon »
album cover
Guillaume Costeley: “La prise de Calais” (Hardis Francois)
Ensemble Clement Janequin/Dominique Visse — Early Music: Songs of the Renaissance, CD 9 (harmonia mundi , 2010)
Buy from Amazon »
album cover
Luys de Narvaez: “Con que la lavare” ("With What Shall I Wash")
Marta Almajano, soprano, and Juan Carlos Rivera, vihuela — El Delfin de Musica: Obras de Luys de Narvaez (Alamviva, 1996)
Buy from Amazon »
album cover
Alonso Mudarra: “Si me llaman a mi,” “Gentil cavallero,” “Isabel, perdiste la tu faxa,” and “Si viesse e me levasse”
Raquel Andueza, soprano, and Private Musicke/Pierre Pitzl — Tres Libros de Musica en cifra para vihuela, Sevilla 1546 (Accent, 2009)
Buy from Amazon »
album cover
Robert Johnson: The Prince’s Almain, Masque and Coranto; The Fairies' Dance; The First, Second and Third Dances in the Prince's Masque; The Satyre's Dance
Nigel North, lute — The Prince’s Almain and other Dances for Lute (Naxos, 2010)
Buy from Amazon »
album cover
Bernard Gordillo

Bernard Gordillo was born in Managua, Nicaragua, and raised in New Orleans. He holds degrees from Centenary College of Louisiana, the Early Music Institute at Indiana University, and the Guildhall School of Music and Drama (London). Bernard also writes and hosts the Harmonia Early Music Podcast.

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  • Anonymous

    It’s somewhat past April 11, 2011. Will this audio ever be available?

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