Filippo Azzaiolo Vídeos
compositor italiano
- Italia
- compositor
Última actualización
2024-05-07
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Filippo Azzaiolo Vincenzo Ruffo Ruffo Scarpa Fogliano Joan Ambrosio Dalza Burgess Nigel Rogers Geoffrey Shaw 1971
Villotta: "Al Di Dolce Ben Mio" (Filippo Azzaiolo) 0:00 Gagliarda: "La Gamba" 1 (Anon.) 1:47 Gagliarda: "La Gamba" 2 (Anon.) 3:34 Saltarello: "La Caracossa" (Giovanni Pacoloni) 4:29 Capriccio: "La Gamba In Basso E Soprano" (Vincenzo Ruffo) 5:32 Gagliarda: "La Scarpa" 1 (Anon.) 7:44 Gagliarda: "La Scarpa" 2 (Anon.) 8:32 Gagliarda: "Basela Un Trato" (Anon.) 9:26 Gagliarda: "Baxela Un Trato" 1 (Anon.) 10:16 Gagliarda: "Baxela Un Trato" 2 (Anon.) 11:29 Saltarello: "Basala Un Trato" (Giovanni Pacoloni) 12:43 Gagliarda: "Meza Notte" 1 (Anon.) 13:50 Gagliarda: "Meza Notte" 2 (Anon.) 14:53 Pavana: "La Traditora" (Anon.) 15:35 Gagliarda: "La Traditora" (Giovanni Pacoloni) 16:48 Gagliarda: "La Traditora" (Anon.) 18:31 Quodlibet: "Fortuna D'un Gran Tempo / Che Fa La Ramacina / E Si Son / Dagdun Dagdun Vetusta" (Ludovico Fogliano) 21:42 "Piva" (Joan Ambrosio Dalza) 22:51 Villotta: "Gentil Madonna" (Filippo Azzaiolo) 24:58 Gagliarda: "Gentil Madonna" (Anon.) 27:14 Padoanna: "Gentil Madonna" (Giovanni Pacoloni) 28:21 Pavana: "Le Forze D'Hercole" 1 (Anon.) 29:57 Pavana: "Le Forze D'Hercole" 2 (Anon.) 31:15 Tanzlied: "El Marchese Di Saluzzo" (Anon.) 32:34 Gagliarda: "El Marchese Di Saluzzo" (Anon.) 33:44 Gagliarda: "Il Marchese De Saluso" (Giovanni Pacoloni) 35:13 Villotta: "Occhio Non Fu" (Filippo Azzaiolo) 36:34 Gagliarda: "Giorgio" (Anon.) 38:22 Gagliarda: "Zorzi" (Anon.) 39:22 Pavana: "La Cornetta" (Anon.) 40:28 Pavana: "El Colognese" (Anon.) 42:28 "Passamezo & Gagliarda D'Italie" (Anon.) 44:06 Featuring the voices of mezzo-sopranos Jantina Noorman, countertenor Grayston Burgess, tenors Edgar Fleet and Nigel Rogers, baritone Geoffrey Shaw and bass David Thomas.
Antonio Scandello Azzaiolo Sem 1557 1566
Two Neapolitan songs by Antonio Scandello 0:06 Voria che tu cantass'una canzone (CtTTB) 1:13 Instrumental arrangement for tenor recorder, harp and viol 2:20 Core mio bello (ATTB) 3:13 Instrumental arrangement for soprano recorder, lute, harp, viol Antonio Scandello, a Northern Italian from Bergamo, collected these and other folksongs from Naples, published them in Nuremberg and dedicated it to the Elector of Saxony. Scandello, like many other Italians in the second half of the 16th Century were hired for music making at the royal courts of Southern Germany. Scandello's "Voria che tu" is a variation based on the same tune as Azzaiolo's "Vorrei che tu," but slightly more playful and antiphonal on the "fa-mi" refrain. "Fa mi la mi sol la" is the incantation of the modal notes F-E-A-E-G-A. Despite the Southern melody, Scandello uses the northeastern dialect of Italian with words like "voria" (which is "vorrei" in Modern Standard Italian). The second song "Core mio bello" is more strictly homophonic like early Italian frottole and Spanish villancicos. There are also some irregularities in the rhythm that make for some odd emphases on otherwise non-stressed syllables in the Italian language. For example the word "sempre" which in spoken Italian should be "SEM-pre" is sung as "sem-PRE" and "fantasia" which is ordinarily "FAN-ta-SI-a" is pronounced "fan-TA-si-A." The vocal simulations were created using the MAIKA voice bank and the VOCALOID 4 software. The instrumental sounds were generated using Music Studio 2. Text Canzona #14: Voria che tu cantass' una canzone (I wish you will sing a song) Quando mi stai sonando la viola (while you play the viola for me) E che dicessi fa mi la mi sol la. (and chant fa mi la mi sol la) Canzon #15: Core mio bello, cor' in zucherato (My beautiful heart of sweetness) core che mi stai sempre in fantasia (that keeps me always in dreams) pigliati quanto voi la vita mia. (take all you want of my life) Description of Photos: 1. Discantus part of "Voria che tu" Antonio Scandello, Nuremberg, 1566 2. Rustic concert with 4 singers, Anon. Italian, c1560 3. Music, Paolo Veronese, 1557 4. Concert at a Venetian palace, Giovanni Antonio Fasoli, c1560 5. Discantus part of "Core mio bello" Antonio Scandello, Nuremberg, 1566 6. Woman with mirror, Titian, c1515 7. Pastoral concert, Anon. Italian, c1560 8. Concert, Callisto Piazza, c1555
Filippo Azzaiolo Woo Cara Prego Fiore Romanino Fresco 1564
Gia cantai allegramente 0:06 Verses 1 & 2 of the original villotta with harp (ATTB) 1:17 Instrumental arrangement for 2 recorders, harp and viol 2:26 Instrumental arrangement for cornetto and 3 trombones. / The villotte of Azzaiolo are short, light-hearted and dance-like. The rhythms are regular and predictable while the words are few and simple. This particular villotta is about the simple yearning of a man for a woman whom he cannot easily woo. As with many Italian frottole of the previous generation, this work is strictly homophonic and chordal in structure. The text for this song was entered using the Vocaloid 4 encoder and the MAIKA (Spanish language) voice bank. In this latest rendition, I added the second verse, reduced the gaps between the notes and shaped the articulation a bit. The original MIDI file absent the singing was created by Brian Russell, which he arranged for harpsichord and uploaded to CPDL.org. My simulations of instrumental performance were created using Music Studio 2 (iPhone app). / Text: Gia cantai allegramente per amor d’una mia amorosa. Gia da me sta sempr’ascosa e se mi fa viver dolente: gia cantai allegramente sol per amor d’una mia amorosa. Dolce mia cara signora, già ti prego, ascolta un poco, son venutto in questo luoco sol per narrart' ogni mio stento. Già cantai... Translation: Already I have sung joyously for the love of my beloved. Now she stays always hidden from me and makes me live in pain Already I have sung joyously only for the love of my beloved. My sweet, dear lady Already I pray, hear me a bit I came here only to explain all my hardship. Already I have sung.... Illustrations: 1. "Gia cantai allegramente," alto part, F. Azzaiolo, Villotte del Fiore, Venice, 1564 2. Renaissance harp, Anonymous Northern Italian, c1550 3. Portrait of a Venetian noblewoman, Paolo Veronese, c1560 4. Boy with recorder, Giorgione, c1508 5. Pegasus and the Muses, Girolamo Romanino, c1540 6. Music, detail of ceiling paintings with violone and lute players, Paolo Veronese, c1557 7. Musicians, detail of recorder and cornetto players, Anonymous Venetian, c1535 8. Musical angels, details from a fresco with cornetto, trombone and trumpet playing, Domenico Brusasorzi, Chiesa di Santo Stepheno, Verona, c1552 6. Gallery musicians, detail of cornetto and trombone players, Giorgio Vasari, c1545
Costanzo Festa Filippo Azzaiolo Prato Palma 1470 1509 1513 1539 1555 1579
Quando ritrovo, la mia pastorella 0:06 original madrigal in 3 parts (TTB) + instruments (recorder, lute, harp, viol) 1:28 instrumental arrangement in 3 parts (shawm, 2 trombones) 2:47 original madrigal in 4 parts (STTB) + instruments (soprano recorder, shawm, 2 trombones) Costanzo Festa's secular songs are often seen as transitional between the frottola form (which had repeating melody lines for different sets of lyrics) and the newly developing madrigal form (which had a through-composed structure). For example, in this song, there is almost no repeats except in a very short final phrase. It also has the shared feature with frottole in its overall homophonic alignment of voices. This piece is also representative of a relatively new theme in popular Italian music that included a risqué conversations between lovers as often seen in the works of other contemporaries like Filippo Azzaiolo. It's crude humor is a departure from the bitter and melancholic airs of the the courtly love genre so pervasive in the previous generation. The original song melody appears in the tenor voice and a less melodic superius part seems to have been added later. Text: Quando ritrovo la mia pastorella (When I find my peasant girl) Al prato con le pecor' in pastura, (Grazing her sheep in the pasture) Io mi gli accost' e presto la saluto. (I accost her and salute her right away) La mi risponde "Tu sia el benvenuto" (She responds: "Welcome!" Et poi gli dic' in quella, "O gentil pastorella, (And then I say "O gentle girl) Non men crudel che bella, (Not any less cruel than beautiful) Sei del mio ben ribella; (You reject my goodwill) Deh non esser ver me cotanto dura". (Don't be so hard on me") Così rispond' anch'ella, (She replies like this) "Disposta son a quel tuo cor desia, ("I am disposed to that which your heart desires) Ma se non hai denari, va alla tu via. (But if you have no money, away with you!)" Description of photos: 1. Domestic scene, Federico Zucchari, 1579 2. Peasant woman and soldier, Anon. German/Austrian, c1540 3. Allegory of Spring with a model dressed in peasant costume, Tintoretto, 1555 4. Gallery musicians, detail of shawm and trombone, Hans Holbein the Younger, c1520 5. Shawms and trombone, detail from Coronation of Pope Pius III, Pinturicchio, 1509 6. Angels playing shawms and trombone, detail from Assumption of the Virgin, Carlos Frei, c1530 7. Musical procession, detail from Meeting of Jephthah and his daughter, Benvenuto di Giovanni, 1470 8. Lady looking back, Jacopo Palma il Vecchio, 1513
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