Doce villancicos

Contents
The quantitatively and qualitatively great output of religious polyphonic works from the leading talents of the Spanish musical Renaissance (Morales, Guerrero and Victoria standing out among them) often make us forget or underestimate the similarly significant and abundant secular works of the polyphony of the time, as cultivated alongside the religious works from the time of Alfonso the Magnanimous and the later Catholic Kings, and finding in Juan del Encina their first outstanding exponent.Juan Vasquez took up that tradition, working on the villancico (a short traditional song form) inherited from the fifteenth century, and he endeavoured to develop it in a new direction, closer to the madrigal trends coming from Italy at the time, and striking us as more highly worked. While pursuing that work on traditional song forms, he also composed a number of pieces on texts by the poets Boscán, Garcilaso de la Vega and others, the result being full-blown madrigals.
Instrumental and vocal formations
Mixed ChoirInstruments
Voice (S, A, T, B)Structure
1.Gracias al cielo doy (I give thanks to Heaven)2.Morenica me era yo dizen que si (Brunette was I, they say so)
3.Zagaleja de lo verde (Girl of the forest)
4.Si me llaman, a mi llaman (If they call me, they call me)
5.En la fuente del rosel (In the fountain of the rosebush)
6.Por vida de mis ojos (By the life of my eyes)
7.De los álamos (From the poplars)
8.Por amores lo maldixo (For love I curse him)
9.Si no os uviera mirado (If had not looked at you)
10.Agora que soy niña (Now that I am a girl)
11.¿Con qué la lavaré'' (What will I wash it whit...'
12.Ojos garços a la niña (The girl has blue eyes)
Technical Specifications
Measurements
21 x 29,7 cm, vertical
Binding
Adhesive binding
Number of Pages
72
ISMN
M-69210-192-5
Editor
DINSIC Publicacions Musicals