He was probably born at Bruges, although a secondary source has suggested Roulers. According to his student, the renowned late 16th century music theorist Gioseffo Zarlino, Willaert went to Paris first to study law, but instead decided to study music. In Paris he met Jean Mouton, the principal composer of the French royal chapel and stylistic compatriot of Josquin des Prez, and studied with him.
Sometime around 1515 Willaert first went to Rome. An anecdote survives which indicates the musical ability of the young composer: Willaert was surprised to discover the choir of the papal chapel singing one of his own compositions, most likely the six-part motet Verbum bonum et suave, and even more surprised to learn that they thought it had been written by the much more famous composer Josquin. When he informed the singers of their error – that he was in fact the composer – they refused to sing it again. Indeed Willaert's early style is very similar to that of Josquin, with smooth polyphony, balanced voices and frequent use of imitation.
In July 1515, Willaert entered the service of Cardinal Ippolito I d'Este of Ferrara. Ippolito was a traveler, and Willaert likely accompanied him to various places, including Hungary, where he likely resided from 1517 to 1519. When Ippolito died in 1520, Willaert entered the service of duke Alfonso of Ferrara. In 1522 Willaert had a post at the court chapel of Duke Alfonso; he remained there until 1525, at which time records show he was in the employ of Ippolito II d'Este in Milan.
Willaert's most significant appointment, and one of the most significant in the musical history of the Renaissance, was his selection as maestro di cappella of St. Mark's at Venice. Music had languished there under his predecessor, Pietro de Fossis, but that was shortly to change.
From his appointment in 1527 until his death in 1562, he retained the post at St. Mark's. Composers came from all over Europe to study with him, and his standards were high both for singing and composition. During his previous employment with the dukes of Ferrara, he had acquired numerous contacts and influential friends elsewhere in Europe, including the Sforza family in Milan; doubtless this assisted in the spread of his reputation, and the consequent importation of musicians from foreign countries into northern Italy. In Ferrarese court documents, Willaert is referred to as "Adriano Cantore.
Vecchie letrose
Adrian Willaert Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Vecchie letrose,
non valete niente
Vecchie letrose, vecchie letrose
non valete niente
Se non a far l'aguaito,
Se non a far l'aguaito, per la chiazza.
Se non a far l'aguaito, per la chiazza.
Tira, Tira
Tira, Tira
Tir'alla mazza,
Tira, tira, tira, tira
tir'alla mazza,
Vecchie letrose,
Vecchie letrose,
scannaros'e pazze!
Vecchie letrose, vecchie letrose,
scannaros'e pazze!
Vecchie letrose,
Vecchie letrose,
non valete niente
Vecchie letrose, vecchie letrose
non valete niente
Se non a far l'aguaito,
Se non a far l'aguaito, per la chiazza.
Se non a far l'aguaito, per la chiazza.
per la chiazza.
Tira, Tira
Tira, Tira
Tir'alla mazza,
Tira, tira, tira, tira
tir'alla mazza,
Vecchie letrose,
Vecchie letrose,
scannaros'e pazze!
Vecchie letrose, vecchie letrose,
scannaros'e pazze!
The lyrics in Adrian Willaert's song Vecchie letrose are quite simple and repetitive, but they suggest a lot about the attitude towards older women in Renaissance Italy. The repeated line "vecchie letrose, non valete niente" translates to "old hags, you're worth nothing," and is a clear insult aimed at older women. The next line, "se non a far l'aguaito, per la chiazza" is a bit harder to interpret. "Aguaito" means to lie in wait or to spy, while "chiazza" can mean a marketplace or a town square. So, it's possible that the song is saying that older women are only good for spying on people in public places.
The next lines, "tira, tira, tir'alla mazza" seem to suggest that the women being referred to are violent or aggressive. "Tir'alla mazza" could mean "swing the club" or "hit them with the club," which would certainly support the idea that the women being referred to are dangerous. The final lines, "scannaros'e pazze" mean "they'll tear you apart and they're crazy," which once again suggests that the women being referred to are not to be messed with.
Overall, it seems that this song is a reflection of the patriarchal society of Renaissance Italy, in which older women were devalued and seen as a threat to social order. The lyrics paint a pretty negative picture of older women, portraying them as violent, crazy, and worthless.
Line by Line Meaning
Vecchie letrose,
Old hags,
non valete niente
You're worth nothing
Vecchie letrose, vecchie letrose
Old hags, old hags
Se non a far l'aguaito,
If not for spying,
per la chiazza.
In the square.
Tira, tira, tira, tira
Pull, pull, pull, pull
Tir'alla mazza,
Pull on the stick
Vecchie letrose, vecchie letrose
Old hags, old hags
scannaros'e pazze!
They're crazy brawlers!
Vecchie letrose,
Old hags,
non valete niente
You're worth nothing
Vecchie letrose, vecchie letrose
Old hags, old hags
Se non a far l'aguaito,
If not for spying,
per la chiazza.
In the square.
Tira, tira, tira, tira
Pull, pull, pull, pull
Tir'alla mazza,
Pull on the stick
Vecchie letrose, vecchie letrose
Old hags, old hags
scannaros'e pazze!
They're crazy brawlers!
Contributed by Cooper W. Suggest a correction in the comments below.
@orfeomanfredi9299
wonderful! this music it's so modern
@ArandaHOY
Sr. Savall, ojalá supiera como agradecerle el trabajo que realiza para recuperar todas estas maravillas de nuestro patrimonio. Hasta que demos con la fórmula, nos quedamos satisfechos, felices y orgullosos degustando su trabajo... y ese inmensísimo placer musical e histórico que Ud. Nos regala. Gracias de nuevo!.
@artofmusic303
I can groove on this as much as I can on Earth, Wind and Fire.
@codyrebelcb
I'm just going to assume all animals had human faces unlike today.
@karolwysoglad1765
Piękny przykład pieśni włoskiej utrzymany w skocznym, pogodnym charakterze. Miód dla uszu ❤
@AlbertoOlivieri
Che musica, What a music!! Thanks.
@levannhatlebong8362
Wonderful !!!
@StudioBlankoLab
Barocco disco dance music feat: tarantella.
VERY VERY NICE
@realtrickybilly
+Domenico Tribuzio Renessaince, not Baroque.
@shobarsch
Thank you so much, this is unbelievable.