Vaghe Belleze by Cesare Negri & Oscar Chilesotti

Introduction to Vaghe Belleze Guitar Course

“Vaghe Belleze or Vaghe belleze et bionde treccie d’oro vedi che per to moro (Lovely beauties and blonde braids of gold, see that I die for you)” in full, is the title for the first piece in a series of six lute pieces transcribed for guitar by Oscar Chilesotti – an Italian law student turned musicologist. I played the entire set of six pieces collectively knows as ‘Six lute pieces of the Renaissance’ as part of my first year undergraduate end-of-year recital. The pieces are beautiful, and this one in my mind, has the most memorable melody.

This captivating piece that beautifully translates the essence of Renaissance music to the classical guitar. This piece is typically performed at a moderate tempo, around 80-100 BPM, and is set in the keys of D and B major. The composition features intricate melodic lines and rich harmonies characteristic of Renaissance music, requiring precise fingerpicking and smooth transitions. The arrangement by Chilesotti highlights the guitar’s ability to convey the nuanced textures and emotional depth of early music, making it, and the entire collection, a favourite among classical guitarists.

Here are the names of all six pieces in the collection:

Vaghe belleze et bionde treccie d’oro vedi che per ti moro
Bianco fiore
Danza
Gagliarda
Se io m’accorgo
Saltarello

Cesare Negri’s Musical Style

Cesare Negri was a prominent Italian dance master and composer of the late Renaissance. His contributions to the repertoire of lute music were significant, though he was primarily known for his expertise in dance. The famous ‘Six Lute Pieces of the Renaissance,’ compiled by Oscar Chilesotti, includes pieces originally composed by Negri and other Renaissance composers.

Negri’s role in this compilation is as one of the original composers whose works were selected by Chilesotti for transcription. Negri’s compositions are known for their rhythmic vitality and melodic richness, characteristics that Chilesotti skillfully adapted for the classical guitar. By including Negri’s works, Chilesotti highlighted the importance of dance music in the Renaissance and showcased the technical and expressive possibilities of the lute, translated into the language of the guitar.

Through Chilesotti’s efforts, the music of Cesare Negri and his contemporaries continues to be appreciated and performed, bridging the gap between historical music traditions and modern performance practice. This compilation remains a valuable resource for classical guitarists and early music enthusiasts alike.