3. Canzonetta by Salvator Rosa

This is truly a song. Lyrics are provided for the vocal sections, making it immediately clear which parts are vocal and which are accompaniment. The form is ternary, with measures 1-26 as A, 27-47 as B, and 48-75 as A. Throughout, it is an optimistic and bright song. However, it maintains a sense of dignity, with minimal rubato, progressing rather straightforwardly.

At the beginning, no specific dynamic markings are indicated. The vocal line enters at measure 5, so from that point, the melodic line should be played with utmost prominence and clarity. Conversely, measures 1-4 should ideally begin more subdued. Since the vocal line is only two measures long (measures 5-6), measures 7-8 should again be played softly. At measure 9, the vocal line becomes octaves; this should be interpreted as an increase in volume rather than a duet.

Measures 15-16 introduce a complete change in atmosphere. A soft mood, entirely different from what preceded it, is created. Subsequently, the A section builds a crescendo towards measure 22.

Measure 27 marks the beginning of the B section, which shifts to the parallel minor, F-sharp minor. The melodic line appears in the bass, suggesting a change to a bass singer. From measure 33, a baritone singer reappears, engaging in a dialogue.

At measure 48, the piece returns to the A section, and the key reverts to A major.