In 1575 he dedicated a book of madrigals to Antoine Perrenot de Granvelle, the Spanish Viceroy of Naples, and described himself as being in that man's service.
[1][2] Conversi's music is distinguished by its marriage of the lightness of the Neapolitan villanella, also known as the canzone alla napolitana, with the more serious and literary character of the madrigal.
Yet another book of madrigals, for five voices, is mentioned in a 1604 catalogue of publications by the Florentine Giunti firm of booksellers and printers, but no copy of it has yet been found.
[5][6] Conversi rarely (if ever) set verse by living poets, preferring writers such as Petrarch, Pietro Bembo, Castiglione, and Luca Contile.
The form of the poem is a Petrarchan sonnet, and Conversi sets the octave, which celebrates the return of springtime, with a quick and light patter of notes drawn from the pastoral Neapolitan canzona; and the sestet, in which the lover mourns the loss of his beloved, arrives in a sombre and slow G minor.