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Canzona(It.:song).

Atypeofinstrumentalmusicofthe16thand17thcenturiesthatdevelopedfromtheNetherlandishchanson.

1.Introduction.

ThespellingcanzonawasfairlyfrequentlyusedinItalyafter1600andhasbecomestandardinEnglandandnotinfrequentinGermanyinolderItaliansources,however,canzoneandcanzon(withthepluralcanzoni)arepracticallyuniversal,andcanzonehassubsequentlyremainedthestandardItalianform.Itshouldbenotedthatcanzoneasthepluralofcanzonaisrare.(ForadiscussionoftheItalianpoeticform,seeCANZONE.)Thewordcanzoneorcanzonainitsinstrumentalconnotationoriginallydenotedanarrangementofapolyphonicsong,usuallyaFrenchchanson,sincealthougharrangementsofItalianworkswerequitecommonthesewereusuallycalledfrottolaormadrigale.Althoughitwasusedatleastuntiltheendofthe16thcenturytomeanastraightforwardarrangement,therearequiteearlyinstancesofnewcompositionsbasedonexistingchansonmaterial,andthetermeventuallycametobeappliedtooriginalcompositionsusingidiomsfamiliarthrougharrangementsandreworkings.Sincechansonsofthetypefavouredforthesepurposes(i.e.theParisianchansonasrepresentedinthebooksofAttaingnantstartingin1528)frequentlybeganwithfugalimitation,thecanzonacametobeconsideredafugalgenre.ItisdescribedbyPraetorius(Syntagmamusicum,iii,p.17)asaseriesofshortfuguesforensembleoffour,five,six,eightormoreparts,witharepetitionofthefirstoneattheend(althoughthisfeatureisinfactrareseeFUGUE,4).Expressionssuchascanzonfranceseandcanzoneallafranceseappeartoindicatenothingbeyondtheformjustdescribed(theyareusedbothofarrangementsandoforiginalworks),whilecanzondasonar,aphrasethatplayedapartinthegenesisofthetermsonata(seeSONATA,I),specifiedonlythatitwasaninstrumental(usuallyensemble)form.

2.Thesolocanzona.

Arrangementsofpolyphonicvocalworksforkeyboardaremucholderthanthe16thcenturyandembracesacredaswellassecularforms.ThetranscriptionsofNetherlandishchansonsinSpinacino'stwolutebooksof1507donotdifferessentiallyfromthegeneraltypeofornamentedkeyboardorlutearrangementprevalentintheearly16thcenturyandfoundalsointheCapirolaLutebook(c1517).MoresignificantarethearrangementsoftwofrottolasinDalza'sIntabulatura(1508)andthoseforkeyboardpublishedbyAnticoin1518,notbecausethetechniqueofarrangementwasinitselfmodified,butbecausethechordalandharmonicallyconceivedstyleofthefrottolacorrespondsmorecloselythanthatofthenewertypeofchanson(inspiteofthelatter'spenchantforimitativeopenings)tothetranscriptionstowhichthetermcanzonewasoriginallyapplied.TheearliestexamplesofsucharrangementsarefoundinM.A.Cavazzoni'sRecerchari,motetti,canzonilibroprimo(1523).ItcontainsfourpieceswithFrenchtitles,oneofwhichhasbeenidentifiedasanintabulationofJosquin'sPlusieursregretz(Picker,1972).TwocelebratedchansonswereincludedinGirolamoCavazzoni'sIntavolaturacioerecercaricanzonihimnimagnificati(1543),Josquin'sfivepartFaulted'argentandPassereau'sIlestbeletbon.Cavazzoni'sarrangementofFaulted'argentismuchmorethanameretranscriptionoftheoriginal:itisacompletereworking,omittingJosquin'scanonbetweenthecontratenorandquintaparts,butretainingtheternarystructureofthepieceandaddingmuch

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thatisnewandinteresting.Scarcelyasinglebarisidenticalwiththeoriginal.Itisalsoamasterpieceofcompression,withJosquin's72barsreducedto56.Passereau'schansonistreatedinasimilarway.

Theearliestpublishedlutetranscriptionstowhichthetermcanzoneisgiven,eithertoindividualpiecesorbyimplicationinthetitlesofthepublicationsinwhichtheyoccur,appeartobethoseofMelchioredeBarberiis(Intabulaturadelautolibroquinto),DomenicoBianchini,FrancescodaMilano(twobooks,bothreprintsoflostoriginals),G.M.daCremaandAntonioRotta(allof1546).ThepublicationsofBarberiisincludetwopiecesentitledsimplyCanzun[orcanzon]francesewithoutanyfurtherqualification,andthesemaybetheearliestfreelycomposedcanzonasofanykind.Therearefurtherexamplesinhislaterbook(1549),althoughtheidentificationofoneofthemasachansonbySermisytendstocastdoubtontheoriginalcharacteroftheothers.ThesetranscriptionsofthenewertypeofFrenchchansonmustbeseeninthecontextofthemanypublishedataboutthistimewithoutthedistinguishingtitle,bothinItalyandelsewhere.Thelutecanzona,however,neverbecameverycommoneitherasanarrangementofavocalmodelorasapurelyinstrumentalform.ThoseinG.A.Terzi'sIntavolatura(1593)aremerelyarrangementsofFlorentioMaschera'sensemblecanzonas(see3below).

Agoodmany16thcenturykeyboardcanzonasarenothingmorethanelaboratedtranscriptionsofchansons,forexamplethoseofAndreaGabrieliandSperindioBertoldo.Oftentheornamentationisveryprofuse,perhapsslowingdownthenaturalspeedoftheplainoriginal.OneoftheinheritorsofthismethodwasPeterPhilips,whoappliedittobothItalianandFrenchoriginals.AndreaGabrieliusedthetermsricercareorcapricciotodenoteafreereworkingofmaterialfromachansonormadrigal.

OneofthefirstcomposerstowritecanzonasindependentlyofvocalmodelswasClaudioMerulo.Fiveofhis23canzonas(publishedinthreebooksin1592,1606and1611respectively)aretranscriptionsofchansons.TheremainderbearsuchtitlesasLaBovia,LaZambeccaraandLaGratiosa.Manyofthesemayoriginallyhavebeenensembleworks:fourreappearinthisforminAlessandroRaverii'sCanzonipersonare(1608),tenareinJohannWoltz'sNovamusicesorganicaetabulatura(1617),inwhichthecanzonasaremostlytranscriptionsofensemblepieces,andotherssurviveinensembleforminmanuscript.Nevertheless,theirappearanceinkeyboardformfrom1592onwardsmustinevitablyhavepavedthewayfortheindependentlyconceivedkeyboardcanzona.ThefirstcomposerofsuchworkswasapparentlyVicenzoPellegrini,whoseCanzonideintavolaturad'organofatteallafranceseappearedin1599.LikethoseofMerulo,theybeartitlessuchasLaBereniceandLaGentile.Pellegrini'scanzonaswerethefirstkeyboardworksinseveralsectionsclearlydefinedbycontrastingspeedsandmetresbutthesesectionswerenotyetvariantsofthesamematerial.Fromthispointthecanzonabecameverylargelyanindependentformofkeyboardmusic.

Numeroustranscriptionsforkeyboardofensemblecanzonas,bycomposerssuchasAntonioMortaro,FrancescoRovigo,CesareBorgoandOttavioBariolla,togetherwithoriginalkeyboardcanzonas,appearinvols.xxi(Fo,1,3),oftheTurintablatures(seeSOURCESOFKEYBOARDMUSICTO1660,2(III)).Theyinclude,invol.xi,sevenbyGiovanniGabrieli,ofwhichthesecondisanintabulationofanensemblecanzonapublishedbyRaveriiin1608andthefifthisakeyboardricercarepublishedin1595.Theotherfiveareapparentlytruekeyboardcanzonasandprobablyauthentic,althoughoneofthemappearsintheWoltztablatureof1617ascribedtoAdamSteiglederandthelasttwoareascribedtoErbachelsewhere.Theyshowtheinfluenceoftheensemblecanzonaintheiralternationofpairsofvoicestocreateanantiphonaleffectandintheiruseofrepeatedchords.Thesecond,inaritornelloformwithfivestatementsofthemainsection,isparticularlyinteresting.Theothersareeachinasinglesection.

Otherearly17thcenturycomposersofkeyboardcanzonasincludeBanchieri,G.P.Cima,ErcolePasquini,Macque,MayoneandTrabaci.Trabaci'scanzonas(sevenfromhisfirstbook,1603)areinnumeroussections,andinthesixththesectionsarealmostforthefirsttimerelatedthematicallytoformwhathascometobeknownasavariationcanzona.ThesametendencyistobefoundinthecanzonasofMayone,whosefirstbookwaspublishedinthesameyear.ButthegreatearlymasterofthecanzonawasFrescobaldi.

Frescobaldi'sfirstpublishedcanzonaswerethefiveinhisRicercarietcanzonifranzese(1615).Theyaremultisectional,showingatendencytowardsvariationwhichismorepronouncedinsomethaninothers:thesecondisbasedonanascending4ththatappearsineachofitssections,andthethirdonadescending4th.Thecapriccios(1624)arelargelybasedonthesameprinciple,althoughtheirtreatmentismoreimaginativeandsprightly.Sixcanzonasareincludedinthesecondbookoftoccatas(1627).Allincludetoccatalikeelements,andindeedthefifthopenswithapurelychordalsectionandhasverylittlefugalwriting.Thesixthisentirelyintripletime.Thevariationprincipleispresent,butinahighlysubtleforminwhichdirectthematicquotationsarelargelyreplacedbyvagueresemblances,andinwhichcompletecontrastisnotexcluded.Onlyinthethird,wherethedescendingchromaticfournotefigureonwhichitisbasedcanberecognizedthroughoutthework,isthetreatmentstrictlythatofthevariationcanzona.Amoresubtleuseofthematictransformationcanbeseeninthesecondcanzona(ex.1).Thesesplendidthoughlittleknownworksrepresentahighpointinthehistoryofthe

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form.

Ex.1

ThecanzonasinFiorimusicali(1635),intendedforuseaftertheepistleandafterthecommunion,aresimilartoFrescobaldi'sothercanzonas.Theirmultisectionalstructureallowstheperformertocutthepieceshortifliturgicalconsiderationspreventacompleteperformance.Indeed,thesecondhalfofthefinalcanzonainthefirstmassislabelledaliomodo,siplacet,foruseeitherasacontinuationof,orasanalternativeto,thefirsthalf,althoughthewholepiecewasobviouslyconceivedasasingleentity.Allembodythevariationprinciple,thelastbeingbasedontwosubjectsfromtheoutset.Thetoccataelementsonoticeableinthecanzonasof1627islessevidenthere.ThereisalsoaposthumouspublicationofFrescobaldikeyboardcanzonas,theCanzoniallafranceseof1645afewmoresurviveinmanuscript,andthereisasingleone(thoughwithbassocontinuo)attheendofhisPrimolibrodellecanzoni(1628),anensemblecollectionthatappearedtwice,inpartsandinscore.The1645workshavemanyofthecharacteristicsofensemblecanzonas,suchasspecialtitles(LaRovetta,LaSabatina)andthesturdyindependenceoftheparts.Atthesametime,therearetoomanyfeaturesofFrescobaldi'shighlyindividualkeyboardstyleforthemtobedismissedasmeretranscriptions.

ThekeyboardcanzonawascultivatedinItalyafterFrescobaldibysuchcomposersasTarquinioMerula,GiovanniSalvatore,G.B.FasoloandBernardoStoracebutwiththedeclineininstrumentalmusicofthestrictcontrapuntaltexturesoftheRenaissanceperiodtheformbecamelesscommoninItaly,andevenBernardoPasquiniwroteonlyafewexamples.Manyofitsfeatureswereincorporatedintothesonataandfugue.AmongearlierGermancontributorstothegenrewereChristianErbachandH.L.Hassler,bothofwhomarerepresentedintheTurincollection.TheformreceivedanewleaseoflifeatthehandsofFroberger,whoconsistentlyusedthevariationprincipleinhiscanzonas.ItislaterfoundintheworksofnumerousGermanandAustriancomposers,includingKerll,GeorgMuffatandBuxtehude,andeveninasingleworkascribedtoBach.Inmanyofthesethevariationtechniqueisused,whileinothersthetitleseemsnomorethanasynonymforashortfugueofsprightlycharacterandfromthispointthecanzona'sidiomspassedintothegenerallanguageoffugue.

3.Theensemblecanzona.

Theearliestcanzonasindependentofvocalmodels,apartfromthedubiousexamplesforsololutementionedearlier,appeartohavebeenforinstrumentalensemble.AsolitaryfivepartpieceentitledLabella:canzonedasonareappearsattheendofNicolVicentino'sMadrigaliacinquevocilibroquinto(1572).Ingegneri'ssecondbookofmadrigals(1579)includestwopiecesentitledAriadicanzonfrancesepersonarpossiblythesearereworkingsofvocalmodels.Maschera'sLibroprimodecanzonidasonare,theearliestcollectionoforiginalcompositionsinthisform,probablyappearedin1582(thiseditionislost,andtheworkisknowntodayfromitsreprintof1584)itprovedtobeamostpopularpublicationandappearedinseveralfurtherreprintsandtranscriptions.ItwasfollowedbysuchvolumesasCanzonididiversipersonar(publishedbyGiacomoVincenti,RISM1588)andthoseofBariolla(1594),Banchieri(Concertiecclesiastici,1595,andCanzoniallafrancese,1596),Borgo(1599),Mortaro(1600)andRovigo(1600).Maschera'sbookcontains21pieces,somebearingtitlessuchasLaCapriolaorLaMartinenga,probablyderivingfrompatrons'namesandindicatingthesocialmilieufortheperformanceofthistypeofcanzona.Fromthecanzonathisusagepassedtothesonata,whilethesimilarpracticeofnamingdanceswasretainedatleastuntilthekeyboardpublicationsofCouperin,RameauandtheirFrenchcontemporaries.

Vincenti'sCanzonididiversipersonar(1588)containstwoworksbyMerulo,oneapparentlyanarrangementofachansonbyCrecquillon.ItincludesanonymousarrangementsofotherchansonsbyCrecquillon,Willaert,ClemensandGombert,whilethetitleFantasiainmododicanzonfrancese(orfrancesa)isattachedtotwoworksbyGioseffoGuami.

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TwosubsequentanthologiesofimportanceareRaverii'sCanzonipersonare(16084)andthethirdpartofWoltz'sconsiderablylargerNovamusicesorganicaetabulatura(16174)althoughthelatterisakeyboardpublicationmanyofthepiecescanbeshowntobetranscriptionsofensemblepieces,andmostifnotallofthemveryprobablyare.SeveralofMerulo'scanzonasthatarenotarrangementsofvocalworks,thoughinitiallypublishedforkeyboard,reappearinthesecollectionsandmustoriginallyhavebeenintendedforensemble.AmongthecomposersrepresentedinthetwopublicationsareCostanzoAntegnati,Banchieri,GiovanniGabrieli,Guami,Frescobaldi,Luzzaschi,PietroLappi,MacqueandFlaminioTresti.Raverii'sbookwasprovidedwithabassocontinuo,althoughalltheworksareforfour,fiveandeightpartsinRenaissancepolyphonicstyle.ThebassocontinuowasomittedinAgostinoSoderini'sfourandeightpartCanzoni(16080).

WhilethefourandfivepartworksinRaverii'scollection,togetherwiththefourpartworksincludedbySoderini,generallyfeaturelivelyrhythmsandfugaltextures,adifferentapproachisfoundintheantiphonaleightpartworks.Antiphonaleffects,whichbythenweresomewhatconventional,hadalreadybeenbrilliantlyexploitedbyGiovanniGabrieliatSMarco,Venice,andsomeoftheresultsofhisexperimentswiththepossibilitiespresentedbythespacedgalleriestherearetobefoundinthecanzonas,foreighttofifteenparts,publishedinhisSacraesymphoniae(1597).These16works(twoofthemvariantsofasinglepiece)includethefamousSonatapianeforteandaSonataoctavitonia12,whichrevealtheetymologicallinkbetweenthecanzondasonarandthesonata.Thereistoolittleevidencetojustifyanyconclusionsastoaprecisedistinctionbetweenthetermsatthisearlydate.Theinstrumentsspecifiedinthevolumearethecornett,violinandtrombone,andtheseareusedvariouslyinfiveoftheworksnodoubttheremaining11worksshouldbesimilarlyperformed.Inthreepieces(theseventh,eighthandninth)theteninstrumentsaretreatedasasinglechorus(Gabrielisterm)intenworkstherearetwogroups,andinthree(the13th,14thand16th)therearethree.Manybeginwiththetypicalcanzonarhythm(ex.2a)oravariant(ex.2b).Thelatteristurnedtobrillianteffectinthetriplechoiropeningofthe14th.Gabrieli'sCanzoniesonate(1615),withabassoperl'organo,alsousesthetermssonataandcanzonawithoutcleardistinction,andextendsthenumberofpartstoasmanyas22inadditiontothebassoperl'organo.

Ex.2

TheSonatapertrevioliniinGabrieli's1615collectionpointsthewaytoafurthercrucialdevelopmentinthehistoryofthecanzona,namelytheadoptionofapolarizationbetweentheupperandlowerparts,inwhichthebassocontinuoanditsaccompanyingharmoniesareessential.Thispiece,thoughdescribedonthetitlepageasa3voci,isreallyinfourinstrumentalparts,thebassocontinuobeingthoughtofasoutsidethesphereofessentialparts,althoughinthisworkitisasessentialastheothers.ThesamenomenclatureisfoundinFrescobaldi'sPrimolibrodellecanzoni(1628),wherethebassocontinuofunctionsinthreeways:asanindependentbassthroughoutasapartlyindependentbassandasabassoseguentefollowingthelowestsoundingpartatanytime.Thefirsttypeappliestotheworksforoneortwocanti,thesecondtoworkswithonebassopart,andthethirdtoworkswithtwobassi(inthreeorfourparts)aswellastothethreeintheordinaryfourparttexture.Itshouldbenotedthatevenaworkforviolinandharpsichordandtwoforharpsichordalone,addedattheendofthereprintinscoreinthesameyear,requireabassocontinuo.

Theensemblecanzonabearsacloserelationtotwootherearly17thcenturyformsapartfromthesonatathesinfoniaandtheconcerto.TherelationshipappearsinthetitleofBanchierisEcclesiastichesinfoniedettecanzoniinariafrancese(1607).These20works(14sinfoniasand6concertos)maybeplayedontheorganalone(inwhichcasetheymaybeembellished)orelsetheymaybeplayedasensemblepiecesorsungtothetextsprovidedforallbutone(inwhichcasetheorganistmustprovideaplainaccompanimentfromthebassoseguente).Thelastoftheconcertosisanantiphonalworkineightparts.

Thus,intheearly17thcentury,canzona,sonata,sinfoniaandconcertowerelargelyinterchangeabletermsinthesphereofinstrumentalmusic.Usuallytheyareprovidedwithanorganbass,whichmaybemerelyabassoseguentefollowingthelowestsoundingpart,orelseastructurallyessentialbassocontinuo.Theconcertoandsinfoniasubsequentlydevelopedforthemostpartfromthefulltexturedcanzonainwhicheachpitchlevelisrepresentedbyaseparatepart,whilethesonataderivedfromthetypeofcanzonathatemphasizedapolarizedtexturebetweentrebleandbass.

TheearlyBaroquesonataalsoretainedthemultisectionalformofsomecanzonasandinmanycasestheuseoffancifultitles.Somecomposers,suchasTarquinioMerula,preferredtheoldfashionedname,althoughtheirworksareessentiallysonatas.Merula'sfirstbook(1615)consistsoffourpartworksinRenaissancestyle,hissecondsurvivesinaneditionof1639andconsistsofworksintriosonatatextureincludingaseparatebassocontinuo,andthethird(1637),entitled

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Canzonioverosonateconcertate,marksafurtheradvance,forthepartsarespecifiedasbeingfortwoviolins,violoneandbassocontinuo.Thecombinationsusedaretwoviolinsandbassocontinuo(bothadue),andtwoviolins,violoneandbassocontinuo(atre).Thefourthbook(1651)issimilar.MaurizioCazzatiwasanotherimportanttransitionalfigure.Hisfirstbook(1642)isentitledCanzonia3:doivioliniviolone,colsuobassocontinuohissecond(1648),calledIlsecondolibrodellesonate,addsaviolainsomeworks,butthepiecesarecalledcanzonaexceptfortwoentitledsimphoniaandonesonata.Hissubsequentbooksofsonatas(1656,1665and1670)droppedthewordcanzonaaltogether.

InMerula'searliercanzonasthematiclinksbetweenthesectionsareoftenfound,resultinginwhatamounttovariationcanzonas.Thereisnopreimposedpatternonthenumberandorderingofthesections.BythetimeofCazzati'slaterworksthesectionsarealmostalwaysindependent,andthefastmovementsarelong.Thesearenotfundamentaldifferencesbetweenthecanzonaandsonatatheyareratherorganicchangesinidiomwhichhappenedtotakeplacesimultaneouslywiththechangeofpreferenceinname.Bythesecondhalfofthe17thcenturythetransitionwasvirtuallycomplete,andthesonatahadoustedthecanzonaasthemainformofinstrumentalchambermusic.

InGermanytheearliestpublishedensemblecanzonaswerethoseofHassler(inhisSacriconcentus,1601).AsingularcontributionwasmadebySchein,whosetwoexamples,offiveandsixpartsrespectively,intheVenusKrntzlein(1609),togetherwiththefivepartcanzonaentitledCorollariumattheendofCymbalumSionium(1615),offeraremarkablesynthesisofcanzona,danceandtoccatalikeelements.The1615workinparticularcombinesexamplesofdazzlinginstrumentalfigurationwithunexpectedharmonies,buoyantrhythmsandthematicmetamorphosis.ThefourandfivepartworkswithbassocontinuoentitledcanzoninScheidt'sPaduana,galliarda,courante,alemande,intrada,canzonetto(1621)areonthewholemoreconventionalandundulyprolonged,althoughtheendofthefivepartcanzonaonONachbarRolandmaybecitedforitsuseofrapidrepeatedsemiquavers(presumablyforstrings)threeyearsbeforethecelebratedinstance,soelaboratelyjustifiedontheoreticalgrounds,inMonteverdi'sCombattimento.TheformwasnotsubsequentlycultivatedinGermanytoanygreatextent,thoughthereareexamplesinthepublishedcollectionsofAndreasHammerschmidt(1639),J.E.Kindermann(1653)andothers.MentionmayalsobemadeoftheuseofthewordcanzonabyWilliamYoung(1653),Purcell(1697)andA.L.Baldacini(1699)asasynonymforalivelyfugalmovementofatriosonata.

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