Canzonetta

In music, a canzonetta (pl. canzonette, canzonetti or canzonettas) was a popular Italian secular vocal composition which originated around 1560. Italy (Italia officially the Italian Republic, (Repubblica Italiana is located on the Italian Peninsula in Southern Europe, and on the two largest In its earlier versions it was somewhat like a madrigal but lighter in style; but by the 18th century, especially as it moved outside of Italy, the term came to mean a song for voice and accompaniment, usually in a light secular style. A madrigal is a type of Secular vocal music composition written during the Renaissance and early Baroque eras The 18th century lasted from 1701 to 1800 in the Gregorian calendar, in accordance with the Anno Domini / Common Era numbering system

1 Origins in Italy
2 England
3 Later developments
4 Representative composers
5 References and further reading

Origins in Italy

In its earliest form, the canzonetta was closely related to a popular Neapolitan form, the villanella. Naples ( Napoli, Neapolitan: Nàpule) is a historic City in southern Italy, the Capital of the In music a villanella (plural villanelle &mdash not to be confused with the French poetic form Villanelle) is a form of light Italian secular The songs were always secular, and generally involved pastoral, irreverent, or erotic subjects. The rhyme and stanza schemes of the poems varied but always included a final "punch line. " Typically the early canzonetta was for three unaccompanied voices, moved quickly, and shunned contrapuntal complexity, though it often involved animated cross-rhythms. In Music, counterpoint is the relationship between two or more voices that are independent in contour and Rhythm, and interdependent in Harmony It was fun to sing, hugely popular, and quickly caught on throughout Italy, paralleling the madrigal, with which it later began to interact. The earliest books of canzonettas were published by Giovanni Ferretti in 1567 and Girolamo Conversi in 1572. Giovanni Ferretti (c 1540 – after 1609 was an Italian composer of the Renaissance, best known for his secular music

By the 1580s some of the major composers of secular music in Italy were writing canzonettas, including Luca Marenzio and Claudio Monteverdi, who published his first set in 1584. Luca Marenzio (also Marentio) ( October 18 ? 1553? &ndash August 22, 1599) was an Italian composer of the late Renaissance Monteverdi was to return to the form with his ninth and final book of madrigals (published posthumously in 1651). Orazio Vecchi was another important composer of canzonettas in the 1580s: his were widely varied, and included some which were intended for dancing, as well as some which specifically and hilariously parodied the excesses of the contemporary madrigal. Some composers, such as Roman School member Felice Anerio, adapted the form for a sacred purpose; he wrote a set of sacred canzonette. The Roman school is the education system of the Ancient Rome. Felice Anerio (1560 – September 26 or 27 1614 was an Italian composer of the late Renaissance and early Baroque eras and a member of the By the end of the century most canzonettas were for four to six voices, and had become more similar to the madrigal in style than had originally been the case.

Some composers who studied in Italy carried the canzonetta back to their home countries, such as Hans Leo Hassler, who brought the form to Germany. Hans Leo Haßler (baptized October 26 1564 – d June 8 1612 was a German composer and organist of the late Renaissance and early Baroque Germany, officially the Federal Republic of Germany ( ˈbʊndəsʁepuˌbliːk ˈdɔʏtʃlant is a Country in Central Europe.

England

When the madrigal was imported into England in the late 16th century, the term canzonetta went along with it, anglicized to canzonet. Many compositions of the English Madrigal School were entitled canzonets, and although Thomas Morley referred to it specifically as a lighter form of madrigal in his writings, canzonets in England are almost indistinguishable from madrigals: they are longer than Italian canzonettas, more complex, and more contrapuntal. The English Madrigal School was the brief but intense flowering of the musical madrigal in England mostly from 1588 to 1627, along with the composers who Thomas Morley (1557 or 1558 &ndash October 1602 was an English Composer, theorist, editor and organist of the Renaissance, and the In Music, counterpoint is the relationship between two or more voices that are independent in contour and Rhythm, and interdependent in Harmony

Later developments

During the 17th century, composers continued to produce canzonettas, but the form gradually changed from a madrigalian, a cappella genre to something more akin to a monody, or even a cantata. As a means of recording the passage of Time, the 17th Century was that Century which lasted from 1601 - 1700 in the Gregorian calendar A cappella (Italian or Latin "From the chapel/choir" Music is Vocal music or Singing without instrumental Accompaniment In Poetry, the term monody has become specialized to refer to a poem in which one person laments another's death A cantata (derived from the Italian word 'cantare' meaning 'to sing' is a vocal composition with an instrumental Accompaniment and often Eventually, the canzonetta became a type of song for solo voice and accompaniment. A late example of the form can be seen in the two sets of six by Joseph Haydn for voice and piano, on English texts (1794-5).

Sometimes the term canzonetta is used by composers to denote a songlike instrumental piece. A famous example is the slow movement of the Tchaikovsky Violin Concerto. The Violin Concerto in D major Op 35 by Peter Ilyich Tchaikovsky is one of the best known of all Violin concertos It is also considered to be among the most technically

Representative composers

Composers of canzonettas include:

References and further reading

Article "Canzonetta," in The New Grove Dictionary of Music and Musicians, ed. Lodovico Grossi da Viadana (usually Lodovico Viadana, though his family name was Grossi c Felice Anerio (1560 – September 26 or 27 1614 was an Italian composer of the late Renaissance and early Baroque eras and a member of the Adriano Banchieri ( September 3, 1568 &ndash 1634 was an Italian composer music theorist, organist and poet of the late Renaissance Luca Marenzio (also Marentio) ( October 18 ? 1553? &ndash August 22, 1599) was an Italian composer of the late Renaissance Pietro Cerone (1566&ndash1625 was an Italian music theorist singer and priest of the late Renaissance. Orazio Vecchi ( December 6, 1550 (baptized &ndash February 19, 1605) was an Italian composer of the late Renaissance. Giovanni Maria Artusi (c 1540 – 18 August 1613) was an Italian theorist, Composer, and writer Hans Leo Haßler (baptized October 26 1564 – d June 8 1612 was a German composer and organist of the late Renaissance and early Baroque Giovanni Maria Nanino (also Nanini; 1543 or 1544 – March 11, 1607) was an Italian Composer and teacher of the late Renaissance. Francesca Caccini (September 18 1587 &ndash c 1640 was an Italian composer singer Lutenist poet and music teacher of the early Baroque era Salamone Rossi [[Hebrew] סלומונה רוסי] Hans Leo Haßler (baptized October 26 1564 – d June 8 1612 was a German composer and organist of the late Renaissance and early Baroque Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd. , 1980. ISBN 1-56159-174-2
Gustave Reese, Music in the Renaissance. Gustave Reese ( November 29 1899, New York City – – September 7 1977, Berkeley California) was an American New York, W. W. Norton & Co. , 1954. ISBN 0-393-09530-4
The New Harvard Dictionary of Music, ed. Don Randel. Cambridge, Massachusetts, Harvard University Press, 1986. ISBN 0-674-61525-5

Dictionary

-noun

A style of popular Italian secular vocal composition which originated around 1560, or a piece composed in this style

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