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Literally 'song' in Italian, a canzone (Italian: [kanˈtsoːne]; pl.: canzoni; cognate with English to chant) is an Italian or Provençal song or ballad. It is also used to describe a type of lyric which resembles a madrigal. Sometimes a composition which is simple and songlike is designated as a canzone, especially if it is by a non-Italian; a good example is the aria "Voi che sapete" from Mozart's Marriage of Figaro.

The term canzone is also used interchangeably with canzona, an important Italian instrumental form of the late 16th and early 17th century. Often works designated as such are canzoni da sonar; these pieces are an important precursor to the sonata. Terminology was lax in the late Renaissance and early Baroque music periods, and what one composer might call "canzoni da sonar" might be termed "canzona" by another, or even "fantasia". In the work of some composers, such as Paolo Quagliati, the terms seem to have had no formal implication at all.

Derived from the Provençal canso, the very lyrical and original Italian canzone consists of 5 to 7 stanzas typically set to music, each stanza resounding the first in rhyme scheme and in number of lines (7 to 20 lines). The canzone is typically hendecasyllabic (11 syllables). The congedo or commiato also forms the pattern of the Provençal tornado, known as the French envoi, addressing the poem itself or directing it to the mission of a character, originally a personage. Originally delivered at the Sicilian court of Emperor Frederick II during the 13th century of the Middle Ages, the lyrical form was later commanded by Dante, Petrarch, Boccaccio, and leading Renaissance writers such as Spenser (the marriage hymn in his Epithalamion).

Minnesang

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The canzone (German: Kanzone) is the characteristic strophic form of Minnesang, the Middle High German lyric genre. In Minnesang, the canzone follows the tri-partite structure of the Provençal canso: two metrically identical Stollen ("supports") form the Aufgesang (literally "up-song"), which is followed by a metrically distinct Abgesang ("down-song"). The following rules generally apply:

  • each line in the first Stollen rhymes with the matching line in the second
  • the Abgesang introduces new rhymes and may contain a non-rhyming line
  • the Abgesang is longer than a single Stollen but shorter than the entire Aufgesang.[1]
Hartman von Aue, Crusading Song (MF 211,20)[1]
Aufgesang 1st Stollen Swẹlch vrouwe sẹndet lieben man a Any lady who sends her beloved man
    mit rëhtem muote ûf dise vart, b In the right spirit on this journey
2nd Stollen diu koufet halben lôn daran, a Thereby gains half of the reward
    ob si sich heime alsô bewart, b If she conducts herself at home
Abgesang         daȥ si verdienet kiuschiu wort, c So as to gain a chaste reputation
            sî bëte für si beidiu hie, x She prays for both of them here
        so vẹrt ër für sî beidiu dort. c He travels for both of them there

This basic pattern is typical of early Minnesang. As the genre develops, more complex forms are found. For example, one of Neithart's Winter Songs, "Winder, dîniu meil" (No. 32), has a 14-line canzone with the rhyme scheme a b c d | a b c d || e e f g f g.[2]

The earliest canzone in Minnesang date from the late 12th Century and are part of the more general influence of the Romance lyric.

See also

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References

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Canzone

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The canzone (plural: canzoni) is a medieval lyric poem form derived from the canso, featuring a song-like with multiple s of varying lengths, typically exploring themes of , , or philosophical inquiry. It consists of 1 to 7 s, each with 7 to 20 lines of 10-11 syllables, employing intricate schemes where the first line of each stanza rhymes with the first line of the preceding stanza, often culminating in a shorter concluding stanza known as an envoy (or tornada/congedo) that summarizes the poem's intent, though some variations state purpose in the opening lines. This emphasizes musicality and repetition, distinguishing it from simpler forms and linking it closely to the oral traditions of courtly poetry. The form originated in the 12th-century courts of and spread to , where it was adapted by the Sicilian School under Frederick II in the early , with contributions from poets like Giacomo da Lentini. It flourished during the , particularly in the movement, and was used by major poets such as and Francesco Petrarch to blend personal sentiment with intellectual depth. Petrarch's Canzoniere (c. 1350s), a collection of 366 poems including 29 canzoni, popularized introspective and influenced European . The canzone evolved into subtypes—elegiac, comic, tragic, and romantic—allowing tonal flexibility while maintaining core principles. Though it declined after the with the rise of the , variations persisted, inspiring 20th-century poets like and . Distinct from the literary form is the musical canzona, an instrumental or vocal composition that emerged in the , often polyphonic and canonic, evolving into Baroque forms like the ; it shares etymological roots but developed separately as a for performance. The poetic canzone's legacy bridges medieval traditions with , underscoring poetry's role in both literary sophistication and musical expression.

Definition and Etymology

Core Meaning

The term canzone, literally translating from Italian as "song," denotes a lyrical form originating in the medieval traditions of Italy and , encompassing both poetic compositions and their musical realizations. This dual essence highlights its role as a versatile medium for expressing emotion through verse and , rooted in the and practices where poetry and song intertwined. As a literary form, the canzone functions as a medieval lyric poem or , often dedicated to themes of love or beauty, and it bears resemblance to the while imposing fewer rigid structural demands. In contrast, its musical dimension refers to vocal or composed settings that adapt these poetic texts, emphasizing lyrical expression over polyphonic complexity in earlier iterations. This primary sense of canzone connects to the Provençal canso as an immediate precursor, adapting the earlier song-like lyric into Italian vernacular .

Linguistic Origins

The term "canzone" originates from the Latin cantio, meaning "," which derives from the verb canere, "to sing." This Latin root evolved through , giving rise to forms such as the Provençal canso and the Italian canzone, both denoting a lyrical composition intended for singing. The Italian variant specifically emerged as an adaptation of the Provençal canso, a popularized by the troubadours in during the 12th century, reflecting a shared linguistic heritage across medieval . The first documented uses of canzone in appear in the 13th century, within the Sicilian School of poetry at the court of Emperor Frederick II (1194–1250). This group of poets, including figures like Giacomo da Lentini, composed approximately 85 surviving canzoni in the Sicilian vernacular, marking the introduction of this form to Italian love poetry. These early works were influenced by models but adapted to the emerging Italian dialects, establishing canzone as a key vehicle for courtly expression under Frederick's patronage, which fostered a multicultural environment blending Latin, , and Romance traditions. In the Italian context, this transition occurred through the Sicilian School's refinement of the form, shifting it from ephemeral oral performances to structured vernacular poems that prioritized rhyme, meter, and thematic coherence, thus laying the groundwork for later developments in . This evolution parallels broader Romance language patterns, as seen in the related French chanson, which also traces back to cantio and denotes similar sung lyrics.

Literary Canzone

Historical Development

The literary canzone emerged in the within the troubadour tradition of , where it was known as the canso, a dominant form for articulating and the ideals of feudal service to an unattainable lady. Troubadours, supported by aristocratic courts in regions like and , composed these lyrics that blended personal emotion with social , laying the groundwork for Italian adaptations as the tradition disseminated through migrations and cultural exchanges with . This form transitioned to in the 13th century via the Sicilian School, a group of poets assembled at the imperial court of Frederick II in , who adapted the canso into the Italian canzone while writing primarily in the Sicilian vernacular. Under the leadership of Giacomo da Lentini, a and imperial official credited with innovating the alongside canzone compositions, the school produced refined expressions of love and praise, often tied to courtly patronage; however, its prominence declined following Frederick's death in 1250, giving way to northern Italian developments. The canzone reached a peak of literary sophistication in the through Dante Alighieri's adoption of the form, particularly in (c. 1292–1295) and the (c. 1308–1321), where he shifted its medium to the Tuscan dialect and infused it with philosophical and theological layers, portraying love as a pathway to divine understanding via figures like Beatrice. This evolution built on the dolce stil novo ("sweet new style") movement, initiated by Guinizelli in during the late 13th century, whose innovative emphasis on inner nobility and spiritualized affection in works like "Al cor gentil" marked a departure from earlier courtly conventions toward greater . From the 14th to the 16th centuries, the canzone expanded significantly under Francesco Petrarch, whose Canzoniere (completed c. 1374) polished the form with introspective soliloquies on desire and loss, extending the dolce stil novo's legacy and profoundly influencing poetry throughout Europe. Petrarch's vernacular lyrics, disseminated via translations and imitations, inspired movements like Petrarchism in , , and , where poets such as and Sir Thomas Wyatt adapted the canzone's themes of unrequited passion to local courts, establishing it as a cornerstone of lyric traditions.

Poetic Structure and Themes

The literary canzone employs a structured stanzaic form, typically comprising one to seven stanzas, each with 7 to 20 lines maintaining a uniform rhyme scheme across the poem. This design allows for rhythmic consistency while accommodating varied lengths, with the overall poem often concluding in a shorter stanza called the congedo or commiato (envoi), which features a distinct rhyme scheme and traditionally addresses a patron, lord, or the beloved lady. Line lengths vary but predominantly follow the hendecasyllabic meter of eleven syllables, promoting a musical flow suited to its origins as a sung lyric. Certain variants incorporate refrains or repeated lines to reinforce key phrases, enhancing the poem's mnemonic and performative qualities. Thematically, the canzone centers on (fin'amor), portraying the lover's devotion to an idealized, often unattainable lady as a path to personal ennoblement and virtue. motifs recur as symbolic backdrops, evoking seasonal cycles or landscapes to mirror the vicissitudes of desire and harmony in human relationships. allegory permeates many works, using frameworks to interrogate ethical conflicts, civic duties, and the soul's pursuit of . Spiritual elevation emerges as a core evolution, transforming initial sensual yearnings into platonic or divine aspirations, where love ascends from physical passion to intellectual and transcendent union. This progression reflects the genre's roots in Provençal canso traditions, adapting them to Italian vernacular expressions of refined .

Key Examples and Poets

One of the earliest and most influential examples of the literary canzone is Dante Alighieri's "Donne ch'avete intelletto d'amore," featured in his (c. 1295), where it serves as a pivotal piece that elevates the theme of to an intellectual and spiritual plane, addressing noble ladies as interlocutors in praising Beatrice's virtues. This canzone, structured in seven stanzas of seven lines each with an eleven-syllable meter, marks a breakthrough in Dante's poetic development by integrating personal emotion with philosophical inquiry, thus blending amorous devotion with rational discourse. Francesco Petrarch's Canzoniere (Rerum vulgarium fragmenta, completed c. 1374), comprising 366 poems including several canzoni, exemplifies the form's introspective depth in exploring for Laura, with "Chiare, fresche e dolci acque" (poem 126) standing out as a vivid of a Vaucluse spring scene that immortalizes a moment of ecstatic vision. This canzone, part of a sequence (poems 125–129) that shifts toward contemplative harmony, uses its seven stanzas to evoke sensory renewal and emotional transcendence, influencing later lyricism through its psychological nuance. Giovanni Boccaccio contributed to Italian lyric traditions in the through the concluding ballate in his Decameron (c. 1353), where each day's narrative frame ends with a performed by the storytellers, such as the one sung by Fiammetta on the first day. These ballate blend musical elements with thematic reflection on love and human experience, showcasing Boccaccio's skill in integrating shorter lyric forms into storytelling. In the 15th century, wrote various poetic forms, including literary canzoni, as part of his diverse output that celebrated love, earthly pleasures, and civic identity under Medici patronage. His popular canzoni a ballo, however, represent a distinct genre of songs with rhythmic structures suited to performance, echoing broader lyric traditions in Florentine culture.

Musical Canzone

Vocal Interpretations

The vocal interpretations of the canzone emerged in the medieval period through monophonic settings composed by troubadours in and trobatori in , where poets of noble birth crafted secular songs emphasizing themes of and . These pieces were typically performed by the composer or by professional jongleurs, though simple instrumental accompaniment on instruments like the or vielle was common to support the melodic line without overshadowing the text. Surviving melodies, preserved in chansonniers, reveal a syllabic style that prioritized clear declamation of the Occitan , with rhythmic modes providing a structured yet flexible framework for performance. By the 15th and 16th centuries, vocal canzone evolved into polyphonic forms in , particularly through the frottola, a secular that adapted poetic texts including those inspired by Petrarch's literary innovations. Composers such as Bartolomeo Tromboncino (c. 1470–1535) set Petrarchan sonnets and canzoni to music, often drawing from courtly environments like the Mantuan court under , where improvised declamation transitioned into notated compositions published in Ottaviano Petrucci's influential prints from 1504 to 1514. Tromboncino's works, such as settings of poems like "Se la mia morte brami," exemplify this development, blending vernacular with musical accessibility. Key characteristics of these polyphonic vocal canzoni included homophonic textures that foregrounded text over intricate , typically scored for two to four voices to allow for both ensemble singing and with accompaniment. This approach contrasted with the more imitative polyphony of emerging madrigals, as frottole favored chordal and syllabic setting to ensure poetic and meaning remained intelligible, reflecting a pragmatic evolution from medieval toward expressivity.

Instrumental Forms

The instrumental canzona emerged in the late 16th century, particularly during the 1560s to 1580s, as an independent genre for organ or instrumental ensembles that imitated the polyphonic structure of vocal music but without accompanying words, drawing from earlier intabulations of French chansons. This development marked a shift toward abstract instrumental composition, emphasizing the idiomatic capabilities of instruments while retaining the contrapuntal complexity of vocal models. Structurally, the canzona featured multiple contrasting sections, often three or more, characterized by imitative entries where a subject is introduced and developed polyphonically across voices, rhythmic variety through changes in meter and figuration, and sectional contrasts that alternated between duple and triple time or homophonic and contrapuntal textures. These traits, including lively dactylic rhythms and rhetorical phrasing, positioned the canzona as a direct precursor to the fugue, influencing later Baroque forms by prioritizing motivic development over textual narrative. Key instruments for the canzona included the organ for solo keyboard interpretations, as well as ensembles featuring cornetts, sackbuts, violins, and strings, allowing for flexible polychoral arrangements that exploited spatial and timbral effects. Giovanni Gabrieli (c. 1554/1557–1612) exemplified this ensemble tradition in works such as his Canzon septimi toni à 8 (1597), which employs eight voices in imitative counterpoint with varied instrumentation like cornetts and trombones to evoke vocal-like expressiveness. For organ, Girolamo Frescobaldi (1583–1643) advanced the genre in pieces like Canzona prima from his Secondo libro di toccate (1627), structured in three sections with imitative entries and rhythmic shifts—duple meter in the outer sections and dotted triple in the middle—exhibiting ricercar-like development through extended subject variation and contrapuntal elaboration.

Evolution and Variations

In the 17th century, the Baroque era marked a pivotal expansion of the canzona, particularly in keyboard compositions that synthesized diverse national styles. Johann Jakob Froberger (1616–1667), a key figure in this development, crafted keyboard canzonas that fused the contrapuntal rigor and sectional contrasts of Italian models—derived from earlier polyphonic traditions—with the graceful ornamentation and rhythmic subtlety of French harpsichord practices. His works, such as the Canzonas FbWV 301–306 (c. 1649), exemplified this blend, introducing expressive freedom and idiomatic keyboard techniques that bridged sacred and secular idioms. Froberger's innovations extended to influencing the structure of suite movements, where canzona-like episodes of imitation and contrast enriched the dance-based forms, paving the way for composers like Johann Sebastian Bach to integrate similar elements into their keyboard suites and partitas. By the 18th and 19th centuries, the canzona transitioned from its polyphonic, instrumental origins toward more lyrical and song-like expressions, reflecting broader shifts in musical aesthetics toward emotional depth and melodic simplicity. In vocal music, this evolution manifested in pieces akin to the German Lied, such as Ludwig van Beethoven's Adelaide, Op. 46 (1795), with its through-composed structure and soaring vocal lines emphasizing personal sentiment over contrapuntal complexity. Instrumentally, Felix Mendelssohn (1809–1847) advanced this trend through his Lieder ohne Worte (Songs Without Words), beginning with Op. 19 (1830), which captured vocal lyricism in piano miniatures—elegant, melodic vignettes evoking the human voice without text. Regional and stylistic variations further diversified the form, with German adaptations incorporating Romantic introspection and harmonic richness from the Lied tradition, often performed in salon settings. This culminated in the 19th-century character piece, a concise blending canzona with programmatic or evocative content.

Cultural Significance

Influences on Other Traditions

The literary tradition of the canzone, originating in canso forms, exerted significant influence on northern European poetic structures, particularly through adaptations in French and German vernacular song. In northern France, trouvères transformed the Occitan canso—the classic song—into the French or grand chant courtois, which evolved into one of the formes fixes alongside the ballade by the 13th century. This adaptation preserved the canso's emphasis on refined themes of chivalric love while integrating linguistic nuances and urban performance contexts, as seen in the works of poets like Thibaut de Champagne. Similarly, in , the lyric adopted the tripartite (Stollen-Aufgesang-Abgesang) directly from the Provençal canso, imitating its poetic techniques, rhyme schemes, and even melodies without incorporating refrains typical of French models. Neidhart von Reuental, a prominent 13th-century Minnesinger, exemplifies this adaptation by employing the in his innovative songs that shifted focus to rustic peasant themes, blending courtly elegance with satirical realism while retaining the structural legacy of the canso. In the realm of music, the instrumental canzona—a polyphonic genre characterized by imitative sections and sectional contrasts—played a pivotal role in shaping subsequent European forms, notably through its evolution into the sonata and influences on contrapuntal writing. Arcangelo Corelli's Sonate a violino e violone o cimbalo, op. 5 (1700) marked a crucial synthesis, transforming the canzona's multi-sectional, fugal structure into the more unified and idiomatic violin sonata, emphasizing tonal coherence and expressive gestures that defined the Baroque chamber sonata. Johann Sebastian Bach further appropriated canzona elements in his fugues, drawing on the prima prattica style of Girolamo Frescobaldi's ricercars and canzonas to infuse works like the fugue in D-sharp minor from The Well-Tempered Clavier, Book I with rhythmic vitality, subject entries, and episodic development reminiscent of Italian polyphony. Echoes of the canzona's imitative texture also appear in English lute music of the late 16th century, where composers like John Dowland incorporated fantasia-like sections—direct descendants of the canzona—into lute accompaniments for ayres, adding contrapuntal depth to vocal lines in pieces such as "Flow My Tears." The broader dissemination of canzone traditions across accelerated in the 16th century through the advent of music printing, which facilitated the exchange of Italian forms and repertoires into Iberian courtly practices. Venetian presses, such as those of Antonio Gardano, produced collections including Spanish-texted works that blended Italian polyphonic techniques with local styles, influencing the villancico—a strophic prevalent in Spanish cancioneros—as seen in printed anthologies like the Villancicos a 3 y 4 (, 1555). This cross-cultural transmission via print not only standardized notation and broadened access to courtly music but also enriched villancicos with canzona-derived elements like sectional variation and homorhythmic textures, evident in the works of composers such as Francisco Guerrero.

Modern Usage and Legacy

In the 20th century, the canzone form experienced literary revivals through translations and echoes in . played a pivotal role by translating 's philosophical canzoni, including the seminal "Donna mi prega," first published in in 1928, as part of his effort to revive medieval Italian lyric traditions in English. His 1912 collection Sonnets and Ballate of Guido Cavalcanti further disseminated these works, influencing Anglo-American by blending them with contemporary aesthetics. Similarly, Italian poet drew on Petrarchan forms, including elements of the canzone's structure and themes, in his hermetic verse, as seen in his critical engagement with Petrarch's Canzoniere during the , renewing the tradition through fragmented, introspective lines. The musical legacy of the canzone persisted into the 20th and 21st centuries through the Neapolitan genre, characterized by sentimental songs that adapted earlier folk and lyrical roots. Exemplified by "," composed in 1898 by with lyrics by Giovanni Capurro, this form evolved into a staple of popular Italian music, evoking themes of love and nostalgia while influencing global audiences via recordings and performances. Its adaptability is evident in film scores and soundtracks, where it appeared in over 50 movies, including For the First Time (1959) with and Only You (1994), enhancing romantic and cultural motifs. In contemporary art song, contributed through his 1940 cycle Seven Sonnets of , setting poems in a modern vocal style that echoes the canzone's lyrical intimacy, composed for tenor and premiered in New York. The canzone's cultural persistence underscores its role in shaping modern Italian identity, particularly via the Neapolitan variant, which became a of regional and national sentiment during the 20th-century unification and . Academic studies highlight its adaptability, such as in southern Italian migration contexts, where songs like those in the tradition served as emotional anchors for emigrants, evolving through transnational reinterpretations in the and beyond. This enduring form continues to inspire scholarly examinations of its flexibility across genres, from folk revivals to popular media, affirming its relevance in 21st-century cultural discourse.

References

  1. https://poemanalysis.com/poetic-form/canzone/
  2. https://www.webexhibits.org/poetry/explore_obscure_canzone_background.html
  3. https://www.britannica.com/art/canzona
  4. https://www.merriam-webster.com/dictionary/canzone
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  8. https://www.britannica.com/art/Sicilian-school
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  10. https://www.etymonline.com/word/chanson
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  13. https://digitaldante.columbia.edu/wp-content/uploads/2014/10/Lyrical-Quest_Father-and-Sons.pdf
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