Canzone

A Roman stanza of two short parts of the same structure (ascending) and one longer, different in structure (descending) probably came from a folk dance (namely round dance ) song ^[2] . From a dance stanza it turned into a literary one in the 12th century. in troubadour poetry, the stanzas of the song succeeded each other without refrains and refrains characteristic of more archaic forms ^[3] .

The Provencal Canson usually consisted of five to seven stanzas and ended with one shortened, and more often with two stanzas in three to four verses . The closing stanzas were called tornads (Oks. Tornata - turn), they contained an indication of the object to which the canzone was addressed and a request addressed to the juggler or other insider to deliver a message to the addressee. Later, the tornada was called the package ( French envoi , German Gleit ). Tornada echoed the rhythm and pattern of rhyming with the final (descending) part of the stanzas of the canon. The name of the object for secrecy was most often hidden under the "segnal", a nickname. Kanson was intended for the Dame, whom the troubadour worshiped, either to his patron or to the “confident" —a friend who was initiated into the author’s love secret. The themes of the Provencal Kanson are the praise of love, a story about the emergence of feelings against the background of spring renewal of nature, the glorification of a beloved, complaints about the coldness of the Lady and the jealousy of her husband, the sadness of separation from the subject of worship.

The stanzas of the Kanson herself contained from five to ten verses, but options are possible: stanzas of the couplets and stanzas consisting of forty-two verses are known. The metric construction of the canons was closely connected with the melody, which was its integral part, since the compositions of the troubadours were created solely in the calculation of musical embodiment / performance ^[4] . Like all works of troubadours, almost every canson has his own, strictly individual rhyming scheme. Formally, the structure is close to the canon of a siren, a genre in which political and religious questions were raised, opponents were censured, and the patrons of troubadours were praised. Weeping was also modeled on the canons ^[1] , which was usually written on the death of a friend or lord. Another kind of canons - the dialogic one , which undoubtedly has folklore sources - is represented by the tenson and partimen. These debate songs are the exchange of remarks between the Lady and the troubadour, or two troubadours. The pastoral variety of Provencal cansons is called pasturel .

In the late XIX - early XX centuries. in the wake of interest in the work of troubadours, poets studied the laws of courtesan lyrics and sought to comprehend its spirit, moving away from the stereotypical perception of knightly poetry, characteristic of the era of romanticism . Many poets of the turn of the century turn to the Kanson genre (for example, V. Ya. Bryusov , M. A. Kuzmin ). Versification and stylization experiments of that era formed the basis for translations of medieval poetry in modern times ^[5] .

Italian poets took the Provencal Canson as a basis, but significantly rethought it, consistent with the peculiarities of native speech (see Volgar ), especially in terms of metrics. Among the authors are Canzon Guido Guinicelli , Guido Cavalcanti , Chino da Pistoia , Dante , Petrarch . These poets perfected and developed the Canzon genre, creating works of a philosophical or allegorical orientation ^[6] .

For the first time, the laws of building the Italian canzone were formulated by Dante , in the second book of the treatise "On Folk Eloquence" (II, 8-14), while he considered the canzona not as a "pure" poetic, but as a textual and musical form . This “syncretic” approach is formulated very clearly: Omnis stantia ad quandam odam recipiendam armonizata est (II, 10) ^[7] . The simplest variety of canzon stanza - music (oda) covers one poetic stanza (stantia) as a whole, and then the textual-musical stanza is completely repeated. A more complex version of the song stanza is divided into two parts (this division is called “diesa” - diesis), and in the second, called “volta” ( Latin volta , from Italian volta letters. Rotation), the verses are sung to another (different than in the first part) music. The musical parts of the two-part canzone variety (A, B) can be varied. If the first part is repeated (AA, rarely AAA), then this section is called “pieds” ( lat. Pedes , from Italian. Piedi , letters. Feet). If the second part (BB) is repeated, such a section is called “verses” ( lat. Versus , lit. verses). If only the first part is carried out once (and the second is carried out repeatedly), it is called the “front” ( lat. Frons , letters. Forehead). If only the second part is carried out once (and the first is carried out repeatedly), such a second part is called “cauda” or “sirma” ( lat. Cauda , letter. Tail, or lat. Sirma ^[8] ). The type of rhyme , the number of verses in a stanza, and the number of stanzas of the Canzon Dante does not regulate. Regarding rhyming, for example, the author states (II, 13) that in relation to it “almost all [poets] enjoy the greatest freedom, guided only by the sweetness of harmony in the broadest sense” ^[9] .

In the (incomplete) Pir treatise , Dante interprets three of his own canzons: Voi che 'ntendendo il terzo ciel movete "," Amor che ne la mente mi ragiona "and" Le dolci rime d'amor ch'i' solìa, In this, his interpretations go far beyond the scope of poetry itself and touch upon the profound problems of philosophy and ethics.

The main size of the Italian canzone is the eleventh fossil , prevailing in Italian poetry from the 13th to the 19th centuries ^[10] , often combined in the canon with the sevenfold , which emphasized a long verse ^[11] . Two forms of canzone had a special fate: complicated - sextine and simplified - sonnet ^[12] . The inventor of sextine is considered to be the troubadour Arnaut Daniel (years of creation c. 1180–1195) ^[13] , this most difficult form evoked many imitations, it was developed by Dante and Petrarch, it has been preserved in poetry until modern times. The sonnet, which appeared as a special case of canzone from one stanza, was born in Sicily in the 13th century and later developed in the works of the largest "stylists" - Dante and Petrarch.

In the XVI — XVII centuries. in Italy, the word "canzona" ( Italian: canzon, canzone ) was the form of instrumental music. Initially, canons were called arrangements (mainly for organ) of the French polyphonic song chanson , then - original compositions, sustained in the style of early arrangements of chansons, hence the widespread designation "canzon in the French manner" ( Italian. Canzon Francese, canzon alla Francese ). The first collection containing plays designated as “canzons” belongs to M.A. Cavazzoni (Venice, 1523). Works in this genre were widely distributed in Italy in the second half of the XVI and the first half of the XVII centuries ( A. Gabrieli , K. Merulo , A. Bankieri , A. Mayone , J. Frescobaldi , possibly K. Gesualdo ), later - among German composers ( I.Ya. Froberger , I.K. Curl , D. Buxtehude , I.S. Bach ). By the last quarter of the sixteenth century, the canzone's style was not much different from ricercar and fantasy ^[14] . The main idea of ​​the composition of such a canzone was the thematic unity of the work (for one-dark) or the consistency of sections (for multi-dark).

The earliest surviving canzone intended for an instrumental ensemble dates from 1572 - Canzone da sonar "Le bella" N. Vicentino , published at the end of the fifth book of his madrigals for five voices ^[15] . A little later (in 1579) in the second book of madrigals for four voices printed Arie di Canzon francese per sonare M. A. Ingenieri . Both works are no different from the popular organ cannons and are considered an arrangement of vocal music for an ensemble of instruments. Some researchers see in the Baroque canzon a prototype of the Concerto Grosso and even the classical sonata (Livanova).

Derived Forms

• descort
• tenson
• rondo
• virele
• ballad
• printmaking
• rotruange (exact meaning unknown)

Thematic Varieties

• sirventa
• cry

From the XIII century also:

• weaving song
• reverdi
• pasturel
• alba

• Canson
• Canzonetta
• Lied
• Romance
• Chanson

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