Canzonet


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Canzonet

 

in the 16th and 17th centuries, a short polyphonic song; in the 18th century, also a solo strophic song, often with dance elements. The canzonet genre began in Italy. Nineteenth-century composers sometimes called instrumental pieces “canzonets” (for example, the middle movement of Tchaikovsky’sConcerto for Violin).

References in periodicals archive ?
Canzonet 3 ("Thus to the Muses"), for instance, opens with a stately [TEXT NOT REPRODUCIBLE IN ASCII] canon in which Venus ineffectually commands some muses to adorn her altar, lest her son "assume his potent darts.
With this volume in Recent Researches in the Music of the Classical Era, Rubin reintroduces John Travers's superb Eighteen Canzonets for Two and Three Voices (London: John Simpson, 1746), written for various combinations of two or three voice parts and continuo.
A subscription list including 171 names, additional printings in 1750 and 1755, and later appearances of the canzonets in anthologies attest to the collection's immediate and lasting presence.
A typical example is the review of Novello's canzonet "Concealed Love" in the number for May 1814:
Canzonet has been singing together for more than two years and came in second at Sweet Adelines International's Region 12 competition in spring 2012.
While there are examples from the early 18th century, it is in the last third of that century that the practice became more general, tending to comprise short manuscripts--of one operatic aria or duet, four or five ariettes or canzonets, or (very occasionally) an instrumental piece.
Jankova explains how she chose the nine arrangements from the four hundred: "While I discovered the Canzonets as a young girl, these songs were a revelation to me.
The CD title, "Recollection", is also the title of one of the English canzonets, and Jankova explains that she chose it to express how one can share in the revival of forgotten beauty.
Three Canzonets, from Canzonette a tre voci (1584) for SSA unaccompanied.
Too few of these offerings are heard in live recital, apart from the two sets of Canzonets Haydn wrote during his visits to England in the early 1790s.
Catherine will present a sparkling programme of canzonets, cantatas and songs by Haydn and his English contemporaries, accompanied on forepiano by David McGuinness.