Giovanni Domenico Rognoni Taeggio (? - before 1626) was
an Italian composer from the Renaissance period. He was
an organist in Milan ca. 1605, and ducal maestro di
cappellathere from 1619. His publications include
instrumental canzonas, some polychoral, madrigals in up
to eight parts and a setting of the Ambrosian-rite
Requiem. He was the son of Riccardo Rognoni and brother
of Francesco Rognoni Taeggio, both prominent Italian
composers and musicians. He was active in Milan, but
had connections w...(+)
Giovanni Domenico Rognoni Taeggio (? - before 1626) was
an Italian composer from the Renaissance period. He was
an organist in Milan ca. 1605, and ducal maestro di
cappellathere from 1619. His publications include
instrumental canzonas, some polychoral, madrigals in up
to eight parts and a setting of the Ambrosian-rite
Requiem. He was the son of Riccardo Rognoni and brother
of Francesco Rognoni Taeggio, both prominent Italian
composers and musicians. He was active in Milan, but
had connections with royalty from as far abroad as
Archduke Charles of Austria, and King Sigismund III
Vasa of Poland. Rognoni was a Papal Knight and
hereditary Palatine Count. He published both
collections of his works and treatises. His most famous
work was Selva de varii passaggi, on both vocal and
violin technique, and on how to ornament.
Canzonas are strictly instrumental works whose height
of popularity was from around 1584 until the mid 17th
century. The instrumental term canzona changed genders
from the masculine canzon, and many are given simple
feminine-gendered titles, such as "La Bevilacqua"
(Canale), "La Capriola" (Maschera), "La Spiritata"
(Gabrieli), etc. Many start with a simple dactylic
rhythm characteristic of the earlier French vocal
chansons (a semibreve followed by two minims), though
the term was fluid in the period, and many pieces now
called ricercars were published in books of canzonas. A
frequent term used from the earliest publications was
"canzoni per sonare" or "canzoni da sonare" ("songs to
be played"). Another term occasionally used (for
instance, by Banchieri) is "canzon alla francesce"
("French-type song"). Eventually the form morphed into
the "canzona sonata" (a played song), followed by the
mid-baroque "sonata" (something simply "played").
Source: Wikipedia
(https://en.wikipedia.org/wiki/Giovanni_Domenico_Rognon
i_Taeggio ).
Although originally created for four period
instruments, I created this Arrangement of the Canzona
in G Major (La Binama) for String Quartet (2 Violins,
Viola & Cello).
PARTITION