Puzzle canons in the works of padre Martini
The historical development of puzzle canons has been going on for many centuries, attracting researchers’interest of both Russian and foreign musical circles. This is due to the fact that the variety of examples and types of puzzle canons confuse even experienced maestros of musical art. At times, their decoding provokes lively discussions, allowing researchers to explore the composers’ different points of view. One such example is the puzzle canon of J.B. Animuccia with almost two hundred years of history. This canon could not be deciphered by many musicians, each time encountering many difficulties. The solution was found by the young J. B. Martini, who had not yet gained fame as a teacher, composer, historian, music theorist and public figure. The joy of the solution was not supported by everyone, causing dissatisfaction of the already eminent composer T. Redi. This dispute influenced the work of Martini – he continued to study puzzle canons throughout his life, including them in his treatises with a didactic purpose. This article considers the development of the puzzle canons in the works of Padre Martini, their usage and varieties, ways of notation and commentary on them. Martini appreciated their value not only from the standpoint of historical knowledge, but also practical application on the path of a young composers.
puzzle canon, padre Martini, Giovanni Animuccia, solution to the canon, propostа, rispostа.