Gabrieli Sonata pian’ e forte. Background information and performance circumstances. Giovanni Gabrielii () was principal organist and composer at. Sonata pian’ e forte a 8, alla quarta bassa, C composer. Giovanni Gabrieli ( c/). ; No 6 of Sacrae Symphoniae. Giovanni Gabrieli’s Sonata pian e forte: choice of instruments and performance pitch – a new solution. Michael Lawlor. Uploaded by. Michael Lawlor. Giovanni.

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Is it possible that the indication alla quarta bassa is not an instruction, but a description?

Giovanni Gabrieli

The other solution to 1 e. Again, Gabrieli and Gardane would have known that the part needed a viola and surely would have specified viola in the published work; but there is an alternative solution that means Gabrieli is indeed correct in his designation of violino. The altus and tenor parts could be played on gbrieli alto or tenor trombones or even one of each.

The piece is essentially an elegiac melody, expressively harmonized, that is passed from choir to choir; the long-breathed lines do not in themselves create much contrast, until the greater animation of the final tutti.

Skip to main content. Sonata pian’ e forte a 8, alla quarta bassa, C composer.

The playing is fluent and exhilarating. The picture is not so clear for choir one, where the fotre and tenor parts are in mezzo-soprano clef and alto clef, respectively.

If we assume the piece should be performed at the notated pitch, what impact does it have on the choice of instruments?

Although German and Aonata writers on music in the 16th and 17th centuries got their Italian terms mixed up, Gabrieli and his publisher, Angelo Gardane, being Italian, should be expected to use the correct Italian terms since they were consistently used in other contemporary publications: The cantus should be played by a regular cornett. The cornetto part goes down to g.


Sonata Piano e Forte: 8 Trumpets Score & Parts: Giovanni Gabrieli

First, considering the bass of each choir: This includes the following advice, the significant comments are underlined: Log In Sign Up. Remember gavrieli on this computer. Enter the email address you signed up with and we’ll email you a reset link. The violino part goes down to A.

Sonata pian e forte, Ch.175 (Gabrieli, Giovanni)

The usual modern interpretation of this is to use the tenor violin, what Italians would call a violetta, or sometimes the general name for a bass instrument: Each of the modes could be used at a high or a low pitch; here the words alla quarta bassa may indicate that the sonata, conceived outside the modal system, is already notated at low pitch and—unlike the eight-part canzonas?

Looking at the middle parts, choir two appears straight-forward: This means that in the case of Rossi, alla quarta alta indicates the work has already been transposed, so should be played at the notated pitch. These are shown in the following table. This is one step lower than the normal bottom note of the instrument.

Don’t show me this message again. Welcome to Hyperion Records, an forrte British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

The quintus and octavus parts should be played on sonatx trombones.

Aureleo Virgiliano, Il dolcimelo c. What are the problems? However, some fingering charts from the seventeenth century1 indicate the bottom note of the cornetto to be g, but ability to lip the bottom note down from a to g, maintaining good tone quality and accurate tuning, is difficult.


The site is also available in several languages. Hyperion offers both CDs, and sonzta in a number of formats. It should be played at the notated pitch.

Giovanni Gabrieli – Sonata Pian’e Forte for Brass Octet – Music Sales Classical

The sonata has been transposed and the marking, alla quarta bassa, is a description and not an instruction. Speer, Vierfaches Musicalisches Kleeblatt Ulm, tiovanni not in edition, which gives a as lowest note. It is still possible to transpose the sonata down a fourth, but playing at the notated pitch brings the work into line with most of the repertoire of this period.

Alto trombones would make a distinctive sound for the first choir compared with the second, while tenor trombones would provide a more homogeneous sound, with only the individual ranges and tone-colour of the cornett and violin providing differentiation. Please use the dropdown gabroeli to gabrieeli your preferred options, or use the checkbox to accept the defaults.

This instrument is frequently referred to for the playing of bass eonata in high ranging works, often as an alternative to the trombone. This is a comfortable tessitura and a typical lowest note for cornett writing in many works for which the instrument is specified during the late sixteenth and early seventeenth centuries even if sometimes specified as an alternative to the violin.

The range of color, breadth and depth of sonority and the majestic nobility of the composer’s conception are all revealed in a manner even the most expert of modern brass players could not possibly emulate.