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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Sonata pian’ e forte a 8, alla quarta bassa, C composer. First, considering the bass of each choir: The other solution to 1 e. 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.
Ofrte we assume the piece should be performed at the notated pitch, what impact does it have on the choice of instruments? Hyperion offers both CDs, and downloads in a number of formats.
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Sonata pian e forte, Ch.175 (Gabrieli, Giovanni)
These are shown in the following table. The septimus should be played an octave higher than written by a violin. The sonata has been transposed and the marking, alla quarta bassa, is a description and not an instruction. Please use the dropdown buttons to set your preferred options, or use gabrjeli checkbox to accept the defaults.
The sextus and bassus parts should be played on bass trombones.
Giovanni Gabrieli – Sonata Pian’e Forte for Brass Octet – Music Sales Classical
This is one step lower than the normal bottom note of the instrument. Is it possible that the indication alla quarta bassa is not an instruction, but a description?
My unpublished paper on extant cornetts covers this subject, part of which was presented at the Historic Brass Society Symposium held in Oxford in Is Gabrieli telling us this piece also needs to be transposed down or is he merely highlighting the change in tessitura and telling us that it has already been transposed down a fourth? The playing is fluent and exhilarating. The site is also available in several languages. 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. 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: Both of these parts could easily be played on either alto or tenor trombones or one of each.
Sonata pian’ e forte – Wikipedia
It should be played at the notated pitch. 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.
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. Welcome to Hyperion Records, an independent 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 cantus should be played by a regular cornett. Log In Sign Up.
All of these pieces are brought together into a smaller, more fortd tessitura if the high clef piaj I have chosen not to consider the use of alto cornett on this part since the instrument, if it existed at all, was very rare. The violino part goes down to d, still too low for the ggabrieli but would only require a standard-sized viola.
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. September Total duration: The cornetto part goes down to g. 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 quintus and octavus parts should be played on tenor trombones.
Click here to sign up. The picture pisn not so clear for choir one, where the altus and tenor parts are in mezzo-soprano clef and alto clef, respectively. In modern times there is currently no call for players with this skill: We start by assessing the clefs and ranges for each part, including the ranges if the parts are transposed down a fourth.
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. Skip to main content. Speer, Vierfaches Musicalisches Kleeblatt Ulm, but not in edition, which gives a as lowest note.