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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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 gikvanni greater animation of the final tutti.
The alto sackbut has had a significant come- back in recent years as a result of growing interest in historic brass, however, it would appear that even in the seventeenth century, there was a preference for the fuller tone of the tenor trombone compared with the alto.
Speer, Vierfaches Musicalisches Kleeblatt Fortee, but not in edition, which gives a as lowest note. The altus and tenor parts piam be played on either alto or tenor trombones or even one of each.
All of these pieces are brought together into a smaller, more manageable tessitura if the high clef 2 I have chosen not to consider the use of alto fortr on this part since the instrument, if it existed at all, was very rare. Skip to main content. Hyperion offers both CDs, and downloads in a number of formats. Termini musici also refers to octave doubling by violin but does not refer to cornett. Although German and English 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: Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.
Sonata pian’ e forte
Remember me on this computer. September Total duration: 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? The violino part goes down to A.
Click here to sign up. 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.
In modern times there is currently no call for players with this skill: This instrument is frequently referred to for the playing of bass parts in high ranging works, often as an alternative to the trombone. The septimus should be played an octave higher than written by a violin.
Giovanni Gabrieli – Sonata Pian’e Forte for Brass Octet – Music Sales Classical
Update Required To play the media d will need to either update your browser to a recent version or update your Flash plugin. Don’t show me this message again. Looking at the middle parts, choir two appears straight-forward: The picture is not so clear for choir one, where the altus and tenor parts are in mezzo-soprano clef and alto clef, respectively. First, considering the bass of each choir: Alto trombones would make a distinctive sound for the first choir compared with the second, while tenor trombones would foret a more homogeneous sound, with only the individual ranges and tone-colour of the cornett and violin providing differentiation.
Aureleo Virgiliano, Il dolcimelo c. My unpublished paper on extant cornetts covers this subject, part of which was presented at the Historic Brass Society Symposium held in Oxford in 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.
Sonata pian’ e forte – Wikipedia
Is it possible that the indication alla quarta bassa is not an instruction, but a description? It should be played at the notated pitch. The other solution to 1 e. The cornetto part goes down to g.
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. 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 gabriieli designation of violino.
Both of these parts could easily be played on either alto or tenor trombones or one of each. 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 sonata has been transposed and the marking, alla quarta bassa, is a description spnata not an instruction.
These are shown in the following table. Enter the email address you signed up with and we’ll email you a reset link. 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 quintus and octavus parts should be played on tenor trombones. This is one step lower than the normal bottom note of the instrument.