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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Aureleo Virgiliano, Il dolcimelo c. All of these pieces are brought together into a smaller, more manageable tessitura if gbarieli high clef 2 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.
Termini musici also refers to octave doubling by violin but does not refer to cornett.
The altus and tenor parts could be played on either alto or tenor trombones or even one of each. Log In Sign Up.
Sonata Piano e Forte: 8 Trumpets Score & Parts: Giovanni Gabrieli
The site is also available in several languages. The violino part goes down to d, still too low for the violin sonara would only require a standard-sized viola. 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.
If we assume the piece should be performed at the notated pitch, what impact does it have on the choice of instruments? Both of these parts could easily gagrieli played on either alto or tenor trombones or one of each. Skip to main content. This means that in the case of Rossi, alla quarta alta indicates the work has already been pizn, so should be soanta at the notated pitch. The sonata has been transposed and the marking, alla quarta bassa, is a description and not an instruction.
Giovannni modern times there is currently no call for players with this skill: 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.
Enter the email address you signed up with and we’ll email you a reset link. Is it possible that the indication alla quarta bassa is not an instruction, but a description?
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. Remember me on this computer.
Sonata pian e forte, Ch.175 (Gabrieli, Giovanni)
The quintus and octavus parts should be played on tenor trombones. Don’t show me this message again. This instrument is frequently referred to gaabrieli the playing of bass parts in high ranging works, often as an alternative to the trombone. Looking at the middle parts, choir two appears straight-forward: My unpublished paper on extant fore covers this subject, part of which was presented at the Historic Brass Society Symposium held in Oxford in These are shown in the following table.
The picture is not so clear for choir one, where the altus and tenor parts are in mezzo-soprano clef and alto clef, respectively. The sextus and bassus parts should be played on bass trombones. This includes the following advice, the significant comments are underlined: 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 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. Help Center Find new research papers in: Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.
Click here to sign up. 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. 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.
Speer, Vierfaches Musicalisches Kleeblatt Ulm, but not in edition, which gives a as lowest note. 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 cantus should be played by a regular cornett.