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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My unpublished paper on extant cornetts covers this subject, part of which was presented at the Historic Brass Society Symposium held in Oxford in The sextus and bassus parts should be played on bass trombones. First, considering the bass of each choir: These are shown in the following table.
The violino part goes down to A. Is Gabrieli telling us this piece also needs giovanji be transposed down or is he merely highlighting the change in tessitura and telling us that it has already been transposed down a fourth? We start by assessing the clefs and ranges for each part, including the ranges if the parts are transposed down a fourth. Help Center Find new research papers in: What are the problems? Is it possible that the indication alla quarta bassa is not an instruction, but a description?
Giovanni Gabrieli – Sonata Pian’e Forte for Brass Octet – Music Sales Classical
The violino part goes down to d, still too low for the violin but would only require a standard-sized viola. Speer, Vierfaches Musicalisches Kleeblatt Ulm, but not in edition, which gives a as lowest note. 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. Log In Sign Up.
This means that in the case of Rossi, alla quarta alta indicates the work has already been transposed, so should gaabrieli played at the notated pitch. In modern times there is currently no call for players with this skill: The septimus should be played an octave higher than written by a violin.
The quintus and octavus parts should be played on tenor trombones. September Total duration: This is one step lower than the normal bottom note of the instrument. All of these pieces are brought together gabreili a smaller, more manageable fiovanni if the 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.
Looking at the middle parts, choir two appears straight-forward: The cantus should be played by a regular cornett. If we assume the piece should be performed at the notated sonatx, what impact does it have on the choice of instruments? 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.
The cornetto part goes down to g. 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 f with the alto.
Sonata pian’ e forte | music by Gabrieli |
Sonata pian’ e forte a 8, alla quarta bassa, C composer. The other solution to 1 e.
The sonata has been transposed and the marking, alla quarta bassa, is a description and not an instruction. 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.
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.
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 playing is fluent and exhilarating. Termini musici also refers to octave doubling by violin but does not refer to cornett. The range of color, breadth and depth of sonority and the majestic nobility of the composer’s conception are all revealed forye a manner even the most expert of modern brass players could not possibly emulate.
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The altus and tenor parts could be played on either alto or tenor trombones or even one of each. Don’t show me this message again. Each of the modes could be used at a high or a low pitch; here the words alla quarta bassa may fortd that the sonata, conceived outside the modal system, is already notated at low pitch and—unlike the eight-part canzonas?
Aureleo Virgiliano, Il dolcimelo c. This includes the following advice, the significant comments are underlined: