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 other solution to 1 e. The sonata has been transposed and the marking, alla quarta bassa, is a description and not an instruction. The picture is not so clear for choir one, where the altus and tenor parts are in mezzo-soprano clef and alto clef, respectively.
Sonata pian’ e forte a 8, alla quarta bassa, C composer.
September Sonaata duration: 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. 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. Remember me on this computer.
Sonata pian’ e forte | music by Gabrieli |
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: It should be played at the notated pitch. 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.
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: First, considering the bass of each choir: Hyperion offers both CDs, and downloads in a number of formats.
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: The playing is fluent and vabrieli. The altus and tenor parts could be played on either alto or tenor trombones or even one of each.
Gabriwli show me this message again. Skip to main content. 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. 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 gabriieli the final tutti.
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 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 ee to the violin. Aureleo Virgiliano, Il dolcimelo c.
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Welcome to Hyperion Records, an independent British classical label devoted giovwnni presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. The cornetto part goes down to g. Is it possible that the indication alla quarta bassa is not an instruction, but a description?
Sonata pian’ e forte
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.
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. This instrument is frequently referred to for the playing of bass parts in high ranging works, often as an alternative to the trombone.