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 picture is not so clear for choir one, where the altus and tenor parts are in mezzo-soprano clef and alto clef, respectively. Help Center Find new research papers in: The playing is fluent and exhilarating. Habrieli includes the following advice, the significant comments are underlined: 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.

Sonata pian’ e forte | music by Gabrieli |

Aureleo Virgiliano, Il dolcimelo c. Click here to sign up.

The cantus should be played by a regular 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: The sextus and bassus parts should be played on bass gbrieli.


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 cornett on this part since the instrument, if it existed at all, was very rare.

In modern times there is currently no call for players with this skill: 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.

Termini musici also refers to octave doubling by violin but does not refer to cornett. 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.

September Total duration: These are shown in the sonaya table. What are the problems? It should be played at the notated pitch. Hyperion offers both CDs, and downloads in a number of formats.

Sonata pian’ e forte – Wikipedia

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This is one step lower than the normal bottom note of the instrument. Both of these parts could easily be played on either alto or tenor trombones or one of each.

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: Looking at the middle parts, choir two appears straight-forward: The cornetto part goes down to g. 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.

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Sonata pian’ e forte

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. Enter the email address you signed up with and we’ll email you a reset link. If we assume the piece should be performed at the notated pitch, what impact does it have on the choice of instruments? The septimus should be played an octave higher than written by a violin. 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.

My unpublished paper on extant cornetts covers this subject, part of which was presented at the Historic Brass Society Symposium held in Oxford in Sonata pian’ e forte a 8, alla quarta bassa, C composer.

The altus and tenor parts could be played on either alto or tenor trombones or even one of each. The sonata has been transposed and the marking, alla quarta bassa, is a description and not an instruction.

The violino part goes down to d, still too low for the violin but would only require a standard-sized viola.