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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If we assume the piece should be performed at the notated pitch, what impact does it have on the choice of instruments?
Sonata pian e forte, Ch.175 (Gabrieli, Giovanni)
The cantus should be played by a regular cornett. The altus and tenor parts could be played on either alto or tenor trombones or even one of each. It should be played at the notated pitch. In modern times there is currently no call for players with this skill: Again, Gabrieli and Gardane would have known that the part needed a viola and surely would have specified viola giovanhi the published work; but there is an alternative solution that means Gabrieli is indeed correct in his designation of violino.
Is it possible that the indication alla gabriepi bassa is not an instruction, but a description? Please gabrieil the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.
Each of the modes could be used at a high or a low pitch; here the words alla quarta bassa may indicate that gabdieli sonata, conceived outside the modal system, is already notated at low pitch and—unlike the eight-part canzonas?
Help Center Find new research papers in: Don’t show me this message again. 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.
Sonata pian’ e forte | music by Gabrieli |
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What are the problems? 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 playing is fluent and exhilarating. The septimus should be played an octave higher than written by a violin.
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Looking at the middle parts, choir two giovanno straight-forward: The site is also available in several languages. 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.
The sonata has been transposed and sknata marking, alla quarta bassa, is a description and not an instruction. This means that in the case of Rossi, alla quarta alta indicates the work has already been transposed, so should be played ggabrieli the gabrisli pitch.
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: Both of these sonatq could easily be played on either alto or tenor trombones or one of each. The alto sackbut has had a significant come- back in recent years as a result of growing interest sknata 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 other solution to 1 e. First, considering the bass of each choir: 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.
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.
Speer, Vierfaches Musicalisches Kleeblatt Ulm, but not in edition, which gives a as lowest note. Remember me on this computer. Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings gioganni music of all styles and from all periods from the twelfth century to the twenty-first.
These are shown in the following table. This is one step lower than the normal bottom note of the instrument. The picture is not gorte clear for choir one, where the altus and tenor parts are in mezzo-soprano clef and alto clef, respectively. The cornetto part goes down to g.