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You've selected:
Gabrieli Giovanni Baroque
TRUMPET
Sheetmusic to print
18 sheet music found
<
1
Canzon XVIII a 14 - No. 211
Canzon XVIII a 14 - No. 211
#
Brass ensemble
#
Classical
#
Giovanni Gabrieli
#
Randy A
#
Canzon XVIII a 14 - No. 211
#
Randy A. Steinberg
#
SheetMusicPlus
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy A. Steinberg. Baroque Period. Score, Set of Parts. 90 pages. Published by Randy A. Steinberg (S0.11...
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Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy A. Steinberg. Baroque Period. Score, Set of Parts. 90 pages. Published by Randy A. Steinberg (S0.117845). - Score,Set of Parts - Baroque Period - Randy A. Steinberg
$20.00 ≈
$27.75
Sonata XX a 22 - No. 213
Sonata XX a 22 - No. 213
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Brass ensemble
#
Classical
#
Giovanni Gabrieli
#
Randy A
#
Sonata XX a 22 - No. 213
#
Randy A. Steinberg
#
SheetMusicPlus
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy A. Steinberg. Baroque Period. Score, Set of Parts. 118 pages. Published by Randy A. Steinberg (S0.1...
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Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy A. Steinberg. Baroque Period. Score, Set of Parts. 118 pages. Published by Randy A. Steinberg (S0.118457). - Score,Set of Parts - Baroque Period - Randy A. Steinberg
$30.00 ≈
$41.63
Sonata Octavi Toni a 12 - No. 184
Sonata Octavi Toni a 12 - No. 184
#
Brass ensemble
#
Classical
#
Giovanni Gabrieli
#
Randy Steinberg and Randy Stei
#
Sonata Octavi Toni a 12 - No.
#
Randy A. Steinberg
#
SheetMusicPlus
Composed by Giovanni Gabrieli (1553-1612) and Giovanni Gabrieli (1553-1612). Arranged by Randy Steinberg and Randy Steinberg. Baroque Period. Score, Set of Part...
(+)
Composed by Giovanni Gabrieli (1553-1612) and Giovanni Gabrieli (1553-1612). Arranged by Randy Steinberg and Randy Steinberg. Baroque Period. Score, Set of Parts. 82 pages. Published by Randy A. Steinberg (S0.190881). - Score,Set of Parts - Baroque Period - Randy A. Steinberg
$15.00 ≈
$20.81
Canzon XII a 8 - No. 205
Canzon XII a 8 - No. 205
#
Brass ensemble
#
Classical
#
Giovanni Gabrieli
#
Randy A
#
Canzon XII a 8 - No. 205
#
Randy A. Steinberg
#
SheetMusicPlus
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy A. Steinberg. Baroque Period. Score, Set of Parts. 42 pages. Published by Randy A. Steinberg (S0.11...
(+)
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy A. Steinberg. Baroque Period. Score, Set of Parts. 42 pages. Published by Randy A. Steinberg (S0.116377). - Score,Set of Parts - Baroque Period - Randy A. Steinberg
$8.99 ≈
$12.47
Sonata XIII a 8 - No. 206
Sonata XIII a 8 - No. 206
#
Brass ensemble
#
Classical
#
Giovanni Gabrieli
#
Randy A
#
Sonata XIII a 8 - No. 206
#
Randy A. Steinberg
#
SheetMusicPlus
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy A. Steinberg. Baroque Period. Score, Set of Parts. 36 pages. Published by Randy A. Steinberg (S0.11...
(+)
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy A. Steinberg. Baroque Period. Score, Set of Parts. 36 pages. Published by Randy A. Steinberg (S0.119913). - Score,Set of Parts - Baroque Period - Randy A. Steinberg
$9.99 ≈
$13.86
Canzon XVI a 12 - No. 209
Canzon XVI a 12 - No. 209
#
Brass ensemble
#
Classical
#
Giovanni Gabrieli
#
Randy A
#
Canzon XVI a 12 - No. 209
#
Randy A. Steinberg
#
SheetMusicPlus
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy A. Steinberg. Baroque Period. Score, Set of Parts. 68 pages. Published by Randy A. Steinberg (S0.11...
(+)
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy A. Steinberg. Baroque Period. Score, Set of Parts. 68 pages. Published by Randy A. Steinberg (S0.117287). - Score,Set of Parts - Baroque Period - Randy A. Steinberg
$15.00 ≈
$20.81
Canzon Noni Toni a 12 - No. 183
Canzon Noni Toni a 12 - No. 183
#
Brass ensemble
#
Classical
#
Giovanni Gabrieli
#
Randy Steinberg
#
Canzon Noni Toni a 12 - No. 18
#
Randy A. Steinberg
#
SheetMusicPlus
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy Steinberg. Baroque Period. Score, Set of Parts. 88 pages. Published by Randy A. Steinberg (S0.19109...
(+)
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy Steinberg. Baroque Period. Score, Set of Parts. 88 pages. Published by Randy A. Steinberg (S0.191093). - Score,Set of Parts - Baroque Period - Randy A. Steinberg
$12.00 ≈
$16.65
Canzon Septimi e Octavi Toni a 12 - No. 182
Canzon Septimi e Octavi Toni a 12 - No. 182
#
Brass ensemble
#
Classical
#
Giovanni Gabrieli
#
Randy Steinberg
#
Canzon Septimi e Octavi Toni a
#
Randy A. Steinberg
#
SheetMusicPlus
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy Steinberg. Baroque Period. Score, Set of Parts. 83 pages. Published by Randy A. Steinberg (S0.19307...
(+)
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy Steinberg. Baroque Period. Score, Set of Parts. 83 pages. Published by Randy A. Steinberg (S0.193071). - Score,Set of Parts - Baroque Period - Randy A. Steinberg
$12.00 ≈
$16.65
Canzon VII a 7 - No. 201
Canzon VII a 7 - No. 201
#
Brass ensemble
#
Classical
#
Giovanni Gabrieli
#
Randy A
#
Canzon VII a 7 - No. 201
#
Randy A. Steinberg
#
SheetMusicPlus
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy A. Steinberg. Baroque Period. Score, Set of Parts. 57 pages. Published by Randy A. Steinberg (S0.12...
(+)
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy A. Steinberg. Baroque Period. Score, Set of Parts. 57 pages. Published by Randy A. Steinberg (S0.123623). - Score,Set of Parts - Baroque Period - Randy A. Steinberg
$7.99 ≈
$11.09
Canzon XXVIII a 8 - No. 191
Canzon XXVIII a 8 - No. 191
#
Brass ensemble
#
Classical
#
Giovanni Gabrieli
#
Randy A
#
Canzon XXVIII a 8 - No. 191
#
Randy A. Steinberg
#
SheetMusicPlus
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy A. Steinberg. Baroque Period. Score, Set of Parts. 22 pages. Published by Randy A. Steinberg (S0.11...
(+)
Composed by Giovanni Gabrieli (1553-1612). Arranged by Randy A. Steinberg. Baroque Period. Score, Set of Parts. 22 pages. Published by Randy A. Steinberg (S0.114021). - Score,Set of Parts - Baroque Period - Randy A. Steinberg
$15.00 ≈
$20.81
Sonata XIII for Brass Ensemble by Gabrieli
Sonata XIII for Brass Ensemble by Gabrieli
#
Brass quartet : 2 trumpets, trombone, tuba
#
INTERMEDIATE/ADVANCED
#
Giovanni Gabrieli
#
Jerry Lanning
#
Sonata XIII for Brass Ensemble
#
Jerry Lanning
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.767755 Composed by Giovanni Gabrieli. Arranged by Jerry Lanning. Baroque,R...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.767755 Composed by Giovanni Gabrieli. Arranged by Jerry Lanning. Baroque,Renaissance. Score and parts. 34 pages. Jerry Lanning #3679841. Published by Jerry Lanning (A0.767755). The well-known Sonata XIII by Giovanni Gabrieli, arranged for brass ensemble. There are two antiphonal brass groups, the first is a standard brass quintet and the second comprises trumpet, two horns, trombone and bass trombone.
$14.95 ≈
$20.75
Canzona (Nb. 2)
Canzona (Nb. 2)
#
Brass Quartet: 2 trumpets, horn, trombone
#
INTERMEDIATE/ADVANCED
#
Giovanni Gabrieli
#
Josef STASTNY
#
Canzona
#
Josef STASTNY
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.743651 Composed by Giovanni Gabrieli. Arranged by Josef STASTNY. Baroque,Concer...
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Brass Ensemble Horn,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.743651 Composed by Giovanni Gabrieli. Arranged by Josef STASTNY. Baroque,Concert,Instructional,Standards. Score and parts. 8 pages. Josef STASTNY #4610347. Published by Josef STASTNY (A0.743651). One of Gabrieli´s canzonas. Early baroque polyphonic music.
$9.99 ≈
$13.86
Canzona (Nb. 3)
Canzona (Nb. 3)
#
Brass Quartet: 2 trumpets, horn, trombone
#
INTERMEDIATE
#
Giovanni Gabrieli
#
Josef STASTNY
#
Canzona
#
Josef STASTNY
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.743658 Composed by Giovanni Gabrieli. Arranged by Josef STASTNY. Baroque,Holida...
(+)
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.743658 Composed by Giovanni Gabrieli. Arranged by Josef STASTNY. Baroque,Holiday,Instructional,Standards,Wedding. Score and parts. 8 pages. Josef STASTNY #4621907. Published by Josef STASTNY (A0.743658). One of Gabrieli´s canzonas. Early baroque polyphonic music.
$7.99 ≈
$11.09
Canzon in Echo Duodecimi toni a 10 for Brass Ensemble
Canzon in Echo Duodecimi toni a 10 for Brass Ensemble
#
Brass quartet : 2 trumpets, trombone, tuba
#
ADVANCED
#
Giovanni Gabrieli
#
Fabrizio Bugani
#
Canzon in Echo Duodecimi toni
#
Gordon Cherry
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.792809 Composed by Giovanni Gabrieli. Arranged by Fabrizio Bugani. Baroque...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.792809 Composed by Giovanni Gabrieli. Arranged by Fabrizio Bugani. Baroque,Classical,Renaissance. Score and parts. 57 pages. Gordon Cherry #6623467. Published by Gordon Cherry (A0.792809). Canzon in Echo Duodecimi Toni á 10 was published as part of Gabrieli's Sacre Symphoniae of 1597, a collection of pieces including motets, canzonas, and sonatas for various instrumental groups. Gabrieli used the layout of his musical home, the San Marco Church in Venice with its two choir lofts facing each other, to create the first spatial or antiphonal music for early brass instruments, cornetti, and sackbuts.Maestro Fabrizio Bugani has done a wonderful job of editing this almost 4-minute work for a double brass choir of 10 instruments (two brass quintets). Included are numerous substitute parts which include Trumpets in C, Horns, and Alto Trombones. If one wishes a pure cylindrical choir; that can be achieved by using the Alto Trombones in place of the conical Horns.This edition is appropriate for moderately advanced performers and is pitched in the key of B-flat, down a step from the original.Instrumentation is for double brass quintets of 4 B-flat Trumpets, 2 Horns and 4 Trombones.
$30.00 ≈
$41.63
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
#
Trumpet, Trombone (duet)
#
EASY
#
Giovanni Gabrieli
#
James M
#
1 Bass Trombone
#
Gabrieli: Canzon Septimi Toni
#
jmsgu3
#
SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest...
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Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #820156. Published by jmsgu3 (A0.1224064). From Sacrae Symphoniae, Venice, 1597Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.InnovationsFirst of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
$66.54
Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir
Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir
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Brass Quartet: 2 trumpets, horn, trombone
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INTERMEDIATE
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon in Echo a 12
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jmsgu3
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Cha...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 48 pages. Jmsgu3 #822323. Published by jmsgu3 (A0.1226321). Minimum instrumentation: 3 Brass Quartets - 6 trumpets in C (or cornets) 3 French Horns in F, and 3 trombones. InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
$66.54
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
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Brass Quartet: 2 trumpets, horn, trombone
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INTERMEDIATE
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Giovanni Gabrieli
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James M
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Gabrieli: Canzona in Echo Ch.
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jmsgu3
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Cha...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #822490. Published by jmsgu3 (A0.1226488). Minimum instrumentation: 4 Trumpets (or Cornets), 4 French Horns, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
$66.54
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
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Trumpet, Trombone (duet)
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EASY
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte,
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jmsgu3
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SheetMusicPlus
Brass Band Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest...
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Brass Band Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest,Early Music,Festival,Historic,Instructional,Renaissance. Score and Parts. 45 pages. Jmsgu3 #816951. Published by jmsgu3 (A0.1220622). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 Trumpets, 2 Alto Trombones, 3 Tenor Trombones, 1 Bass Trombone, and 1 Tuba. Suggested instrumentation: 8 trumpets, 4 Alto Trombones, 6 Tenor Trombones, 2 Bass Trombones, 4 Tubas.InnovationsFirst of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which he calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
$66.54
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Gabrieli Giovanni Baroque
