SKU: A0.827227

Giovanni Gabrieli's music was some of the most influential music of the Renaissance, and it continues to be played widely today. Alma cortes'e bella was originally written as a madrigal for three voices, but this arrangement was written for brass trio, echoing the style of Gabrieli's famous instrumental pieces.

SKU: A0.827221

Giovanni Gabrieli's music was some of the most influential music of the Renaissance, and it continues to be played widely today. Quand'io ero giovinetto was originally written as a choral piece, but this arrangement was written for brass quintet, echoing the style of Gabrieli's famous canzoni per sonare.

Includes:
-Score (5 pages)
-Trumpet in B Flat 1 (2 pages)
-Trumpet in B Flat 2
-Horn in F (2 pages)
-Trombone (2 pages)
-Tuba (2 pages).

SKU: A0.827232

A staple of Renaissance music, Canzoni per sonare is a collection of 36 relatively short pieces by various composers. Legendary composer Giovanni Gabrieli began the canzoni per sonare with four memorable pieces. This is the last of those four, and it has been rearranged for brass quartet in a way that feels natural for brass players.

SKU: A0.990619

This is typical of the Giovanni Gabrieli canzons published in Venice in 1615 although it may be from one of the other two collections (15 97 & 1608). Requires some technique but is not antiphonal.

SKU: A0.827230

A staple of Renaissance music, Canzoni per sonare is a collection of 36 relatively short pieces by various composers. Legendary composer Giovanni Gabrieli began the canzoni per sonare with four memorable pieces. This is the second of those four, and it has been rearranged for brass quartet in a way that feels natural for brass players.

SKU: A0.827231

A staple of Renaissance music, Canzoni per sonare is a collection of 36 relatively short pieces by various composers. Legendary composer Giovanni Gabrieli began the canzoni per sonare with four memorable pieces. This is the third of those four, and it has been rearranged for brass quartet in a way that feels natural for brass players.

SKU: A0.792953

Group 2 trombone part to Giovanni Gabrieli's Jubilate Deo arranged for brass by J. Richard Dixon.

SKU: A0.963870

Giovanni Gabrieli famously composed for spatially separated ensembles. This lively canzon has been arranged for two groups of four cellos each that alternate and answer each other from opposite sides of a stage.

SKU: A0.827228

Gabrieli's Sacrae Symphoniae was a collection of 45 motets from 1597 written for various ensembles of instruments and choirs. Beata es Virgo Maria is the third motet in the collection. Gabrieli was well-known for his instrumental music, so this piece originally written for a choir has been rearranged for brass sextet.

SKU: A0.1227832

Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 2 Tenor Trombones, and 2 Bass Trombones.

Innovations

Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was 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 particular 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 Works

Gabrieli 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 indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.

Spatial Music

Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments 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 Works

Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). Furthermore, these compositions indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges characterized by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to 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 an essential part of the presentation—also, only parts marked Capella are supposed to be sung.

Homophony

Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments 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.