canzona xiii samplesampleband by andrew baker · the famous sonata pian’e forte, probably his...
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Canzona XIII
Giovanni Gabrieli
Arranged for brass band by Andrew Baker
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sampleGiovanni Gabrieli
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leGiovanni GabrieliArranged for brass
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leArranged for brass band by Andrew Baker
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leband by Andrew Baker
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Canzona XIII
Giovanni Gabrieli (1554?-1612)
Arranged for brass band byAndrew Baker
Canzona XIII, also known as Canzon Septimi Octavi Toni a 12, was first published in 1597 as part of a collection entitled ‘Symphoniae Sacrae’ - this collection was a mixture of instrumental and choral pieces, and also included the famous Sonata Pian’e Forte, probably his best known work.
Gabrieli was born in Venice sometime between 1554 and 1557 and studied with the renowned Dutch composer Orlando di Lassus. He also studied with his uncle, Andrea Gabrieli, and eventually succeeded him as the organist and composer at St Mark’s Basilica in Venice. Already renowned as a musical centre, Venice became a magnet for composers wishing to study with Gabrieli after ‘Symphoniae Sacrae’ was published.
Like many of his works, this Canzona was written to take advantage of the unique layout of St Mark’s, which had galleries on three sides where the musicians could be placed to create novel spatial effects - utterly new and exciting for sixteenth century listeners. Canzona XIII has three different antiphonal ‘choirs’ and in this arrangement the band is split into three groups to reflect Gabrieli’s innovative idea. Ideally the three groups should be clearly separated so the the antiphonal effect comes across clearly, although this will of course depend on the performance space. On no account should the band remain in its normal seated formation!
As Gabrieli didn’t have any percussionists (and percussion was widely thought inappropriate for music performed in church anyway) there are no percussion parts in this music.
This arrangement was first performed by the Coppull and Standish Band conducted by Andrew Baker in 2009.
Duration approximately 2’27”.
© Morthanveld Publishing Ltd 2014
This set has been provided to Middleton Band (the ‘Purchaser’) by Morthanveld Publishing Ltd (the ‘publisher’).
The Purchaser may produce unlimited photocopies from paper originals (or prints from the PDF files supplied) as long as these ar solely for use by the Purchaser (or its members if the Purchaser is a band or organisation) for rehearsal, personal practice, replacement of lost parts, adjudication use or other miscellaneous purposes relating to the rehearsal and performance of this work by the purchaser. Supplying ANY copies or prints to any other person or organisation, or failing to prevent such supply, is a breach of copyright law. In the event of such a breach the Publisher reserves the right to levy any additional invoices as the Publisher deems appropriate, including but not limited to an additional full sales invoice. The Purchaser agrees by continuing to use this music that any such invoices will be accepted and paid on
issue.
sample
, was first published in 1597 as part of a collection
samp
le, was first published in 1597 as part of a collection
entitled ‘Symphoniae Sacrae’ - this collection was a mixture of instrumental and choral pieces, and also included
samp
leentitled ‘Symphoniae Sacrae’ - this collection was a mixture of instrumental and choral pieces, and also included Gabrieli was born in Venice sometime between 1554 and 1557 and studied with the renowned Dutch composer
samp
leGabrieli was born in Venice sometime between 1554 and 1557 and studied with the renowned Dutch composer Orlando di Lassus. He also studied with his uncle, Andrea Gabrieli, and eventually succeeded him as the organist
samp
leOrlando di Lassus. He also studied with his uncle, Andrea Gabrieli, and eventually succeeded him as the organist and composer at St Mark’s Basilica in Venice. Already renowned as a musical centre, Venice became a magnet
samp
leand composer at St Mark’s Basilica in Venice. Already renowned as a musical centre, Venice became a magnet for composers wishing to study with Gabrieli after ‘Symphoniae Sacrae’ was published.
samp
lefor composers wishing to study with Gabrieli after ‘Symphoniae Sacrae’ was published.Like many of his works, this Canzona was written to take advantage of the unique layout of St Mark’s, which
samp
leLike many of his works, this Canzona was written to take advantage of the unique layout of St Mark’s, which had galleries on three sides where the musicians could be placed to create novel spatial effects - utterly new
samp
lehad galleries on three sides where the musicians could be placed to create novel spatial effects - utterly new and exciting for sixteenth century listeners. Canzona XIII has three different antiphonal ‘choirs’ and in this
samp
leand exciting for sixteenth century listeners. Canzona XIII has three different antiphonal ‘choirs’ and in this arrangement the band is split into three groups to reflect Gabrieli’s innovative idea. Ideally the three groups
samp
learrangement the band is split into three groups to reflect Gabrieli’s innovative idea. Ideally the three groups should be clearly separated so the the antiphonal effect comes across clearly, although this will of course depend
samp
leshould be clearly separated so the the antiphonal effect comes across clearly, although this will of course depend on the performance space. On no account should the band remain in its normal seated formation!
samp
leon the performance space. On no account should the band remain in its normal seated formation!
As Gabrieli didn’t have any percussionists (and percussion was widely thought inappropriate for music performed
samp
leAs Gabrieli didn’t have any percussionists (and percussion was widely thought inappropriate for music performed in church anyway) there are no percussion parts in this music.
samp
lein church anyway) there are no percussion parts in this music.
This arrangement was first performed by the Coppull and Standish Band conducted by Andrew Baker in 2009.
samp
leThis arrangement was first performed by the Coppull and Standish Band conducted by Andrew Baker in 2009.
Duration approximately 2’27”.
samp
leDuration approximately 2’27”.
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Soprano Cornet (A)
Solo Cornet 1 (A)
2nd Cornet (A)
1st Horn (A)
1st Baritone (A)
2nd Trombone (A)
Euphonium 2 (A)
Solo Cornet 2/Rep (B)
3rd Cornet (B)
2nd Baritone (B)
1st Trombone (B)
Eb Bass 1 (B)
Bb Bass 1 (B)
Solo Cornet 3/4 (C)
Flugel (C)
Solo Horn (C)
2nd Horn (C)
Euphonium 1 (C)
Bass Trombone (C)
Eb Bass 2 (C)
Bb Bass 2 (C)
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Maestoso con moto h = 84
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Canzona XIIIGiovanni Gabrieli
Arranged by Andrew Baker
© Morthanveld Publishing Ltd 2015 |
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Sop. Cnt.
Solo Cnt.
2nd Cnt.
1st Hn.
1st Bar.
2nd Tbn.
Euph. 2
S Cor.2/Rep
3rd Cnt.
2nd Bar.
1st Tbn.
Eb Bass 1
Bb Bass 1
S. Cnt. 3/4
Flug.
Solo Hn.
2nd Hn.
Euph. 1
B. Tbn.
Eb Bass 2
Bb Bass 2
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© Morthanveld Publishing Ltd 2015 |
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