0:00 Choir 1 introduces the first theme in a piano dynamic in a slow tempo and duple meter. Like many early sonatas and canzonas, the composition starts with a repeated-note motive. The notes and harmonies come from the Dorian mode, a predecessor to the minor scale. The composition starts in the key of G. Strophe 1: Ave, generosa, “Hail generous one” 0:25 As the first choir cadences, the second choir begins, playing a new theme still at a piano dynamic and slow tempo. Later in the theme the repeated note motive (first heard in the first theme of the composition) returns. Strophe 1 continues: Gloriosa et intacta puella... “Noble, glorious, and whole woman...” 0:52 Choirs 1 and 2 play together in a tutti section at a forte dynamic. The new theme features faster notes than the first two themes and the parts are more (The key moves to the Mixolydian mode, a predecessor to the major scale, and the key moves to C.) Strophe 2: Nam hec superna infusio in te fuit... “The essences of heaven flooded into you...” 1:02 Central antiphonal section. Choir 1 opens with a short phrase using a piano dynamics and answered by choir 2 with a different short phrase, also with a piano dynamics. This call and response continues. Some times, the phrases last for only two measures; other times they are as long as four measures. After each passage of antiphonal exchanges, there is music of three to four measures in length where the whole ensemble joins together, usually with different melodic material (e.g. 40-43). The tonal or key center shifts during this section. There is a new theme that uses dotted rhythms that starts in measure 60 (approximately 2:07 in the recording). Strophe 3: O pulsherrima et dulcissima... “O lovely and tender one...” 2:34 Repetition of the melody to new words sung by all with monophonic texture (the drone continues) Strophe 4: Venter enim tuus gaudium havuit... “Your womb held joy...” souce : human.libretexts.org/Bookshelves/Music/Book%3A_Understanding_Music_-_Past_and_Present_(Clark_et_al.)/04%3A_Music_of_the_Baroque_Period/4.04%3A_New_Music_for_Instruments Im only putting this here for study reasons...
LA MÚSICA POLICORAL EN VENECIA,gabrieli hizo famoso este estilo,explotando los coros múltiples,en que todas las voces se unen en la misma sílaba al mismo tiempo,lo cual hace más inteligibles las palabras..FUE el primero en indicar las dinámicas aprovechando al ma´ximo sus contrastes posibles entre un grupo de cuerdas y uno de viento,como en esta sonata que podemos oir.También fue el primero en indicar que instrumentos se habían de tocar en una pieza cncreta,logrando entre las voces y los instrumentos un equilibrio sonoro sin precedentes en su tiempo.El moete policoral ,OH que suave escrito para dos corosSATB e instrumentos,es de un gran cromatismo y de una intrincada interacción rítmica entre los dos coros,los cuales alternan el acnto antifonal y conjunto.Estos rasgos anuncial el amancer de una nueva era:el opulento y dramático período barroco.
Music makes what Gabrieli was speaking to us about a better world through music in order to become us into a better human being citizen. You have the skill to raise the goal that Gabrieli had for everyone. Thanks to you for making such as great performance with such as subtle accuracy. God bless you.
The slide instruments are trombones, replicas of the instruments in use in Gabrielli's time. The Italian name was always 'trombone' (pl. tromboni) and 'posaune' in Germany. The name 'sackbut' was used in England until the Italian name was adopted universally as the instrument became a regular part of the symphony orchestra. Even by the early 20th Century trombones still looked very much like those in this video, it was only during the 20th Century that a larger bore and wider bell became standard, and the G bass with the slide handle was replaced by the large bore B flat/F/E instrument.
I was in the running for a piece to play in an ensemble contest. So I saw this video. I thought it was a lovely performance. I want to do my best! アンサンブルコンテストで演奏する曲を探していました なのでこの動画を見させていただきました とても素敵な演奏です コンテストは頑張りたいです！ (…英語正しいかな)
@JoeShmoe102 It depends on whether you're using an alto, a tenor or a bass sackbutt. I'm a little hazy, but I seem to recall that the tenor sackbutt uses the same positions as a modern tenor trombone. But even if the pitches are a little off from the modern instrument, the relative positions should be the same.
This piece is on 'Venise Sur Garonne' by this group (Les Sacqueboutiers) but played slower (like to much Gabrieli)... and apparently mislabeled (the track listing shows it as No 9 when in fact it is track 8
0:00 Choir 1 introduces the first theme in a piano dynamic in a slow tempo and duple meter. Like many early sonatas and canzonas, the composition starts with a repeated-note motive. The notes and harmonies come from the Dorian mode, a predecessor to the minor scale. The composition starts in the key of G.
Strophe 1: Ave, generosa, “Hail generous one”
0:25 As the first choir cadences, the second choir begins, playing a new theme still at a piano dynamic and slow tempo. Later in the theme the repeated note motive (first heard in the first theme of the composition) returns.
Strophe 1 continues: Gloriosa et intacta puella...
“Noble, glorious, and whole woman...”
0:52 Choirs 1 and 2 play together in a tutti section at a forte dynamic. The new theme features faster notes than the first two themes and the parts are more (The key moves to the Mixolydian mode, a predecessor to the major scale, and the key moves to C.)
Strophe 2: Nam hec superna infusio in te fuit...
“The essences of heaven flooded into you...”
1:02 Central antiphonal section. Choir
1 opens with a short phrase using a piano dynamics and answered by choir 2 with a different short phrase, also with a piano dynamics. This call and response continues. Some times, the phrases last for only two measures; other times they are as long as four measures. After each passage
of antiphonal exchanges, there is music of three to four measures in length where the whole ensemble joins together, usually with different melodic material (e.g. 40-43). The tonal or key center shifts during this section. There is a new theme that uses dotted rhythms that starts in measure 60 (approximately 2:07 in the recording).
Strophe 3: O pulsherrima et dulcissima...
“O lovely and tender one...”
2:34 Repetition of the melody to new words sung by all with monophonic texture (the drone continues)
Strophe 4: Venter enim tuus gaudium havuit...
“Your womb held joy...”
souce : human.libretexts.org/Bookshelves/Music/Book%3A_Understanding_Music_-_Past_and_Present_(Clark_et_al.)/04%3A_Music_of_the_Baroque_Period/4.04%3A_New_Music_for_Instruments
Im only putting this here for study reasons...
School brought me here.
me to
me too :(
Wow. That was beautiful
LA MÚSICA POLICORAL EN VENECIA,gabrieli hizo famoso este estilo,explotando los coros múltiples,en que todas las voces se unen en la misma sílaba al mismo tiempo,lo cual hace más inteligibles las palabras..FUE el primero en indicar las dinámicas aprovechando al ma´ximo sus contrastes posibles entre un grupo de cuerdas y uno de viento,como en esta sonata que podemos oir.También fue el primero en indicar que instrumentos se habían de tocar en una pieza cncreta,logrando entre las voces y los instrumentos un equilibrio sonoro sin precedentes en su tiempo.El moete policoral ,OH que suave escrito para dos corosSATB e instrumentos,es de un gran cromatismo y de una intrincada interacción rítmica entre los dos coros,los cuales alternan el acnto antifonal y conjunto.Estos rasgos anuncial el amancer de una nueva era:el opulento y dramático período barroco.
Music makes what Gabrieli was speaking to us about a better world through music in order to become us into a better human being citizen. You have the skill to raise the goal that Gabrieli had for everyone. Thanks to you for making such as great performance with such as subtle accuracy. God bless you.
The slide instruments are trombones, replicas of the instruments in use in Gabrielli's time. The Italian name was always 'trombone' (pl. tromboni) and 'posaune' in Germany. The name 'sackbut' was used in England until the Italian name was adopted universally as the instrument became a regular part of the symphony orchestra. Even by the early 20th Century trombones still looked very much like those in this video, it was only during the 20th Century that a larger bore and wider bell became standard, and the G bass with the slide handle was replaced by the large bore B flat/F/E instrument.
I was in the running for a piece to play in an ensemble contest.
So I saw this video.
I thought it was a lovely performance.
I want to do my best!
アンサンブルコンテストで演奏する曲を探していました
なのでこの動画を見させていただきました
とても素敵な演奏です
コンテストは頑張りたいです！
(…英語正しいかな)
Such an amazing song we played this at my stepbrothers wedding and funeral! Kudos to the writer ;)
Wind instruments were the main things playing in Giovanni Gabriel's Sonata pian e forte.
Wonderfully well played, and the authentic instruments have a unique and soulful sound.
Wind instruments were the only instruments being used in this song.
Period 1
I can tell that was from a school assignment.
brilliant performance
@JoeShmoe102 It depends on whether you're using an alto, a tenor or a bass sackbutt. I'm a little hazy, but I seem to recall that the tenor sackbutt uses the same positions as a modern tenor trombone. But even if the pitches are a little off from the modern instrument, the relative positions should be the same.
love
👏👏👏❤️💕💕💕
Belle musique. Je crois avoir reconnu des musiciens: Daniel LASALLE et Jean Pierre CANILAC.
i miss the viola, but otherwise it's great
Anyone have details on the ensemble playing (and whether this is available on CD?)
Comment for Andreq McCullough here!
@billis123 yes who are they??
are each note and position on a sagbut the same as on a trombone?
Is there a way to download this for free
Does anyone know what year this was and whether there is a recording of this particular performance on CD?
This piece is on 'Venise Sur Garonne' by this group (Les Sacqueboutiers) but played slower (like to much Gabrieli)... and apparently mislabeled (the track listing shows it as No 9 when in fact it is track 8
Les Sacquebuteurs
Nee ni mooi
s
Please, i must ask, who are the players?
idk
love