Sonata Pian’e Forte

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

Sonata Pian’e Forte

Giovanni Gabrieli (1554?-1612)

Arranged for brass band byAndrew Baker

Sonata Pian’e Forte means an instrumental piece using soft and loud dynamics. A “Sonata” (at this time) meant a piece for instruments (as opposed to voices). It was probably written to be played as part of a service at St Mark’s, Venice. This is the earliest known piece to specify both the instruments to be played AND the dynamics in the written music.

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, Sonata Pian’e Forte 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. Sonata Pian’e Forte has two different antiphonal ‘choirs’ and in this arrangement the band is split into two groups to reflect Gabrieli’s innovative idea. Ideally the two 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 Blackley Band conducted by Andrew Baker in 2004.

Duration approximately 4’20”.

© Morthanveld Publishing Ltd 2017

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

means an instrumental piece using soft and loud dynamics. A “Sonata” (at this time) meant

samp

le means an instrumental piece using soft and loud dynamics. A “Sonata” (at this time) meant

a piece for instruments (as opposed to voices). It was probably written to be played as part of a service at St

samp

lea piece for instruments (as opposed to voices). It was probably written to be played as part of a service at St Mark’s, Venice. This is the earliest known piece to specify both the instruments to be played AND the dynamics

samp

leMark’s, Venice. This is the earliest known piece to specify both the instruments to be played AND the dynamics 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

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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.

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lefor composers wishing to study with Gabrieli after ‘Symphoniae Sacrae’ was published. was written to take advantage of the unique layout of St Mark’s,

samp

le 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

samp

lewhich had galleries on three sides where the musicians could be placed to create novel spatial effects - utterly new and exciting for sixteenth century listeners.

samp

lenew and exciting for sixteenth century listeners. Sonata Pian’e Forte

samp

leSonata Pian’e Forte has two different antiphonal ‘choirs’ and in

samp

le has two different antiphonal ‘choirs’ and in

this arrangement the band is split into two groups to reflect Gabrieli’s innovative idea. Ideally the two groups

samp

lethis arrangement the band is split into two groups to reflect Gabrieli’s innovative idea. Ideally the two 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

sample

in church anyway) there are no percussion parts in this music.

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lein church anyway) there are no percussion parts in this music.

This arrangement was first performed by the Blackley Band conducted by Andrew Baker in 2004.

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leThis arrangement was first performed by the Blackley Band conducted by Andrew Baker in 2004.

Duration approximately 4’20”.

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leDuration approximately 4’20”.

Soprano Cornet in Eb(Choir 1 voice A)

Solo Cornet 1&2 (Choir 1 voice A)

Solo Cornet 3&4(Choir 1 voice B)

2nd Cornet (Choir 1 voice B)

Repiano Cornet(Choir 1 voice C)

3rd Cornet(Choir 1 voice C)

1st Trombone (Choir 1 voice D)

2nd Trombone(Choir 1 voice D)

Bass Trombone(Choir 1 voice D)

Flugel (Choir 2 voice A)

Solo Horn (Choir 2 voice A)

1st Horn (Choir 2 voice A)

2nd Horn (Choir 2 voice B)

1st Baritone (Choir 2 voice B)

2nd Baritone(Choir 2 voice B)

Euphonium(Choir 2 voice C)

Eb Bass(Choir 2 voice D)

Bb Bass(Choir 2 voice D)

Andante (not too slow)q =76+

p poco legato

p poco legato

p poco legato

p poco legato

Giovanni GabrieliArranged by Andrew Baker

(No. 6, Symphoniae Sacrae, 1597)Sonata Pian' e Forte

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Sop. Cnt.

Solo Cnt. 1&2

Solo Cnt. 3&4

2nd Cnt.

Rep. Cnt.

3rd Cnt.

1st Tbn.

2nd Tbn.

B. Tbn.

Flug.

Solo Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

Euph.

Eb Bass

Bb Bass

A9

poco cresc. mp p

poco cresc. mp p

poco cresc. mp p

poco cresc. mp p

p poco legato

p poco legato

p poco legato

p poco legato

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2

© Morthanveld Publishing Ltd 2017 |

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Sop. Cnt.

Solo Cnt. 1&2

Solo Cnt. 3&4

2nd Cnt.

Rep. Cnt.

3rd Cnt.

1st Tbn.

2nd Tbn.

B. Tbn.

Flug.

Solo Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

Euph.

Eb Bass

Bb Bass

17

mp p pp

mp p pp

mp p pp f

mp p pp

tutti

3

© Morthanveld Publishing Ltd 2017 |

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Solo Cnt. 3&4

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B. Tbn.

Flug.

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Bb Bass

f

poco marcatoB26

f p p poco legato

fpp poco legato

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f

f p poco legato

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tutti solo

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1st Tbn.

2nd Tbn.

B. Tbn.

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Solo Hn.

1st Hn.

2nd Hn.

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2nd Bar.

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poco marcato33

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Sop. Cnt.

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Solo Cnt. 3&4

2nd Cnt.

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3rd Cnt.

1st Tbn.

2nd Tbn.

B. Tbn.

Flug.

Solo Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

Euph.

Eb Bass

Bb Bass

C41

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p

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Sop. Cnt.

Solo Cnt. 1&2

Solo Cnt. 3&4

2nd Cnt.

Rep. Cnt.

3rd Cnt.

1st Tbn.

2nd Tbn.

B. Tbn.

Flug.

Solo Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

Euph.

Eb Bass

Bb Bass

f

49

f p

f p

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tutti solo

tutti solo

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Sop. Cnt.

Solo Cnt. 1&2

Solo Cnt. 3&4

2nd Cnt.

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1st Tbn.

2nd Tbn.

B. Tbn.

Flug.

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2nd Hn.

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solo tutti

solo tutti

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Sop. Cnt.

Solo Cnt. 1&2

Solo Cnt. 3&4

2nd Cnt.

Rep. Cnt.

3rd Cnt.

1st Tbn.

2nd Tbn.

B. Tbn.

Flug.

Solo Hn.

1st Hn.

2nd Hn.

1st Bar.

2nd Bar.

Euph.

Eb Bass

Bb Bass

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solo tutti

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