Historical Notes ‘Giovanni Uabriett was bora in Venice in about 1557 and died there on August 12th. 1612, There is some uncertalnty about both hie birth aud death date the tombstone at San Stefano gives the date of hie death as August 12th, 1613 and hie age ae tae, He probebly spent ble youth iu Veuve, receiving Ait rat musical inetriction from fie Gale And¥as, Gabriell. ‘From about 1575 10 1579 Giovanel was a mamber of the Bavarian court chapel at Muaich, Shere Rese amis di Laven. In 1504 he followed Me ocle Andrea ae secoud orguaiet at the church of San Marco in Venice, and after Andren's death 1a TSAA ne sucesndad him a0 Het organiet of Andrea's pupile, among them Hans Leo Hassler, with whom he formed « lifelong iriandantp. Gio: Vaal Gabrieli enjoyed an extraordinary reper her of composition, Sd shudente carne fo etusy with tim from Italy, Germany, the Netherlands, and Denmark. He favorite aud most famous pupil was Heinrich Sehtt, snare! published here ie one of four which firet appeared at the bexluniag of ‘The "Cansons per 1 collection of thirty ‘Cintas b ama can ‘per Lorgang, nowamente racsonte $3 diversi accallentissimi BBUgisi, published in Venice ie 1608 by Alessandro Revert). popular form of composition i Italy during the latter part of the 1 wae closely related to « type of French Popular tn Europe during the 1s20"s and 1i40's. thie Pelationsnip ‘Derwaen the instrumental canzons and the French and Flemish chanson ean be ¢een in the aumber of ports, the quarter note rhythm, the character of the opeuitn sections, ual the alteration vf see ous ia imitative and homopbonic styles. The principal strucniral difference hetuenn the chan |. wae tn four parte, ueually desig: ‘Phe instrumental cangona had a number of typical festa ated CANTO, ALTO, TENORE, and BASSO, cach approaimmat-ly equivalent in range to tbe cor Fesponding part in the vos) ananmbia. itu contrapenval style wae characterised ty imitations Appearing at clove time intervaie. Ite rhythm was gay and sprightly, and written ia 4/4 time, The utc! tempo ta, of couree, aot hnown, but we do how that twas considered iriek for itn time. fee tonal acheme wan ell-dedined. Te mada use af aither an immadiate repetition or a later recapirala ton of one or more of Ike sections. Its initial rhythm was vrually that of the so-called "cennooa, motive" [J du] whlch was ofteu changed to ?déd at the repetition, ite subjects often rexembled moms ied Tu the chauuon and ihowe used ip other cansonas ‘The four-part Gabrieit cansonas in tha Raverij collection ware undoubtedly writtes long before they wore published, probably for use as chamber rousic by the players of the eacelleut nstranvent tal chapel ‘at San Marco. They are couservative ia form and ia the mumber of parts. The frst ‘aes use of tbe principle of immediate repacision with a form of ARCDD. The ether thtee make ‘use of the principle of later recapitulation with a form of A.s.A. The introduction of the basa? continuo is Indicative of « sew trem in the hlatory of the instrumental exneona, bat the HAMAD ‘continu part in these particular cansonas ie nothing more than a Basge geguante and cam just at ‘Nell be done without.” Rhythnically and stylistically theee canconas look forward ralher thea back, The trot, "La Spirtara, "ln the moat interesting of the four, and ona of the moat original Of ite lime. "Tee rhythmic variaty ie extraordinary, wlth note valuen ranging all the way from + te 2 and ‘with much melodie charm ae wel ‘The other three canzonas DIDLIOGRAPHY Arnold. Denis, "Giovanni Gabriel." Dis Musik ip Geschichte und Gegensaxt- vol. tv, 110421208. Crocker, E. C. An Intvoductory Study of the Italian Cansona for Instrumental Ensembles, Uapub- ahed Ph.D. divsertation. Radeliffe College, 1943. AL, 28298MUSIC FOR BRASS No. 39 1 Canzona per sonare No 1 ft Canzoni per sonare con aga vote di stromenti, Venice, 1608 La Spiritata ovale CaeeierT Moderato [¢ = 80] BY TRUMPET | = of B TRUMPET 1H F HORN BARITONE. ‘TUBA Robert King Muste Co. 1959 sitions Musicales Alphonse Leduc 175, ue Si, Homoré, 75040 Paris cedex O1 Printed in France AL. 28298Allegro [4 = 120; dae] = AL, 28298AL. 28298AL. 28298 SPEI-x- 96)(ssaeem=]Canzona per sonare No.1 TROMBONE La Spiritata GlovaNn gant TROMBO areata) Moderate aS . Sere taut pep, Se eet 4 care f gett aT fpr B. Atego dee. pe rf =e ef == P —~Moderato o-=4 7 C.. ~ bao a f 2 *. gam = ae = D AL, 28298Canzona per sonare No 1] La Spiritata GIOVANNI GazRu eu Sea Moderato SS et ee TUBA mf 4 = ts a Allegro ‘d= 0° P [ee] On Moderato 0-4 ales Alphonse Leduc 18, 75040 Paris ealea 01 AL, 28298Canzona per sonare No. I BARITONE La Spiritata Trombone (mBT-1812) Moderato @ Robart King Music Co. 1959 Editions Mi 175, rue St Iphonse Leduc 3, 75040 Paris cedex 1 eeCanzona per sonare No.1 On La Spiritata ora Geran Moderato at ty Somes Boe mf a a) 2S eS Allegro d<0- Pp ae Moderato 0-=4 Qrerert xing Music Cotes ‘eA AL, 28298Canzona per sonare No.1 La Spiritata BP TRUMPET I! GIOVAN NT GerieiS} Moderato ated by Resear Kine mf Fame 5 fs = ett \ Allegro 4 +0: = =a a tot = ee ee B Moderato _a-=4 mf fal @ Robert King Music Co. 1959 ditions Musicales Alphonse Ledue 75, rue St. Honoré, ais codon 2 175,10 St. Hono, 5040 Par uta 01 aeCanzona per sonare No.1 B° TRUMPET | La Spiritata GIOVANNT GaBameLE Moderato Ee @ Robert King Music Go. 1959 Alphonse Leduc t. Honors, 75040 Paris codex O1 Prance AL, 28298