Historical Notes MARY RASMUSSEN Giovanni Gabrieli ws born in Venice in about 1557 and died there on Angust 12th, 1612. There is some uncertainty about both his birth and death dates, arising from the fact that whereas the death rapieter of the congragarion of San Samuele given the above death date and cites his age as 58. the tombstone at San Stefano gives the date of his death as August 12th, 1613 and his age as 56. He probably spent his youth iu Veulve, seceiving his first musical inotruction trom hic uncle Andrea Gabrieli. From about 1575 to 1579 Giovanni wae a member of the Bavarian court chapel at Munich, where he is presumed to have etudied composition under Orlando di Lasso. In 1584 he followed his Uncle Andrea as second organist at the church of San Marca in Venice, and after Andrea's death in 1586 he succeeded him ae firet organtat. After his uncle's death Giovanni also inherited a number of Andrea's pupils, among them Hans Leo Hassler, with whom he formed a lifelong friendship. Gio vant Gabrieli enjoyed au extraordinary reputation as a teacher of composition, and students came ta etudy with him from Illy, Germany, the Netherlands, and Denmark. His favorite and moat famous pupil was Heinrich Schatz. The "Cansona per sonare" published here is one of four which first appeared at the beginning of a collection of thirty-six canzonas entitled Ganzoni per uguare congeni sorte di atromenti Cinque & atta con il suo basso geuccale per Lorgang. nouamente racconte da dive: musici. published in Venice in 1608 by Alessandro Raverij. ‘The instrumental canzona was a popular form of composition in Italy during the latter part of the sixteenth and the early part of the seventeenth centuries. It was closely related to a type of French and Flemish chancon which wae popular in Europe during the 1530's and 1540's, This relationship between the inetrumental canzona and the French and Flemish chanson can be seen in the number of parte, the quarter note rhythm, the character of the opening sections, and the alternation of ser~ fons in imitative aud homophonic styles. The principal structural ¢ifference hetween the chau~ Gon and the canzoua was that the canzona wae longer, Both as a whale and in its various sections. ‘The instrumental canzona had a number of typical features. It was in four parts, usually deviy- nated CANTO, ALTO, TENORE, and BASSO, each approximately equivalent in range to the cor- Teeponding part in the vocal ensemble. te contrapuntal style was characterized by imitations iipbaring at close time intervaie. Ite rhythm was gay and sprightly, and written in 4/4 time. The txact tempo is, of couree, not known, but we do know that it was considered brisk for ite time. Its Teal scheme wae well-defined. It made une of either an immediate repetition or a later recapitula~ thon of one or more of its sections. Ite initial rhythm was usually that of the so-called "canzoua Tnouve” [J de] wich way often changed to dad at the repetition, Ite subjects nften cenembled those used in the chanson and those used in other canzonas. ‘The four-part Gabrieli canzonas in the Raveriy collection were undoubtedly written long before they were published, probably for use ae chamber music by the players of the excellent instrumen tal chapel at San Maree, They are conservative in form and in the number of parte. The firet rakes use of the principle of immediate repetition with a form of ABCDD. The other three make toe of the principle of later recapitulation with a form of A...A. The introduction of the banay Contiauc ie indicative of a new trend in the history of the inetrumental canzona, but the basso Continup part in these particular canzonas is nothing more than 2 basso gequente and can just ax Sil be dene without, Rhythuuivally and stylistically these canzonae look forward rather than back. ‘The firet, “La Spirilata," is the most interesting of the four, and one of the most original of its time. lls rhytlmic variety ie extraordinary, with note values ranging all the way from ¢ to % and with much melodic charm as well. Ite opening section is {ree from the stereotyped canzona motive. The cller theee canzonae are much more conservative, cach beginning with the canzona mative, and all having related thematic material. BIBLIOGRAPHY Arnold, Denix. "Giovanni Gabrieli, " Die Musik in Geschichte und Geysnwart, Vol, IV, 1194-1209, Chocker, E, G. An Introductory Study of the Italian Ganzona for Instrumental Ensembles. Unpuh- ished Ph.D. dissertation, Radcliffe College, 1943.MUSIC FOR BRASS No. 69. Canzona per sonare No. 3 from Ganzomi per sonare con ogni sorte di stromenti, Venice, 1608 GIOVANNI GABRIFLT (1ee7-1612) Moderato [4 - 72] ied by Rome ve ‘BY TRUMPET 1 ® TRUMPET I F Hops santo “Trombone TUBA @ Robert King Music Co. 1959 ROBERT KING MUSIC CO. NORTH EASTON, MASS,allergande allargando allargendo MUSIC FOR BRASS No. 39 Canzona per sonare No.1 from Canzoni per sonare con ogni sorte di stromenti, Venice, 1608 La Spiritata GIOVANNI Duration: 3 > Gasaistt aB67.1612) ate by Ronan Rin Moderato [4 = 80] B TRUMPET | B) TRUMPET I} F HORN — Timbo BARITONE “rambo TUBA[ Substitute Part Canzona per sonare No. 3 GIOVANNI GADBIELI Storie TROMBONE saat by Soom re seeatieten Moderato L eo ketae beter = ¢ alegre [4 pe a 2 Moderato [v= ] nf a allergando @ Robert King Musle Co. 1959 ROBERT KING MUSIC CO. 60 NORTH EASTON, MASS.1a the interest of proper balance; use thie part only when there are at least three players on each of the other parte. Canzona per sonare No. 3 GIOVANNI GABRIELI ae * Gabi) Moderato coed ae Allegro [d= 0-] f mf ae SS = SS * Moderato [e-= d o « 1 @ Rovert King Muste Co. 1959 allergendo ROBERT KING MUSIC CO. MONTH EASTON, MASS.Canzona per sonare No. 3 BARITONE GIOVANNI GABRIELE (1657-1612) Bait by Rowen Kine Modefato = Allegre [4 = ¢-] mf f al = — P : — f S=ppiires ee allargando @Robert King Music Co, 1959 ROBERT KING MUSIC CO. oe NORTH EASTON, MASS.Canzona per sonare No. 3 F HORN ONAN ens eted oy Howser Kine Moderate, tf + Allcgro [d = o- a - Moderato [e-= 4] G Sas ee S| x ~ ~—silargando ROBERT KING MUSIC CO. we NORTH EASTON. MASS. @ Robert King Music Co. 1959Canzona per sonare No. 3 GIOVANNI Gannrer 8) TRUMPET II cagst-isi2y Baied ty Howmet Hane Moderato Allegro [4 = ¢-] of ess a = = aw P Moderato [o-= 4] tl we ailargena @ Robert King Mute Co, 1959 on ROBERT KING MUSIC CO.Canzona per sonare No. 3 ‘GIOVANNI GABRIELE B? TRUMPET | pune y SED Moderato a —— Sek be Re Xe * ft Allegro [4 = 0] : nf Moderato [-= 4]