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Hyperion Records

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Track(s) taken from CDA66908
Recording details: March 1997
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell & Julian Millard
Release date: September 1997
Total duration: 5 minutes 12 seconds

'This superb disc … is the very essence of La Serenissima. Masterly performances, alive with authentic detail' (BBC Music Magazine)

'Excellent. The playing is fluent and exhilarating. An excellent recording. The notes are exemplary' (Classic CD)

'Magnificent. The range of color, breadth and depth of sonority and the majestic nobility of the composer's conception are all revealed in a manner even the most expert of modern brass players could not possibly emulate. A superlative disc and a real credit to everyone involved' (Fanfare, USA)

'L'ensemble anglais est aujourd'hui au sommet de son art' (Répertoire, France)

Sonata pian' e forte a 8, alla quarta bassa, C175
composer
1597; No 6 of Sacrae Symphoniae

Introduction
This celebrated masterpiece, one of the collection’s two sonatas, is based on a dialogue between two choirs contrasted in both pitch and timbre: the higher choir, of cornett and three sackbuts, is answered by a lower group with a viola on the top line. The piece is essentially an elegiac melody, expressively harmonized, that is passed from choir to choir; the long-breathed lines do not in themselves create much contrast, until the greater animation of the final tutti. Thus Gabrieli’s indications of loud and soft, though not unique in his work, do play a vital role in articulating the structure and are one of his many imaginative solutions to the problems of instrumental composition.

The Sonata pian’ e forte is the only one of the 1597 instrumental pieces without a designated mode. Each of the modes could be used at a high or a low pitch; here the words alla quarta bassa may indicate that the sonata, conceived outside the modal system, is already notated at low pitch and—unlike the eight-part canzonas?—should not be transposed down.

from notes by Timothy Roberts 1997

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