The Classical Music Book

55

See also: Canticum Canticorum 46–51 ■ Water Music 84–89 ■ The Four

Seasons 92–97 ■ St. Matthew Passion 98–105 ■ Elijah 170 –173

T

he Basilica of St. Mark’s

in Venice provides a

dramatic setting for

composers exploring instrumental

timbre and the use of space. The

Flemish composer Adrian Willaert

was the first to exploit its potential

when he became musical director

there in 1527. His chori spezzati

(“split choirs”) style divided the

ensemble around the galleries,

giving performances a greater

theatricality. Learning the chori

spezzati style from Willaert, Andrea

Gabrieli, appointed organist of

St. Mark’s in 1566, and his nephew

Giovanni Gabrieli, employed the

Venetian ensembles of pifferi

(civic wind players) both to

reinforce a vocal ensemble or for

purely instrumental purposes.

Dramatic impact

In the past, civic trumpeters had

mostly just sounded the curfew and

played for dances. As Renaissance

cities and nation-states jostled

for power, the role of their

instrumentalists became more

important. Music making of the

highest order was encouraged, and

in this Venice became preeminent.

Giovanni Gabrieli’s Sonata pian’

e forte (1597), for six trombones,

a cornett, and a viola da braccio

(early violin), was the first work for

specific brass instruments and the

first to include dynamic indications

of loudness and softness for the

players, adding dramatic light and

shade effects. In the shimmering

shadows of St. Mark’s, such an

intense sonata might accompany

the consecration of the Host. ■

RENAISSANCE 1400–1600

THIS FEAST ... DID EVEN

RAVISH AND STUPEFIE ALL

THOSE STRANGERS THAT

NEVER HEARD THE LIKE

SONATA PIAN’ E FORTE ( 1597 ), GIOVANNI GABRIELI

IN CONTEXT

FOCUS

Renaissance wind bands

BEFORE

c. 1480 A choir book prepared

as a gift for Isabella d’Esté on

the occasion of her marriage,

contains part of the repertoire

of the wind ensemble of the

Duke of Ferrara, one of the

most accomplished of the day.

1582 Florentio Maschera

publishes the first collection of

canzoni, Italian instrumental

pieces for violins, or cornetts

and sackbuts.

AFTER

1585–1598 Venet ia n

cornettist Giovanni Bassano

publishes his book of passaggi,

virtuosic ornamented versions

of motets and popular songs.

1661 In England, the

“Sagbutts and Cornetts” of the

Royal Wind Musick play suites

by Matthew Locke for the

coronation of Charles II.

Renaissance recorders were often

used to accompany songs. This image

from Musica getutscht (1511), a treatise

on music theory by Sebastian Virdung,

illustrates fingering on the instrument.

US_054-055_Giovanni_Gabrieli_Thomas_Weelkes.indd 55 26/03/18 1:00 PM