Canzon duodecimi toni in eco à 10 (Symphoniae Sacrae 1597);
Sonata "piano & forte" à 8 (Symphoniae Sacrae 1597);
Canzon duodecimi toni à 10 (Symphoniae Sacrae 1597);
Canzon III à 6 (Symphoniae Sacrae 1615);
Sonata XVIII à 14 (Symphoniae Sacrae 1615);
Canzon noni toni à 12 (Symphoniae Sacrae 1597);
Canzon IV à 6 (Symphoniae Sacrae 1615);
Canzon XVI à 12 (Symphoniae Sacrae 1615);
Canzon VIII à 8 (Symphoniae Sacrae 1615);
Canzon XVII à 12 (Symphoniae Sacrae 1615);
Canzon prima à 5 (Symphoniae Sacrae 1615);
Canzon septimi & octavi toni à 12 (Symphoniae Sacrae 1597);
Sonata XXI (Symphoniae Sacrae 1615);
Canzon octavi toni à 12 (Symphoniae Sacrae 1597);
Canzon X à 8 (Symphoniae Sacrae 1615);
La Spiritata à 4 (Raveri 1608);
Canzon quarti toni à 15 (Symphoniae Sacrae 1597);
Canzon II à 6 (Symphoniae Sacrae 1615);
Sonata XX à 22 (Symphoniae Sacrae 1615).
Verfasser*innenangabe:
Giovanni Gabrieli ; Les Sacqueboutiers Ensemble de cuivres anciens de Toulouse
Jahr:
2014
Verlag:
Flora
Aufsätze:
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Systematik:
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CD.08
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Beschreibung:
1 CD (79:16 Minuten) + 1 fixiertes Beiheft (31 Seiten)
Schlagwörter:
CD, Kanzone <Musik>, Renaissancemusik, Sonate, Venedig, CDs, Canzon, Canzon da sonar, Canzona, Sonatas, Sonaten, Sonates, Venedig <Republik> , Venedig <Staat>, Venezia
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Originaltitel:
Symphonieae Sacreae
Fußnote:
Interpreten: Les Sacqueboutiers Ensemble de cuivres anciens de Toulouse. - Aufnahme: Enregistrement réalisé par Aline Blondiau à l'annexe Barrière de Paris du Conservatoire à Rayonnement Régional de Toulouse en mars 2014. - Bestellnummer: FLO 3314. - Anmerkung: During the XVIth century, in San Marco Basilica of Venice, two organs were facing each other on the loft surrounding the choir. Both organist positions were occupied by famous musicians such as Giovanni Gabrieli, pupil of his uncle Andrea, and Gioseffo Guami, a pupil of Adrian Willaert. The location of these instruments allowed the musicians to compose pieces for several groups of voices which were still called "choirs". Such a use of various choirs originates in the two organs of San Marco, but probably more in the interpretation of psalms by separate choirs, the "cori spezzatti', in whole Northern Italy. This distribution of sound amongst several choirs gave birth to a new musical style that most composers of the early XVIIth century called : the "echo". This way of writing music allowed the composers to take advantage of the generous acoustics of churches and basilicas, providing a resonant representation of the vastness of these places. Moreover, the distribution of instruments by homogeneous families gave birth to the notion of orchestra, the way we nowadays consider it. The part played by these "choirs" becoming more and more important, and finally the composition of purely instrumental music resulted in the conception of magnificent Canzoni whose style was progressively exported in the whole XVIIth century Europe. The programme "Venise sur Garonne" gathers the most prominent pieces of work originally and mostly devoted to cornetti and sackbuts as specially the Canzoni requiring the largest number of instruments, up to 22 distinct voices distributed among 5 different choirs. [...]
Mediengruppe:
Compact Disc