Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 8 bassoons and contrabassoon. Note: If a contrabassoon is unavailable, the part can be performed by a regular bassoon. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms.
Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow.
Innovations
First of all, Gabrieli preferred
sacred vocal and certainly instrumental music. Hence, he concentrated on music
that consequently took advantage of resonance and likewise reverberation for
maximum effect. Seems like Gabrieli may have invented dynamics or was rather
the first to indicate them such as in his Sonata Pian e Forte.
Consequently, he was also a pioneer in spatial techniques. He therefore developed
and used very specific notation to indicate instrumentation. Gabrieli
experimented with assembling massive instrumental forces into isolated groups
separated by space. In this way, he consequently contributed heavily to the
Baroque Concertato style.
Polychoral
Works
Gabrieli probably used the layout of
the San Marco church for his experiments. This is because he worked there as a
musician and composer. Furthermore, the church had two choir lofts facing
each other. He certainly used these to create striking spatial effects between
instrumental forces. Certainly, many of his works are composed such that
a choir or instrumental group could first be heard on one side, then
consequently followed by a response from the group on the other side. Sometimes
there was probably a third group positioned near the main altar as well.
Spatial
Music
Above all, Gabrieli studied
carefully detailed groups of instruments and singers. Furthermore, it seems
like he created precise directions for instrumentation in rather more than two
groups. The instruments, because they could be appropriately situated, could
consequently be heard with perfect clearness at distant locations. As a result,
arrangements which seem bizarre on paper, can in contrast sound perfectly
in-balance.
First
Works
Finally, Gabrieli published his
first motets along with his uncle Andrea's compositions in Concerti (1587).
These compositions furthermore indicate considerable usage of dialogue
and echo effects. Consequently, here we see low and high choirs with the
variance between their ranges indicated by instrumental accompaniment. Seems
like Gabrielis later motets Sacrae Symphoniae (1597) move away
from close antiphony. In contrast, he moves towards not simply echoing the
material, but developing it by sequential choral entrances. Even more, he takes
this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier
works, here the instruments are certainly an essential part of the
presentation. Also, only parts marked: Capella are supposed to be sung.
Homophony
Hence, after 1605, Gabrieli moves to
a much more homophonic style. He writes sections purely for instruments which
calls "Sinfonia" and smaller sections for vocal soloists,
accompanied by a basso continuo.
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The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations.