Page 57 - (DK) The Classical Music Book - Big Ideas Simply Explained

RENAISSANCE 1400–1600 55

THIS FEAST … DID EVEN

RAVISH AND STUPEFIE ALL

THOSE STRANGERS THAT

NEVER HEARD THE LIKE

SONATA PIAN’ E FORTE (1597), GIOVANNI GABRIELI

he Basilica of St. Mark’s Gabrieli, appointed organist of
IN CONTEXT in Venice provides a St. Mark’s in 1566, and his nephew
T dramatic setting for Giovanni Gabrieli, employed the
FOCUS composers exploring instrumental Venetian ensembles of pifferi
Renaissance wind bands
timbre and the use of space. The (civic wind players) both to
BEFORE Flemish composer Adrian Willaert reinforce a vocal ensemble or for
c. 1480 A choir book prepared was the first to exploit its potential purely instrumental purposes.
as a gift for Isabella d’Esté on when he became musical director
the occasion of her marriage, there in 1527. His chori spezzati Dramatic impact
contains part of the repertoire (“split choirs”) style divided the In the past, civic trumpeters had
of the wind ensemble of the ensemble around the galleries, mostly just sounded the curfew and
Duke of Ferrara, one of the giving performances a greater played for dances. As Renaissance
most accomplished of the day. theatricality. Learning the chori cities and nation-states jostled
spezzati style from Willaert, Andrea for power, the role of their
1582 Florentio Maschera instrumentalists became more
publishes the first collection of important. Music making of the
canzoni, Italian instrumental highest order was encouraged, and
pieces for violins, or cornetts in this Venice became preeminent.
and sackbuts. Giovanni Gabrieli’s Sonata pian’
e forte (1597), for six trombones,
AFTER a cornett, and a viola da braccio
1585–1598 Venetian (early violin), was the first work for
cornettist Giovanni Bassano specific brass instruments and the
publishes his book of passaggi, first to include dynamic indications
virtuosic ornamented versions of loudness and softness for the
of motets and popular songs. players, adding dramatic light and
Renaissance recorders were often shade effects. In the shimmering
1661 In England, the used to accompany songs. This image shadows of St. Mark’s, such an
“Sagbutts and Cornetts” of the from Musica getutscht (1511), a treatise intense sonata might accompany
on music theory by Sebastian Virdung,
Royal Wind Musick play suites illustrates fingering on the instrument. the consecration of the Host. ■
by Matthew Locke for the
coronation of Charles II. See also: Canticum Canticorum 46–51 ■ Water Music 84–89 ■ The Four
Seasons 92–97 ■ St. Matthew Passion 98–105 ■ Elijah 170–173

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