Gabrieli’s Canzone e Sonate No.1 (1615) is scored for 2 Trumpets and 3 Trombones or 2 Trumpets, Horn, and 2 Trombones. This edition includes alternative parts so you can play with whatever ensemble you choose.

This particular piece stands out as the most conservative among its collection. At first glance, it bears a striking resemblance to the canzonas crafted by earlier composers like Maschera or Merulo. It shares common traits such as the traditional rhythmic structure of the opening motif, the reiteration of the initial section towards the conclusion, and a succession of imitative passages occasionally interspersed with more homophonic textures.

However, upon closer inspection, several characteristics emerge that are more emblematic of Gabrieli’s distinctive style at its peak. For instance, the opening theme undergoes a more extensive development compared to what would typically be found in Maschera’s compositions. It also exhibits features reminiscent of the seventeenth-century ricercar subject, characterized by a dual thematic framework that later evolved into the “subject” and “countersubject” of the Baroque fugue.

In this piece, the latter half of the theme remains somewhat indistinct, often comprising little more than a standard suspension occasionally extended into a sequence. Nonetheless, its independent development, particularly evident in measures 19-22, holds significance, especially considering Gabrieli’s further exploration of this structural approach in other pieces within the 1615 collection, notably no. 3.

Additional characteristic features of Gabrieli’s style include the introduction of a dotted motive starting at bar 30, as well as the expressive “madrigalesque” gesture involving a diminished fifth, a recurring interval in Gabrieli’s later works, which appears several times in the upper part, notably at bar 36.

Furthermore, the middle section of the piece, with its broader harmonic range and more varied texture, showcases a more advanced style compared to the opening section. Consequently, the reintroduction of the initial section in “canzona style” effectively highlights the expressive depth of the intervening middle section.

A notable alteration in this work involves transposing the bass parts down by a tone, presenting no significant editorial challenges beyond the correction of minor errors. Remarkably, the absence of specified instruments allows for greater interpretive flexibility.

Take a look at some sample pages to the left and then click above for an immediate PDF download.