Gabrieli’s Canzone e Sonate No.3 (1615) is written for 2 Trumpets and 4 Trombones 2 Trumpets, Horn, and 3 Trombones. This edition includes alternative parts for whatever scoring you prefer.

This composition stands as a remarkable testament to Gabrieli’s ingenuity in reimagining traditional elements into something entirely innovative. While it incorporates features commonly associated with his style, such as the prevalent use of diminished intervals and the recurring “double” subject found in many of his imitative works (as seen in Canzona II), the initial bars employ techniques that would have been deemed respectable even by stringent critics like Artusi, known for his stringent views on Monteverdi’s innovations. However, the piece quickly diverges from conventional norms, as demonstrated by the unconventional harmonic progressions achieved through the use of diminished intervals (e.g., G to E flat) and the intricate texture established by the interplay of the two initial motifs, setting it apart from traditional canzonas or ricercars.

As the composition unfolds, it evolves into a style characterized by greater freedom and expressiveness. Sections such as bars 44-53 exhibit distinctly “madrigalesque” gestures, reminiscent of vocal music from Gabrieli’s time, a departure from the instrumental norms of earlier composers like Merulo. Furthermore, the innovative treatment of the theme in bar 37, where it is fragmented, adds to the work’s novelty. Bold harmonic effects, achieved through thematic part-writing, are also notable, particularly evident in bars 54-59, where the characteristic dotted rhythm with an upbeat creates compelling dissonances on sustained notes, emphasizing the need for careful execution in performance.

Effective interpretation of this piece necessitates a deliberate tempo choice. Although the editorial metronome marking may initially seem slow, a faster tempo risks sacrificing the clarity of phrasing and the nuanced delivery of ornamental passages towards the end. A slower tempo not only allows for the appreciation of the intricate dissonances but also enables dynamic variation, a crucial aspect of conveying the piece’s expressive depth. While some dynamic contrasts are inherent in the score, thoughtful performers may find opportunities to enhance these effects further, such as the piano section from bars 44 to 52, or the forte accent on the second beat, without the need for additional markings.

In the original manuscript, no specific instrumentation is indicated. However, for this rendition, the brass parts are maintained at their original pitch, preserving the intended tonal character of the

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