Dr. David Mathie
Trombonist, Professor, Arranger
Gabrieli - Ego Sum
Eight-part Brass Ensemble (Two four-part choirs)
Difficulty Level: College/Professional
Published by Cherry Classics, Catalog Number x
Click below to hear Ego Sum
|
Click here to buy the piece from Amazon
|
Click here to buy the piece from Hickey's Music Center
|
ABOUT THE MUSIC
Giovanni Gabrieli (c. 1554 - 1612)
Details of Giovanni Gabrieli’s early life are sparse. He was probably born in 1554 and studied composition with his famous uncle Andrea Gabrieli, then later Orlando di Lassus. By 1584 he had settled in Venice to take the position of principal organist at the Basilica di San Marco, followed by the similar position at the Scuola Grande di San Rocco. Thus in his thirties he became the principal musician in the two most prestigious churches in Italy.
Gabrieli began his composition career with the popular vocal madrigals of that time, but eventually began favoring sacred music for vocal and instrumental forces. The unique design of St. Mark’s Basilica, with its two opposing choir lofts, led him to his characteristic antiphonal style: one group would begin from the left-sided loft, followed by a response from the group on the right. Even to this day the acoustics of the cathedral are such that the music is in perfect balance to the listener throughout the church.
The most famous compilation of his choral and instrumental works is the Sacrae Symphoniae of 1597; it is from this collection that this work was taken. Ego Sum, Qui Sum (“I am who I am”) was written for two choirs of four voices, the top two voices in each choir being (most probably) boy sopranos and altos, the bottom two male tenors and basses. Like many of the Sacrae Symphoniae it is highly antiphonal in nature and was probably meant to be performed in the acoustic space of a large church. Payment records that time indicate that, like most of Gabrieli’s music at the time, it may have been performed with wind instruments such as cornetti and sackbuts doubling the voices.
This transcription was taken from the complete works (Giovani Gabrieli Opera Omnia, American Institute of Musicology, Hänssler-Verlag, 1998). Editorial additions have been kept to a minimum: the slurs were taken from the text, while the dynamics are suggested
by both the text and texture of the music. Musical interpretations should bear in mind that the work is vocal in nature and the tempo should reflect the fact that the original was performed in a very large acoustic space.
TEXT
Latin text
Ego sum, qui sum, et consilium meum non est cum impiis:
sed in lege Domini voluntas mea est: Alleluia.
Postulavi patrem meum dedit mihi gentes in haereditatem: Alleluia.
Ego dormivi et somnum cepi, et resurrexi:
quoniam Dominus suscepit me: Alleluia.
English translation
I am who I am, and my counsel is not with the wicked,
but my will is in the law of the Lord, alleluia.
I asked my Father, and he gave me the nations as an inheritance.
I slept and took rest, and rose,
for the Lord hath protected me, alleluia.
Giovanni Gabrieli (c. 1554 - 1612)
Details of Giovanni Gabrieli’s early life are sparse. He was probably born in 1554 and studied composition with his famous uncle Andrea Gabrieli, then later Orlando di Lassus. By 1584 he had settled in Venice to take the position of principal organist at the Basilica di San Marco, followed by the similar position at the Scuola Grande di San Rocco. Thus in his thirties he became the principal musician in the two most prestigious churches in Italy.
Gabrieli began his composition career with the popular vocal madrigals of that time, but eventually began favoring sacred music for vocal and instrumental forces. The unique design of St. Mark’s Basilica, with its two opposing choir lofts, led him to his characteristic antiphonal style: one group would begin from the left-sided loft, followed by a response from the group on the right. Even to this day the acoustics of the cathedral are such that the music is in perfect balance to the listener throughout the church.
The most famous compilation of his choral and instrumental works is the Sacrae Symphoniae of 1597; it is from this collection that this work was taken. Ego Sum, Qui Sum (“I am who I am”) was written for two choirs of four voices, the top two voices in each choir being (most probably) boy sopranos and altos, the bottom two male tenors and basses. Like many of the Sacrae Symphoniae it is highly antiphonal in nature and was probably meant to be performed in the acoustic space of a large church. Payment records that time indicate that, like most of Gabrieli’s music at the time, it may have been performed with wind instruments such as cornetti and sackbuts doubling the voices.
This transcription was taken from the complete works (Giovani Gabrieli Opera Omnia, American Institute of Musicology, Hänssler-Verlag, 1998). Editorial additions have been kept to a minimum: the slurs were taken from the text, while the dynamics are suggested
by both the text and texture of the music. Musical interpretations should bear in mind that the work is vocal in nature and the tempo should reflect the fact that the original was performed in a very large acoustic space.
TEXT
Latin text
Ego sum, qui sum, et consilium meum non est cum impiis:
sed in lege Domini voluntas mea est: Alleluia.
Postulavi patrem meum dedit mihi gentes in haereditatem: Alleluia.
Ego dormivi et somnum cepi, et resurrexi:
quoniam Dominus suscepit me: Alleluia.
English translation
I am who I am, and my counsel is not with the wicked,
but my will is in the law of the Lord, alleluia.
I asked my Father, and he gave me the nations as an inheritance.
I slept and took rest, and rose,
for the Lord hath protected me, alleluia.