David Mathie:  Brass Transcriptions
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Dr. David Mathie
Trombonist, Professor, Arranger

Picture


Gabrieli - Fuggi Pur Se Sai

Eight-part Brass Ensemble
(Two four-part choirs)

Difficulty Level:  College/Professional

Published by Balquhidder Music, Catalog Number BQ-122



Click below to hear Fuggi Pur Se Sai


Click here to see the first page of the score

Click here to read the International Trumpet Guild Journal review of  Fuggi Pur Se Sai

Click here to buy the piece from Carl Fischer Music

ABOUT THE MUSIC

Details of Giovanni Gabrieli’s early life are sparse. He was probably born in 1554 and studied composition with his 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. 

Fuggi Pur Se Sai, written in 1590, was originally scored for two antiphonal choirs of four parts each:  soprano (probably boys), contra-alto, tenor and bass voices.  Like most of Gabriel’s  music of that 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, Volume VI:  Madrigalia, edited by Denis Arnold, American Institute of Musicology, Hänssler-Verlag, 1974).  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.


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