Gabrieli: Jubilate Deo Ch. 136 for Clarinet Choir by Giovanni Gabrieli Clarinet Choir - Digital Sheet Music

Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 1 Eb Clarinet, 5 Bb Clarinets, 1 alto clarinet, 2 bass clarinets

Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing, fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not complex, but I plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations.

Innovations

First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian' e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used particular notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.

Polychoral Works

Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.

Spatial Music

Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in more than two groups. Because they could be appropriately situated, the instruments could be heard perfectly at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance.

First Works

Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation, and only parts marked, such as Capella, are supposed to be sung.

Homophony

Hence, after 1605, Gabrieli moved to a much more homophonic style. He wrote sections for instruments, called "Sinfonia," and smaller sections for vocal soloists, accompanied by a basso continuo.