Three Four-part Ricercari Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Theodore Presser Co.
String Quartet SKU: PR.154400180 Composed by Andrea Gabrieli. Edited by H...(+)
String Quartet
SKU:
PR.154400180
Composed
by Andrea Gabrieli.
Edited by Hans David.
Arranged by Hans Theodore
David. Renaissance. Score
and parts. With Standard
notation. 28 pages.
Theodore Presser Company
#154-40018. Published by
Theodore Presser Company
(PR.154400180).
UPC:
680160642465. 9 x 12
inches.
Andrea
Gabrieli was a major
force in moving the
classical music world
toward the more modern
Venetian school of the
Renaissance. Called by
Alfred Einstein One of
the greatest and most
influential masters of
the Renaissance period,
Gabrieli fully developed
the use of choirs of
voices and instruments,
often in opposition to
each other. David has
selected three examples
from a posthumous 1589
collection, advising that
the four-part pieces were
originally scored for
viols but are here
arranged for modern
instruments. And while
the arrangement will
accommodate a number of
players per part, single
players would be more
historically correct. As
important as Andrea was
to the Venetian School,
his fame would be
eclipsed by his nephew
and student, Giovanni
Gabrieli.
Three Four-part Ricercari Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String Quartet SKU: PR.15440018S Composed by Andrea Gabrieli. Edited by H...(+)
String Quartet
SKU:
PR.15440018S
Composed
by Andrea Gabrieli.
Edited by Hans David.
Arranged by Hans Theodore
David. Renaissance.
Score. With Standard
notation. 12 pages.
Theodore Presser Company
#154-40018S. Published by
Theodore Presser Company
(PR.15440018S).
UPC:
680160642489. 9 x 12
inches.
Andrea
Gabrieli was a major
force in moving the
classical music world
toward the more modern
Venetian school of the
Renaissance. Called by
Alfred Einstein One of
the greatest and most
influential masters of
the Renaissance period,
Gabrieli fully developed
the use of choirs of
voices and instruments,
often in opposition to
each other. David has
selected three examples
from a posthumous 1589
collection, advising that
the four-part pieces were
originally scored for
viols but are here
arranged for modern
instruments. And while
the arrangement will
accommodate a number of
players per part, single
players would be more
historically correct. As
important as Andrea was
to the Venetian School,
his fame would be
eclipsed by his nephew
and student, Giovanni
Gabrieli.
