Composer: Giovanni Gabrieli
Works: Canzon Duodecimi Toni a 10, Canzon Septimi Octavi Toni a 12, Sonata Pian’e Forte, Canzon Seconda a 4; Lodovico Viadana: Sinfonia “La Bergamasca”; Biagio Marini: Canzon III, Sonata in Echo; Andrea Gabrieli: Aria della Battaglia (ed. Philip Pickett); Tiburtio Massaino: Canzon XXXIII per otto tromboni; Girolamo Frescobaldi: Canzon Vigesimanona a 8, Canzon a 4; Giovanni Gabrieli: Sonata XXI a 3, Canzon Septimi Toni a 8, Canzon XVI a 12, Canzon XVIII a 14
Performers: London Brass
Recording: St. Augustine’s Church, London, October 1993
Label: APEX 0927 40823 2
The music of Giovanni Gabrieli, a pivotal figure in the Venetian polychoral tradition, invites both reverence and exploration. His compositions, characterized by rich textures and innovative uses of instrumentation, reflect the grandeur of the Venetian Republic during the late Renaissance. This recording by London Brass, under the direction of Philip Pickett, presents a vibrant selection of Gabrieli’s works alongside pieces by contemporaries, showcasing the brass ensemble’s ability to convey the intricate dialogue and spatial dynamics that are hallmarks of Gabrieli’s style.
The shimmering clarity of the opening Canzon Duodecimi Toni a 10 immediately establishes the ensemble’s technical prowess. The precision of the players is commendable, with each line distinct yet intricately woven into the polyphonic fabric. The absence of flamboyance in interpretation allows for a refreshing directness, which is often obscured in more bombastic performances. The Sonata Pian’e Forte, a work that calls upon contrasting dynamics, unfolds with a stately grace, revealing a thoughtful balance between the bold and the subdued. It becomes evident that Pickett’s approach privileges authenticity, ensuring that the listener is not overwhelmed by virtuosic display but instead led through a nuanced exploration of the music’s emotional depth.
The recording quality merits particular praise. Captured in the resonant space of St. Augustine’s Church, the sound is both expansive and intimate, allowing the detailed rhythmic patterns inherent in the music to emerge with clarity. The acoustic environment enhances the blend of brass timbres, particularly in the Canzon XXXIII per otto tromboni by Massaino, where the contra-bass trombone provides an organ-like depth, enriching the overall texture. This attention to sound quality elevates the listening experience, enabling one to appreciate the subtleties of ensemble interplay and harmonic invention, notably in the lively dance rhythms of the Canzon Septimi Toni a 8.
Noteworthy is the inclusion of Andrea Gabrieli’s Aria della Battaglia, which, despite lacking the sheer ingenuity of his nephew Giovanni, captivates with its rhythmic dynamism, particularly in the central battle scene. This piece, edited by Pickett, benefits from the ensemble’s vibrant execution, which makes the contrasting sections resonate with palpable tension. Frescobaldi’s contributions, particularly the Canzon a 4, shine for their inventive character and serve as a reminder of the rich tapestry of musical voices in Venice at the time.
London Brass demonstrates not only technical skill but also a keen interpretative insight that honors the historical context of these works. Their performances, while rooted in the Renaissance tradition, resonate with a contemporary freshness, avoiding the pitfalls of excessive reverence or superficiality. This disc stands as a significant addition to the catalog of Gabrieli’s music, particularly for those drawn to the brass repertoire. The accessibility of this recording at a bargain price further enhances its appeal, making it an essential acquisition for both enthusiasts and scholars alike.
