1 Jan 1605 Jahr - In ecclesiis benedicite Domino

Beschreibung:

by G. Gabrielli. Pivotal Renaissance-to-Baroque motet, clear departure from Ars Perfecta style. No imitation! Tossing back and forth motifs. Spectacle and Virtuosity! The act of music making became dramatized and more thoroughly professional than before, and performing musicians became public figures on spectacular display, no matter the setting (secular or sacred). "Anywhere that music was made by virtuosos became, in effect, a theater."

Fifteen parts, deployed in three groups, plus an organ part. The three groups are of distinctive, mutually eclusive composiiton. There are four parts (SATB) labelled cappella, standing for the chorus; there are four parts (SATB) labeled voce, standing for vocal soloists; and there are six parts assigned to specific instruments. The final part includes three cornetti, two trombones, and the violino, then a new instrument, making an early appearance in notated music and in this case sounding in the viola

Show relationship between ancient responsorial singing and new concerted style.

Emphasis on short-range contrast instead of long-term continuity.

Also uses GP, not just for dramatic effect but also to let the sound clear in the hall--very practical


Alleluia is Ritornello ("A little something that returns") . The use of a ritornello, a brief recurrent musical passage, is characteristic of the new concertato style.

Sinfonia--section of just the instruments. Also, "Another aspect of concertato writing emerges when the singers begin vying in virtuosity with the cornetti.

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