C ANZON PRIMI TONI
CANZONA No. 1
GIOVANNI
GABRIELI C O N C E R T
B A N D
a r r a n g e d
B O B
b y
M A R G O L I S
M A N H AT TA N B E A C H M U S I C
G I OV I A N N I G A B R I E L I CANZON PRIMI TONI A8 (Canzona No. 1) A note from Bob Margolis updating the October 5, 1985 Transcriber’s Preface on September 29 & October 2, 2022 For those of you familiar with the 1985 publication of the present work (its black cover noting Directors’ Choice Series), the present cover is quite the change. Goodness knows this work deserves to make a big splash. Another immediately apparent change will be to the instrumentation page, recto, as now the two opposing choirs are placed in separate columns, one for Stage Right (stems up on the divisi staves in the score), the other, Stage Left (stems down on the divisi staves in the score). First, credit to the hand-inked Leroy template engraving of the score by Frank Halamka, who got all this done in a compressed format. Yes, if done today I would have separated the choirs into systems — but that is what red pens are for! If you are wondering, none of the music was changed for the present edition, and all the engravings are those of the original publication. (The parts were engraved on a flatbed plotter controlled by an early computer engraving program, NewGo, which ran on an Apple IIe; that program came out just a bit before Finale.) So, why did I omit this clarification of choirs on the instrumentation page, when clear mention is made of the antiphonal nature of the work within the original preface? Well, back in 1985, I thought that putting the choirs front and center, so to speak, might limit the work’s acceptance. Now I think the opposite. But I digress. The real reason for this preface is a further look at the metric modulation. And I have come to believe that probably the best metric modulation is the simplest, thus: 2/2 quarter note = 3/4 quarter note So if you start out at the relaxed tempo of half note = 60 (thus quarter note = 120) the 3/4 section can go at the same tempo (quarter note = 120). It feels faster, though it isn’t. And yes, although the notation of 2/2 whole note = 3/4 dotted half note is technically correct for proportio sesquialtera (even though, contrary to the original program note, this makes the music go more slowly), I believe this only works if you start with a bright tempo such as half note = 90. Fine for a small brass ensemble, not likely to work well with band. But, if you start very slow (say half-note = 50), then the metric modulation of 2/2 half note = 3/4 dotted half note, otherwise comically fast for the 3/4, might just work. (As to the original program note, I’d skip the 4th paragraph on page 12 and disappear the next paragraph in parentheses — poof! gone. Yes it’s still there, let’s not rewrite history) If you listen to the recordings, of which there are many, you will find a divergence of opinion. You will also find a confusing array of contradiction in the secondary musicological opinion. Then there is the matter of is a medieval proportion, common around 1500, still applicable in 1597? Don George’s recording online at www.VirtualScoreSystem.com, starts around half = 60 and then at the 3/4 is about quarter = 120. Works well. Quarter = quarter. At least it’s simple to conceptualize.
Bob Margolis, Jackson Heights, Queens; and Brooklyn, New York, December 14th, 2023
CANZON PRIMI TONI A8 (CA N ZONA NO. 1)
A R R A N G E D F O R C O N C E RT B A N D BY B O B M A RG O L I S
G IOVA N N I G A B R I E L I I N S T R U M E N T A T I O N CHOIR 1 - STAGE LEFT 1 Piccolo 1 3 Flute 1 1 Oboe 1 1 Bassoon 1 3 Solo and Bb Clarinet 1 - top of divisi 3 Bb Clarinet 1 - bottom of divisi 2 Eb Alto Clarinet 2 Eb Alto Saxophone 1 1 Eb Baritone Saxophone 2 Solo and Bb Trumpet 1- top of divisi 2 Bb Trumpet 1 - bottom of divisi 2 F Horn 1 3 Trombone 1 1 Euphonium 1 (Treble Clef) 2 Euphonium I (Bass Clef) 3 Tuba 1 1 Snare Drum 1 and Cymbals 1 1 Orchestra Bells
CHOIR 2 - STAGE RIGHT 1 Piccolo 2 3 Flute 2 1 Oboe 2 1 Bassoon 2 6 Bb Clarinet 2 2 Bb Bass Clarinet 2 Eb Alto Saxophone 2 2 Bb Tenor Saxophone 2 Bb Trumpet 2 - top of divisi 2 Bb Trumpet 2 - bottom of divisi 2 F Horn 2 3 Trombone 2 1 Euphonium 2 (Treble Clef) 2 Euphonium 2 (Bass Clef) 3 Tuba 2 1 Snare Drum 2 and Cymbals 2 1 Chimes and Xylophone
PR I N T ED ON 70 # PA PER
Gg Manhattan Beach Music 1595 East 46th Street Brooklyn, New York 11234 Web: www.ManhattanBeachMusic.com E-mail: customerservice@manhattanbeachmusic.com Voicemail: 718/338-4137
M A N H ATTA N BEACH M USIC
Recording Credits for Gabrieli - Canzona No. 1: Performance by the University of Wisconsin-Eau Claire Symphony Band, Donald S. George conductor
Copyright ©1985Manhattan Beach Music
M A N H AT TA N B E A C H M U S I C BOB MARGOLIS – NEIL RUDDY PUBLISHERS AND COFOUNDERS PRINTED
BY
CHERNAY
PRINTING,
INC.
C A N Z O N
P R I M I
T O N I
A 8
C AN Z ON A N o. 1
GIOVANNI
GABRIELI
a r r a n g e d
BOB MARGOLIS TO VIEW SCORES AND TO HEAR COMPLETE RECORDINGS PLEASE VISIT
w w w.Manhat tanBe achMusic.com
R A I S I N G T H E S TA N D A R D S O F T H E A M ER I C A N C O N C ERT B A N D A N D B A N D S A L L O V ER T H E W O R L D
M A N H AT TA N B E A C H M U S I C