20023 - O Fortunata Giorno

Cristoforo Malvezzi  (1547-1599)

edited for 30-part brass ensmble by Roger Harvey

Difficulty: Medium

Price: £30.00

Programme note:

Cristoforo Malvezzi spent his working life in Florence, one of the most vibrant European cultural centres of the era, where he served aristocratic families including the Medicis. His work is mostly secular and includes pieces that explore the new style of monody, a recitative like vocal music that would soon provide the basis for the new form of opera. This piece, however, is more in the antiphonal Venetian style favoured by the Gabrieli's in the music they wrote to exploit the acoustics of St Marks. It was composed for the wedding of Ferdinando di Medici and mentions him by name in the flattering text.

Performance notes:

The 6 choirs should be placed antiphonally. The score is laid out with parts in C and suitable clefs but instrumentation is flexible. If possible give some variety of tone colour between the groups. Parts are provided as follows Choir A: 1) Trumpet 2) Trumpet/Horn 3) Horn/Trombone 4) Trombone 5) Trombone Choir B: 1) Trumpet 2) Trumpet 3) Trumpet/Horn 4) Trombone 5) Trombone Choir C: 1) Trumpet 2) Trumpet 3) Trombone Choir D: 1) Trumpet/Horn/Trombone 2) Trombone 3) Trombone/Tuba Choir E: 1) Trumpet 2) Trumpet/Horn 3) Trombone 4) Trombone Choir F: 1) Trumpet/Horn/Trombone 2) Trombone 3) Trombone 4) Trombone Choir G: 1) Trumpet 2) Trumpet 3) Horn/Trombone 4) Horn/Trombone 5) Trombone 6) Trombone/Tuba Suggestions for the personnel in each group: Choir A: 1) Trumpet 2) Trumpet 3) Horn 4) Trombone 5) Trombone Choir B: 1) Trumpet 2) Trumpet 3) Trumpet 4) Trombone 5) Trombone Choir C: 1) Trumpet 2) Trumpet 3) Trombone Choir D: 1) Trombone 2) Trombone 3) Trombone/Tuba Choir E: 1) Trumpet 2) Horn 3 ) Trombone 4) Trombone Choir F: 1) Horn 2) Trombone 3) Trombone 4) Trombone/Tuba Choir G: 1) Trumpet 2) Trumpet 3) Horn 4) Trombone 5) Trombone 6) Tuba All dynamic and expression marks are editorial and should be considered as suggestions only. They give a reference for performance style if rehearsal time is limited but may be altered at the discretion of the performers. The articulation marks and hairpins are to suggest phrasing and should not be interpreted too rigourously. The marks are intended to convey the following: . light articulation, slightly short - emphasis, proceded by slight cresc and followed by slight dim > clearly articulated but not heavy , end of a phrase