Our Staff Picks
The following seven pieces has been arranged for ten parts brass ensemble from the instrumental music collection published in 1650 by the Naples composer Andrea Falconieri. 1. Battaglia (Battle of the Devil's Son-in-law Barabaso) 2. La suave Melodia (sweet melody and its courante) 3. Gallarda 4. Fantasia detta la Portia (Fantasia for Portia) 5. Folias (Folia for Mrs. Tarotilla de Caralenos) 6. Passacalle 7. L'Eroica (Hero & Chaccona) <Tips for performance> The dynamics, tempo, and articulations are added by the arranger for performance reference. You can freely change it if there are more effective one. (Example: The beginning of the first piece, Battaglia; has each phrase decrescendo, however it can be played with crescendo. Also, this part can be started with forte or piano. It is possible to add the effectiveness of the interaction by making the dynamics of the group and the two groups different.)
Three pavanes by John Dowland have been arranged for the brass ensemble from the consort music collection (1610) compiled by Thomas Simpson. A quintet of Flugelhorn, horn, two trombones, and tuba. The flugelhorn part has a sample of decoration to be added at second time play. It is not necessary to follow this sample, however please use it as a reference when improvising yourself.
From Giovanni Battista Buonamente's instrumental music collection (published in Venice in 1636), a 6-voice sonata (No.22 in the book) has been arranged into two trumpets and four trombones. This piece begins in Tutti and has an impressive majestic sound. Originally, the top part was supposed to be played with violin (or cornetto), so the overall tonality is lowered fourth in order to fit to trumpets, and the part allocation is modified accordingly.
Arranged three Sinfonia from "Sinfonie musicali" (1610 Venice) by Italian composer Lodovico da Viadana. The three pieces are combined into one, but each can be played independently. Those are a compound choire style in which two groups of four parts, that is popular to Venetian composers such as Giovanni Gabrieli, interact in a dialogue style. La Fiorentina and La Bergamasca are Ostinato bass-style with the same chord progressions, so when the theme comes back, you can add some decorative arrangements to make the performance stand out. La Napolitana and La Bergamasca, are arranged in full tone down, and La Fiorentina is arranged up to fourth from the original key.
Two eight-voice cansons composed by Gioseffo Guami were selected from the instrumental music collection Canzoni per sonare (36 songs in total) compiled by Alessandro Raverii and published in Venice in 1608. Two groups consisting of two trumpets and two trombones interact with each other, but each first voice has a transcendental passage, which is a highlight. The speed specifications listed are for reference only, but it would be better not to be slower than this tempo.
Two motets are arranged for 8 part brass ensemble (4 trumpets and 4 trombone) from " Cantiones Sacrae" (Sacred Music) by Samuel Scheidt, which was published 1620 in Hamburg. Among the 38 pieces in the book, the followings are selected here. No. 12 Nun komm, der Heiden Heiland No. 15 In dulci jubilo Both melody was very popular at that time, and many composers other than Samuel Scheidt have made pieces based on those melody.