Partitur Nr. 12 SONATA NO 1 IN G MAJOR

Thomas Rüedi Solo Series

SONATA NO 1 IN G M AJOR D OM ENICO G A BR IELLI (16 5 9 –169 0)

12 SOLO WORK NO

Transcribed for Euphonium by

THOMAS RÜEDI

Thomas Rüedi Solo Series

SONATA NO 1 IN G M AJOR D O M E N IC O G A BR I E L L I (16 5 9 –169 0)

Transcribed for Euphonium by THOMAS RÜEDI

PREFACE THE WORK

Unlike the violin, the cello was not established as a solo instrument before the 1660’s and it was merely assigned to accompaniment purposes. This is mostly owed to the fact that the only two kinds of instruments available at the time were the large and somewhat awkward «violone» and the small «violoncino», which was quite agile but lacked depth of sound.

Around 1660, the compromise solution was found in Gabrielli’s hometown Bologna. The little «violoncino» was upgraded to the «violoncello» with a bass string and a set of newly developed strings, which made it possible to play in a virtuosic fashion. It’s not surprising that the first composers to write virtuoso music for cello were Italian.

Gabrielli was one of the first composers to write substantial music for solo cello.

He probably wrote his 2 sonatas for cello and basso continuo around 1680. There are two different manuscript versions of the G major sonata. One is an accompanied «ricercar» in the style of his «Seven Ricercare» for cello solo, and the other is in a basso continuo setting, which is also the version we are focusing on here.

THE FORM

This sonata follows the traditional four-movement format slow-fast-slow-fast. The first movement «Grave» opens with a light, singing aria, a short lyrical gesture of only 3 measures, which is interrupted by a final cadence [m.3/4]. Here, the player is asked to perform a ‘triple stop’, a technique used for string instruments where three separate strings are plucked or bowed simultaneously to create the impression of a chord being played. At the second half of m.4, the melody is liberated and becomes more inquisi-tive, only to come to a halt again at m.7 where the melody ends on the dominant with a dramatic and mellow timbre. In the following, Gabrielli interchanges lyrical expressiveness [m.8] with exciting question and answer motifs [m.11/12], before this unsettling musical story finds a peaceful conclusion in the tonic of G major [m.15].

The «Allegro non troppo» displays a stately, narrative character rather than exuberant joy.

In this movement, Gabrielli predominantly uses sequences to elaborate his melodies.

A melodic motif is restated (usually 3-4 times) in an ascending or descending motion, thus creating tension and drama [i.e. last beat of m.18]. An example of a descending sequence can be found in the second part of m.21.

The second section, starting on the 4th beat of m.25, is in the relative key of E minor.

Melodic sequences are a key feature, as well as imitations and question and answer motifs between the solo line and basso continuo. As expected, the movement finishes in the home key of G major.

The 3rd movement «Largo» with its long phrases has a strong meditative quality. The key of e minor supports the melancholy and longing. Long melodic sequences are also a key feature in this movement.

The mood of the 4th movement «Prestissimo» is exuberantly humorous, a lively folk dance in the style of a «Gigue». The contrapuntal writing here is of particular interest.

PERFORMANCE CONSIDERATION

Gabrielli frequently uses ‘multiple stopping’, a technique of playing two or more notes simultaneously on stringed instruments. For ease of playability and melodic flow, I have written out the notes of the ‘arpeggi’ (broken chords) in a rhythmical form [m.3/4]. In the faster passages, I decided to omit the multiple stopping to avoid disruption of the melodic flow. Gabrielli often uses sequences to elaborate his melodic writing. These passages should be treated with particular awareness of tension and drama.

The 3rd movement «Largo» can be a challenge from the phrasing point of view. The first phrase extends over eight measures and should be played in one breath if possible. If this is not possible, the breathing should be execut-ed in such a way that it does not disrupt the tension in the phrase.

The last movement is a humorous folk dance. Particular focus should be given to the rhythmical precision and the ‘bounce’ of the quarter notes. Although the music is fast, the contrapuntal structure and the interplay between the solo line and the basso continuo should always be transparent.

THE COMPOSER

á October 19, 1659 in Bologna, Italy † July 16, 1690 in Bologna, Italy Gabrielli was a cello virtuoso and composer. He studied composition with Legrenzi in Venice and was a cello student of Franceschini in Bologna. He succeeded Franceschini as a cellist at San Petronio, but was dismissed for neglect when he failed to play on the feast of St Petronius, the most important celebration of the year. After a short absence, he was reinstated because of his outstanding performance skills.

MILESTONES

His nickname was ‘Mingéin dal viulunzèl’ meaning ‘Domenico’ in Bolognese dialect 1680’s Became widely recognised as a cello virtuoso and composer of vocal music 1683 Focused on composing operas of which he wrote 12 in only 7 years

Thomas Rüedi Solo Series

The Thomas Rüedi Solo Series is a collection of selected masterpieces arranged for euphonium and piano. This series strives to enrich the solo repertoire for euphonium, thus opening a window into the fascinating world of some of the leading composers of the Baroque and Romantic period. By studying these famous works, the performer develops a more profound musicianship and a more defined awareness of style and musical beauty.

Audiences in turn, may appreciate hearing these beloved masterpieces performed in a fresh voice – the wonderful lyrical expression of the euphonium!

No. 01

Granados, Enrique

Madrigal Romantic

No. 02

Schubert, Franz

Sonata for Arpeggione - First Movement Romantic

No. 03

Offenbach, Jacques

Les Larmes de Jacqueline Romantic

No. 04

Ravel, Maurice

Vocalise-étude Romantic

No. 05

Tchaikovsky, Pytor Ilyich

Andante Cantabile Romantic

No. 06

De Falla, Manuel

Ritual Firedance Romantic

No. 07

Fauré, Gabriel

Sicilienne Romantic

No. 08

Schubert, Franz

Moments Musicaux Romantic

No. 09

Toselli, Enrico

Serenata Romantic

No. 10

Bridge, Frank

Four Short Pieces Romantic

No. 11

Scarlatti, Alessandro

Sonata No. 1 in D minor Baroque

No. 12

Gabrielli, Domenico

Sonata No. 1 in G major Baroque

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THOMAS RÜEDI is a Swiss-born international euphonium artist, music educator and arranger.

His solo engagements have led him throughout Europe, Africa, Asia, South America and the USA. Thomas Rüedi’s solo CDs «Elégie» and «Madrigal», both featuring his own arrangements, received international recognition.

Thomas Rüedi is professor of euphonium and chamber music at Bern University of the Arts and Lucerne University of the Arts; as a guest professor he regularly gives master classes throughout Europe and overseas. Thomas Rüedi is also an acclaimed arranger and composer, thus supporting the further development and enrichment of the euphonium repertoire.

THOMAS RÜEDI is a BESSON performing artist.

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