Spring Music Making
Please find below the various parts for Murray Campbell’s tutti session on Saturday afternoon, Giovanni Gabrieli’s 20 part piece "Dulcis Jesu”.
We have over 50 people coming on Saturday, which is wonderful, but does increase the time needed to organise people and instruments on the day. So while final allocation of parts can be done on Saturday, it would be really useful if the instrumentalists could have a look through the music beforehand and let me know by email if there is a specific part you prefer to play. This will help to maximise the time we have for working on the music on Saturday. If you need a particular part put into another clef etc, please contact Murray directly, as soon as possible (email@example.com, tel 01968 660530).
Singers please note, you will be working from a single musical part rather than a score for this piece.
By all means print out the relevant part(s) for private practise this week and bring them on Saturday. I will make sure we bring 3 copies of each part on the day, so there should be more than enough for everyone.
Another email will follow shortly with music for Sheena Phillip’s sessions. Lynne Hope will distribute parts on the day for the instrumental only sessions in the morning, but if you want sight of a particular part in advance, please contact Lynne and she will oblige (firstname.lastname@example.org, tel 01259 742254).
Murray’s note below gives more detail about how the parts will work with our available forces on the day
"Dulcis Jesu" is written for three choirs (in the sense of groups of instruments and/or voices). The first 7-part choir (cornetto 1, viola 1, voice 1, trombones 1-4) and the second 6-part choir (cornetto 2, viola 2, voice 2, trombones 5-7) perform antiphonally for the first 153 bars. At bar 154 the two choirs are joined by a 3rd 7-part choir (cornetti 3 and 4, cantus, altus, tenor and bassus singers, and trombone 8). In order to make it more interesting for all the EMFS participants to work on I have edited it so that appropriate parts from the first and second choirs are doubled in the choir 3 parts up to bar 154.
I have included a pdf of the complete 20-part score, but I would like both singers and instrumentalists to work from individual parts as Gabriel's musicians would have done. We should be able to cover every vocal part by at least one instrument. We can finalise the distribution of instrumental parts on the day, but the parts are playable as follows (apart from one or two note instances were a single note is out of range and can be played up an octave):
Cornetto 1: S or T recorder
Viola 1: A or B recorder, treble viol
Voice 1: A or B recorder
Trombone 1: T or GB recorder, tenor or bass viol
Trombone 2: T or GB recorder, tenor or bass viol
Trombone 3: T or GB recorder, tenor or bass viol
Trombone 4: B or CB recorder, bass viol
Cornetto 2: S or T recorder
Viola 2: T recorder, viola
Voice 2: T or GB recorder
Trombone 5: T or GB recorder, tenor or bass viol
Trombone 6: T or GB recorder, tenor or bass viol
Trombone 7: T or GB recorder, tenor or bass viol
Cornetto 3: S or T recorder
Cornetto 4: A recorder
Cantus: S or T recorder
Altus: A or B recorder
Tenor: T recorder
Bassus: B recorder
Trombone 8: GB recorder, curtal
Continuo: violone, organ