In Ecclesiis
From Wikipedia, the free encyclopedia
In Ecclesiis is arguably Giovanni Gabrieli's most famous single work. A magnum opus of polychoral techniques, it also epitomises Baroque and Renaissance styles, with its prolific use of pedal points and extended plagal cadences.
The work was probably originally composed for the Doge of Venice. Although the text can be considered sacred, it is not liturgical.
There are four groups and Continuo/Organ. These groups are set in two being instrumental, the other two made up of singers.
- Group One (Soloists)
-
- Countertenor/Soprano (Disputed)
- Alto
- Tenor
- Baritone
- Group Two (Chorus)
- Group Three
- Group Four
- Continuo/Organ
As we can see, there are some disputes as to the specific singers. These groups are only applicible to modern interpretations of the work, due to how vocal ranges are now defined. It is more likely that the work would have been originally performed with an all-male choir. The instrumental groups here are only likely to be found in a historically accurate performance. It is more likely that the Cornetts are replaced by either Trumpet, Cornet, or Oboe. Even though it destroys Gabrieli's original sentiments, it is possible to perform this work with an all Brass ensemble. Brass Instruments on the whole, however, are considered too loud to be used. The Polychoral nature is normally almost totally lost in small scale modern performances. The balconies and actual size of the church at San Marco meant that antiphonal works could be performed with relative ease. This can be difficult to translate, however. As more choirs attempt this work, it can be argued that the original effect is lost as the original conditions cannot be replicated in every Church, Cathedral or Concert Hall where a modern performance may take place. This may be due to any number of reasons, including the size of the choir, ensemble availability and where the audience will sit.
