Printed set (Score & Parts)
[Part 1] Flute (& Piccolo)
[Part 2] Flute, Oboe, Eb Clarinet
[Part 3] Flute, Oboe, Bb Clarinet, Bb Soprano Saxophone
[Part 4] Bb Clarinet, Eb Alto Saxophone
[Part 5 (doubling Percussion)] English Horn, Bb Clarinet, Bb Trumpet, Eb Alto Saxophone
[Part 6 (doubling Percussion)] Bb Clarinet, Bb Tenor Saxophone, Bb Trumpet, Eb Alto Saxophone, Eb Alto Clarinet, F Horn
[Part 7] Bb Bass Clarinet, Eb Baritone Saxophone, Bassoon, Trombone, Euphonium
[Part 8] Bb Bass Clarinet, Eb Baritone Saxophone, Bassoon, Tuba, String Bass
[Percussion]
Bell (Manjira, Crotale, Triangle, etc.), Drum (L), Tambourine, Drum (S)
Gasparo Zanetti (1600?-1660) was an early Baroque violinist, teacher, and composer active in Milan, Italy. Little is known about his life, and most of what we do know comes from his published works.
In 1645, Zanetti published Il scolaro di Gasparo Zannetti per imparar a suonare di violino, et altri stromenti ("Gasparo Zanetti's Study for Learning to Play the Violin and Other Instruments"). As the title suggests, it is an instructional book that teaches violin techniques of the time, such as fingering and bowing, and includes a wealth of dance music.
This arrangement selects ten pieces from that collection and presents them as a five-movement suite.
Speranza d'Amore
La Bergamasca
Todescha
Il Ballo della Torchia
Il Tortaglione
La Mantovana
Il Spagnoletto
Caccia Amorosa
Il Ballo della Torchia
Basso delle Nimfe
This arrangement was originally written for woodwind octet (Piccolo & Flute, Flute, Oboe, English Horn, Clarinet, Alto Saxophone, Bass Clarinet, and String Bass) as a contest piece for the ensemble group of Toin Gakuen High School in Yokohama, Japan. For this publication, it has been re-arranged for flexible ensemble.
Performance Notes:
- Although the solo at the beginning is intended to be played by Part 2, it may be performed by a player from a different part if more musically appropriate.
- For Parts 2 and 3, in sections where the music is divided into upper and lower lines and the lower line is written in cue notes, please follow these guidelines: if Part 1 is played on Piccolo, perform the upper line; if Part 1 is played on Flute, perform the lower line.
- The Bass Clarinet part is sometimes divided into upper and lower lines. Players with a long model capable of playing Low C should perform the lower part, while those with a short model should perform the upper part.
- For the percussion part labeled "Drum," performers should choose suitable instruments such as Renaissance tenor drums or tom-toms. Please select percussion instruments, sizes, mallets, sticks (or hands), and playing techniques appropriate to the character of each musical passage and the overall sound of the ensemble.
For reference, in the premiere performance, Drum L was played on a Lefima "Historic Style Field Drum" (19-inch depth), and Drum S was played on a Remo "Frame Drum" (8 inches).
(Gasparo Zanetti)
