NOW TAKING ADVANCE ORDERS: Canadian Brass-Echo; Glory of Gabrieli CD Will ship on October 6th.

Tabulatura nova, Book 2: Echo ad manuale duplex by Samuel Scheidt
Sacrae symphoniae, Book 1: Canzon septimi toni a 8 by Giovanni Gabrieli
Sacrae symphoniae, Book 1: Sonata pian e forte alla quarta bassa by Giovanni Gabrieli
L'Orfeo: Toccata by Claudio Monteverdi
L'Orfeo: Prologue - Dal mio Permesso amato by Claudio Monteverdi
L'Orfeo: Vieni, Imeneo by Claudio Monteverdi
L'Orfeo: Lasciate i monti by Claudio Monteverdi
L'Orfeo: Ecco Orfeo by Claudio Monteverdi
L'Orfeo: Messaggiera y Pastore by Claudio Monteverdi
L'Orfeo: Tu se' morta by Claudio Monteverdi
L'Orfeo: Ahi casi acerbo! by Claudio Monteverdi
L'Orfeo: Vanne Orfeo by Claudio Monteverdi
L'Orfeo: Chi Ne Consola by Claudio Monteverdi
L'Orfeo: Moresca by Claudio Monteverdi
Sacrae symphoniae, Book 1: Canzon primi toni by Giovanni Gabrieli
Canzoni et sonate (21): Canzon II a 6 by Giovanni Gabrieli
Sacrae symphoniae, Book 1: Canzon in echo duodecimi toni a 10 by Giovanni Gabrieli
Canzoni et sonate (21): Canzon IV a 6 by Giovanni Gabrieli
Sacrae symphoniae, Book 1: Canzon septimi e octavi toni a 12 by Giovanni Gabrieli


Echo - Glory of Gabrieli displays the Brass's more serious side with an album exploring the Baroque innovations pioneered by Gabrieli at Venice's Basilica San Marco. Because of the Basilica's unique design, which included two choir lofts separated by a cavernous interior, it was difficult for choirs to sing in unison. Gabrieli used this to his advantage in his music for brass, creating works where one brass choir echoes or responds to the other -- a technique that proved immensely popular in his time and is recreated in our own by Canadian Brass.
In the words of Canadian Brass founding member Chuck Daellenbach, “Most Gabrieli-era recordings are blast fests -- fun to be part of, but not that wonderful to listen to, and certainly not authentic. When we started this project, I urged all participants, starting with the adapters/arrangers, to exercise intelligent authenticity. Simply stated, I wanted a result that took advantage of modern instruments without sacrificing the musical intent of the composers. Consequently, we observed as best we could the scholarship that abounds regarding this period, and combined it with advances in instrument quality, performer standards, and of course, state-of-the-art recording techniques.”