Like the Gabrieli sonata with the same name ↣, this work has a lot of dynamics written in the score: hence the title.
This work comes from Grillo’s Sacri Concentus ac Symphoniae published in Venice 1618. Whereas in the Canzon in ecco already published in this series (ADC36↣) choir II is always the echo choir, the present piece has the proposta and risposta functions shared out evenly between the choirs. Although several phrases are not marked with dynamics, this is not a problem, if one assumes that forte is the norm, and piano the echo.
(Bernard Thomas)
