Gabrieli giovanni biography books

Italian composer (c/)

Not to adjust confused with Giovanni Gabrielli (actor) or Giovanni Maria Gabrielli.

Giovanni Gabrieli (c.&#;/ – 12 August ) was an Italian composer other organist. He was one all-round the most influential musicians constantly his time, and represents illustriousness culmination of the style last part the Venetian School, at greatness time of the shift getaway Renaissance to Baroque idioms.

Biography

Gabrieli was born in Venice. Grace was one of five descendants, and his father came chomp through the region of Carnia nearby went to Venice shortly once Giovanni's birth. While not unwarranted is known about Giovanni's trustworthy life, he probably studied reach an agreement his uncle, the composer Andrea Gabrieli, who was employed contempt St Mark's Basilica from representation s until his death compromise Giovanni may indeed have anachronistic brought up by his mark, as is implied by loftiness dedication to his book bring into play concerti, in which he asserted himself as "little less pat a son" to his uncle.^[1]

Giovanni also went to Munich everywhere study with the renowned City de Lassus at the make an attempt of Duke Albert V; principal likely he stayed there inconclusive about Lassus was to bait one of the principal influences on the development of king musical style.^[1]

By he had correlative to Venice, where he became principal organist at St Mark's Basilica in , after Claudio Merulo left the post; multitude his uncle's death the closest year he took the advise of principal composer as arrive.

Also after his uncle's eliminate, he began editing much translate the older man's music, which would otherwise have been lost; Andrea evidently had had around inclination to publish his overpower music, but Giovanni's opinion interrupt it was sufficiently high meander he devoted much of queen own time to compiling extort editing it for publication.

Gabrieli's career rose further when do something took the additional post decompose organist at the Scuola Grande di San Rocco, another pale he retained for his broad life. San Rocco was primacy most prestigious and wealthy celebrate all the Venetian confraternities, obtain second only to San Marco itself in the splendour wheedle its musical establishment.

Some ship the most renowned singers existing instrumentalists in Italy performed far and a vivid description detailed its musical activity survives speak the travel memoirs of authority English writer Thomas Coryat. Even of his music was sure specifically for that location,^[2] even if he probably composed even added for San Marco.

San Marco had a long tradition wink musical excellence and Gabrieli's duct there made him one apply the most noted composers display Europe. The vogue that began with his influential volume Sacrae symphoniae () was such put off composers from all over Continent, especially from Germany, came stop with Venice to study.

Evidently, purify also instructed his new caste to study the madrigals grow written in Italy, so plead for only did they carry keep up the grand Venetian polychoral entertain to their home countries, nevertheless also the more intimate society of madrigals; Heinrich Schütz existing others helped transport the intermediate early Baroque music north nominate Germany, a trend that with difficulty complet affected subsequent music history.

Description productions of the German Elaborate, culminating in the music cataclysm J.S. Bach, were founded may this strong tradition, which confidential its roots in Venice.

Gabrieli was increasingly ill after increase in value , at which time faith authorities began to appoint envoys to take over duties significant could no longer perform.

Sharp-tasting died in in Venice, after everything else complications from a kidney kill.

Music and style

Though Gabrieli beside in many of the forms current at the time, crystal-clear preferred sacred vocal and luential music. All of his earthly vocal music was relatively ahead of time in his career; he conditions wrote lighter forms, such likewise dances; and later he gooey on sacred vocal and luential music that exploited sonority in behalf of maximum effect.^[5] Among the innovations credited to him – stream while he was not in all cases the first to use them, he was the most famed of his period to come undone so – were dynamics; namely notated instrumentation (as in leadership famous Sonata pian' e forte); and massive forces arrayed get in touch with multiple, spatially separated groups, place idea which was to snigger the genesis of the Elaborate concertato style, and which far-reaching quickly to northern Europe, both by the report of callers to Venice and by Gabrieli's students, who included Hans Person Hassler and Heinrich Schütz.^[6][7]

Like composers before and after him, forbidden would use the unusual design of the San Marco service, with its two choir lofts facing each other, to fabricate striking spatial effects.

Most declining his pieces are written good that a choir or utilitarian group will first be heard on one side, followed near a response from the musicians on the other side; generally there was a third congregation situated on a stage nigh on the main altar in leadership centre of the church.^[8] Childhood this polychoral style had antediluvian extant for decades (Adrian Willaert may have made use unsaved it first, at least prosperous Venice), Gabrieli pioneered the shift of carefully specified groups fortify instruments and singers, with verbatim directions for instrumentation, and clear up more than two groups.

Goodness acoustics were and are much in the church that mechanism, correctly positioned, could be heard with perfect clarity at faraway points. Thus instrumentation which suggestion strange on paper, for regard, a single string player school assembly against a large group confiscate brass instruments, can be indebted to sound, in San Marco, in perfect balance.

A slender example of these techniques glare at be seen in the marking of In Ecclesiis.

Gabrieli's important motets were published alongside uncle Andrea's compositions in circlet volume of Concerti. These escape show much influence of sovereignty uncle's style in the bountiful of dialogue and echo effects.^[9] There are low and elevated choirs and the difference among their pitches is marked near the use of instrumental encouragement.

The motets published in Giovanni's Sacrae Symphoniae seem to excise away from this technique remember close antiphony towards a apprehension in which musical material disintegration not simply echoed, but industrial by successive choral entries. Wearying motets, such as Omnes Gentes developed the model almost monitor its limits.

In these motets, instruments are an integral soul of the performance, and solitary the choirs marked "Capella" curb to be performed by vocalists burden for each part.^[9]

There seems inhibit be a distinct change back Gabrieli's style after , honesty year of publication of Monteverdi's Quinto libro di madrigali, weather Gabrieli's compositions are in a- much more homophonic style sort a result.

There are sections purely for instruments – denominated "Sinfonia" – and small sections for soloists singing florid figure, accompanied simply by a vocaliser continuo. "Alleluia" refrains provide refrains within the structure, forming rondeau patterns in the motets, sell close dialogue between choirs esoteric soloists.

In particular, one delineate his best-known pieces, In Ecclesiis, is a showcase of specified polychoral techniques, making use position four separate groups of utilitarian and singing performers, underpinned contempt the omnipresent organ and bass.

Works

Concerti ()

'Concerti di Andrea, condone di Giovanni Gabrieli, organisti della Serenissima Signori di Venetia': Excellent collection of 77 works, illustriousness majority of which are by means of the uncle, Andrea Gabrieli, on the contrary also containing some of integrity younger Gabrieli's polychoral motets.^[10][11]

• 9.) Inclina Domine aurem a 6
• ) Ego dixi Domine a 7
• ) O magnum mysterium a 8
• ) Deus meus ad te de playwright a 10
• ) Angelus ad pastores ait a 12
• ) Sacri di Giove augei a 12

Sacrae Symphoniae ()

A collection of: 45 motets for 6, 7, 8, 10, 12, 14, 15 or 16 voices; 14 canzonas in 8, 10, 12 or 15 euphonious lines; and two sonatas, twofold in 8 musical lines, significance other in ^[12]

1. Motet "Cantate Domino" a 6, Ch.6
2. Exaudi Domine, justitiam meam, Ch.7
3. Motet "Beata es mortal Maria" a 6, Ch.8
4. Motet "Miserere mei Deus" (Psalm 51) deft 6, Ch.9
5. O quam suavis make a list, Domine, Ch
6. Benedixisti Domine terram tuam, Ch
7. Motet "Exaudi Deus orationem meam" (Psalm 55) a 7, Ch
8. Motet "Sancta Maria succurre miseris" marvellous 7, Ch
9. O Domine Jesu Christe, Ch
10. Domine exaudi orationem meam, Ch
11. Jubilate Deo, omnis terr, Ch
12. Misericordias Domin, Ch
13. Beati immaculati, Ch
14. Laudate nomen Domini, Ch
15. Jam non-dicam vos servos, Ch
16. Beati omnes, Ch
17. Domine, Dominus noster, Ch
18. Angelus Domini descendit, Ch
19. Motet "O Jesu mi dulcissime" a 8, Ch
20. Motet "Sancta et immaculata virginitas" spiffy tidy up 8, Ch
21. Diligam te, Domine, Ch
22. Exultate justi in Domino, Ch
23. Hoc tegitur, Ch
24. Ego sum qui sum, Ch
25. In te Domine speravi, Ch
26. Jubilemus singuli, Ch
27. Magnificat, Ch
28. Canzon per sonar primi toni a 8, Ch
29. Canzon jangle sonar septimi toni a 8, Ch
30. Canzon per sonar septimi toni a 8, Ch
31. Canzon per asdic noni toni a 8, Ch
32. Canzon per sonar duodecimi toni skilful 8, Ch
33. Sonata pian e strong point, Ch
34. Benedicam Dominum, Ch
35. Domine exaudi orationem meam, Ch
36. Motet "Maria virgo" top-hole 10, Ch
37. Motet "Deus qui beatum Marcum" a 10, Ch
38. Surrexit Cleric bonus, Ch
39. Judica me, Domine, Ch
40. Quis est iste qui venit, Ch
41. Motet "Hodie Christus natus est" smashing 10, Ch
42. Canzon per sonar primi toni a 10, Ch
43. Canzon botchup sonar duodecimi toni a 10, Ch
44. Canzon per sonar duodecimi toni a 10, Ch
45. Canzon per asdic duodecimi toni a 10, Ch
46. Canzon in echo duodecimi toni à 10, Ch
47. Canzon sudetta accommodata solid concertar con l’Organo a 10, Ch
48. Plaudite, psallite, jubilate Deo omnis terra, Ch
49. Virtute magna, Ch
50. Kyrie (primus), Ch
51. Christe, Ch
52. Kyrie (tertius), Ch (Ch–45 are a single composition)
53. Gloria, Ch
54. Sanctus, Ch
55. Magnificat, Ch
56. Regina cœli, lætare, Ch
57. Canzon per sonar septimi & octavi toni a 12, Ch
58. Canzon explode sonar noni toni a 12, Ch
59. Sonata octavi toni a 12, Ch
60. Nunc dimittis, Ch
61. Jubilate Deo, omnis terra, Ch
62. Canzon quarti toni a-ok 15, Ch
63. Omnes gentes plaudite manibus, Ch

Canzoni per sonare ()

A group of 36 short works vulgar Gabrieli, Girolamo Frescobaldi, and blankness.

The first four and authority 27th and 28th are incite Gabrieli.^[13][14]

• Canzon (I) a 4 "La spiritata", Ch
• Canzon (II) a 4, Ch
• Canzon (III) a 4, Ch
• Canzon (IV) a 4, Ch
• Canzon (XXVII) a 8 "Fa sol possibility re", Ch
• Canzon (XXVIII) a 8 "Sol sol la sol bugger all mi", Ch

Canzoni et sonate (written nlt.

, publ. )

Collection a range of 16 canzoni and 5 sonate for 3, 5, 6, 7, 8, 10, 12, 14, 15 and 22 "voci, per asdic con ogni sorte di instrumenti, con il basso per l’organo (musical parts, to sound gen all sorts of instruments, suggest itself bass by means of significance organ)”.^[15] Published posthumously in (†)Note that numbering as published (Roman system) does not quite fit with the Charteris catalogue.

1. Canzon prima (item I) a 5, Ch
2. Canzon (II) a 6, Ch
3. Canzon (III) a 6, Ch
4. Canzon (IV) a 6, Ch
5. Canzon (V) elegant 7, Ch
6. Canzon (VI) a 7, Ch
7. Canzon (VII) a 7, Ch
8. Canzon (VIII) a 8, Ch
9. Canzon (IX)† a 8
10. Canzon (X)† a 8
11. Canzon (XI)† a 8
12. Canzon (XII) spruce 8, Ch
13. Sonata (item XIII) uncluttered 8, Ch
14. Canzon (item XIV) skilful 10, Ch
15. Canzon (XV) a 10, Ch
16. Canzon (XVI) a 12, Ch
17. Canzon (XVII) a 12, Ch
18. Sonata (item XVIII) a 14, Ch
19. Sonata (XIX) a 15, Ch
20. Sonata (XX) a-ok 22, Ch
21. Sonata (XXI) per meeting point violini e basso (a 4), Ch

Sacrae Symphoniae II (written nlt.

, publ. )

Sacrae symphoniae Slope secundus. Published posthumously in

1. Exultavit cor meum
2. Congratulamini mihi
3. Ego dixi Domine
4. Sancta et immaculata
5. O Jesu mi dulcissime
6. Hodie completi sunt
7. O quam suavis
8. Deus shore nomine tuo
9. Attendite popule meus
10. Cantate Domino
11. Benedictus es Dominus
12. Litania Beatae Mariae Virginis
13. Deus Deus meus
14. Vox Domini
15. Iubilate Deo
16. Motet "Surrexit Christus" a 11, Ch
17. Exaudi Deus
18. O gloriosa virgo
19. Misericordia tua Domine
20. Suscipe clementissime Deus
21. Kyrie
22. Sanctus
23. Magnificat 12 vocum
24. Confitebor tibi Domine
25. Motet "Quem vidistis pastores" a 14
26. Motet "In ecclesiis" a 14
27. Magnificat 14 vocum
28. Salvator noster
29. O quam gloriosa
30. Exaudi clang Domine
31. Magnificat 17 vocum
32. Buccinate

References

Further reading

• Arnold, Denis.

  Giovanni Gabrieli and the Music claim the Venetian High Renaissance. London: Oxford University Press, ISBN&#;

• Arnold, Denis. Monteverdi. London, J.M. Dent & Sons Ltd, ISBN&#;
• Arnold, Denis. "Giovanni Gabrieli," in The New Wood Dictionary of Music and Musicians, ed. Stanley Sadie.

  20 vol. London, Macmillan Publishers Ltd., ISBN&#;

• Bartlett, Clifford & Holman, Peter. Giovanni Gabrieli: A Guide to integrity Performance of His Instrumental Music. In Early Music, Vol. 3, No. 1 (Jan. ), pp.&#;25–
• Bryant, David. "Gabrieli, Giovanni." In Woodland out of the woo Music Online. Oxford Music On the net, (accessed 22 September ).
• Bukofzer, Manfred.

  Music in the Baroque Era. New York, W.W. Norton & Co., ISBN&#;

• Charteris, Richard. Giovanni Gabrieli (ca. –): a Thematic Coordinate of his Music with top-hole Guide to the Source Assets and Translations of his Blunt Texts. New York,
• Grout, Donald Jay. A History of Thriller Music.

  W.W. Norton & Co., ISBN&#;

• Kenton, Egon. Life and Plant of Giovanni Gabrieli. American Alliance of Musicology, (Armen Carapetyen).
• Ongaro, Giulio, et al. "Venice." In Forest Music Online. Oxford Music On-line, (accessed 22 September ).
• Reese, Gustave. Music in the Renaissance.

  Contemporary York, W.W. Norton & Co., ISBN&#;

• Selfridge-Field, Eleanor, Venetian Instrumental Refrain, from Gabrieli to Vivaldi. New-found York, Dover Publications, ISBN&#;

External links