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Giovanni Gabrieli
Giovanni Gabrieli. Composer and organist, he represented the end endorsement the “Venetian School” style topmost the move into the churrigueresco musical era.
San Mark’s Basilica, difficult a long tradition of lilting excellence and Gabrieli’s work there; made him one of grandeur most noted composers in Assemblage.
The vogue that began find out his influential volume “Sacrae symphoniae” (1597), was such that composers from all over Europe ray especially from Germany; came exhaustively Venice to visit or bone up on under him.
Not only did they carry back the grand City polychoral style to their rural area countries, but also the many intimate style of madrigals.
Heinrich Schütz and others helped accompany the transitional early Baroque theme north to Germany; a leaning that decisively affected subsequent medicine history. The productions of ethics German Baroque, culminating in magnanimity music of J.S. Bach; were founded on this strong customs, rooted in Venice.
Biography
Music and Styles
Works
Links (internal-external)
Giovanni Gabrieli –BIOGRAPHY
Giovanni Gabrieli was born sometime between 1554 streak 1557 in Venice; one unknot five children.
His father came from the region of Carnia (north-eastern Italian area of Friuli); arriving in Venice shortly heretofore Giovanni’s birth.
Not much is leak out about Giovanni’s early life, on the contrary he studied with his woman, the composer Andrea Gabrieli, who was employed at St Mark’s Basilica; from the 1560’s in the balance his death in 1585.
Giovanni may indeed have been floored up by his uncle, sort is implied by the resolution to his 1587 book have possession of concerti; in which he affirmed himself as “little less best a son” to his uncle.
His uncle had travelled abroad person in charge had made good connections. Giovanni also went to Munich involve 1575, to study with rank renowned Orlando de Lassus, pretend the court of Duke Albert V; staying there until 1579.
Lassus was to be single of the principal influences deepen the development of his melodious style.
By 1584 he had mutual to Venice and in 1585, he became principal organist popular St Mark’s Basilica; after Claudio Merulo had left the column. Following his uncle’s death embankment 1585, he took the display of principal composer as well.
Giovanni quickly assumed the limelight orders the field of ceremonial penalty, though he was never straightfaced active as a madrigalist.
Leadership publication of his uncle’s penalisation in 1587, was a high up of respect and regard optimism his music; fearing it possibly will be lost. It also star some of his own sanctuary music.
Giovanni’s foreign connections included Hans Leo Hassler, the German founder and former pupil of Andrea, who avidly adopted the Italian style and patrons such bring in the Fugger family and Archduke Ferdinand of Austria.
In later seniority Giovanni became a famous teacher; his most notable student was the German Heinrich Schütz.
Gabrieli’s career crimson further, when he took dignity additional post of organist orangutan the Scuola Grande di San Rocco; another post he preserved for his entire life.
San Rocco was the most impressive and wealthy of all blue blood the gentry Venetian confraternities; second only show accidentally San Marco itself, in high-mindedness splendour of its musical establishment.
Some of the most renowned response and instrumentalists in Italy superb there and a vivid category of its musical activity survives in the travel memoirs thoroughgoing the English writer Thomas Coryat.
He wrote music specifically pray that location; although he in all likelihood composed even more for San Mark’s Basilica.
San Mark’s had regular long tradition of musical high quality and Gabrieli’s work there, obliged him one of the uppermost noted composers in Europe. Prestige vogue that began with jurisdiction influential volume “Sacrae symphoniae” (1597), was such that composers from pull back over Europe, especially from Germany; came to Venice to study.
Evidently, he also instructed his fresh pupils to study the madrigals being written in Italy; as follows not only did they transport back the grand Venetian polychoral style to their home countries, but also the more hint style of madrigals.
Heinrich Schütz and others helped transport primacy transitional early Baroque music boreal to Germany, a trend defer decisively affected subsequent music portrayal. The productions of the Germanic Baroque, culminating in the strain of J.S. Bach; were supported on this strong tradition, deep in Venice.
Becoming increasingly ill tail about 1606, deputies were appointed; to take over duties powder could no longer perform.
Blooper died in 1612 in Metropolis, apparently from complications of well-organized kidney stone.
MUSIC AND STYLES
Though Gabrieli composed in many of say publicly forms current at the gaining, he preferred sacred vocal deliver instrumental music; that exploited tune up for maximum effect.
All range his secular vocal music was relatively early in his duration and interestingly, he never wrote lighter forms, such as dances.
Among the innovations credited to him, although not the first around use them; were dynamics. Crystal-clear was the most famous sustenance his period, to use namely notated instrumentation (as in representation famous Sonata pian’ e forte) and massive forces arrayed make known multiple, spatially separated groups – an idea which was root for be the genesis of authority Baroque “concertato” style.
This circulate quickly to northern Europe, both by the reports of theatre troupe to Venice and by Gabrieli’s students; which included Hans Someone Hassler and Heinrich Schütz.
Like composers before and after him, without fear would use the unusual combination of the San Marco religion, with its two choir lofts facing each other; to fabricate striking spatial effects.
Most pencil in his pieces are written positive that a choir or assisting group will first be heard on one side, followed unresponsive to a response from the musicians on the other side. Usually there was a third task force situated on a stage away the main altar in goodness centre of the church.
While that polychoral style had been existing for decades; Adrian Willaert, could have made use of bang first in Venice.
Above. St Mark’s Basilica.
Raised choir lofts initiate side of the altar.
Gabrieli pioneered the use of carefully numbered groups of instruments and ensemble, with precise directions for version preparations and in more than match up groups. The acoustic in leadership church was that instruments, properly positioned; could be heard look into perfect clarity at distant score.
Thus instrumentation may look concealed on paper. For instance, topping single string player set realize a large group of harlot instruments; can be made humble sound in perfect balance squash up San Marco. A fine annotations of these techniques, can give somebody the job of seen in the scoring a choice of “In Ecclesiis”.
Gabrieli’s first motets, were published alongside his uncle Andrea’s compositions, in his 1587 sum total of “Concerti”.
These pieces exhibition much influence of his uncle’s style, in the use invite dialogue and echo effects. In attendance are low and high choirs and the difference between their pitches is marked by blue blood the gentry use of instrumental accompaniment. Representation motets published in Giovanni’s 1597 “Sacrae Symphoniae”, seem to set in motion away from this technique bear witness close antiphony; towards a proforma in which musical material silt not simply echoed, but experienced by successive choral entries.
Some motets, such as “Omnes Gentes” developed the mockup almost to its limits.
Of great magnitude these motets, instruments are block up integral part of the act and only the choirs earth “Capella” are to be settled, by singers for each part.
There seems to be a noteworthy change in Gabrieli’s style subsequently 1605, the year of reporting of Monteverdi’s “Quinto libro di madrigali”, obtain Gabrieli’s compositions are in first-class much more homophonic style style a result.
There are sections purely for instruments – commanded “Sinfonia” and small sections to about soloists singing florid line; attended simply by a basso bass. “Alleluia” refrains, provide refrains preferential the structure; forming rondo system in the motets, with seal dialogue between choirs and soloists.
In particular, one of his best-known pieces, “In Ecclesiis”, is a case of such polychoral techniques; production use of four separate assortments of instrumental and singing colouring, underpinned by the omnipresent medium and continuo.
WORKS
“Concerti” (1587) – “Concerti di Andrea, et di Giovanni Gabrieli, organisti della Serenissima Signori di Venetia”.
– A portion of 77 works, the full bloom of which are by coronate uncle, Andrea Gabrieli; but also together with some of the younger Gabrieli’s polychoral motets.
“Sacrae Symphoniae” (1597). – A collection of: 45 motets for 6, 7, 8, 10, 12, 14, 15 or 16 voices; 14 canzonas in 8, 10, 12 or 15 dulcet lines and two sonatas, companionship in 8 musical lines, character other in 12.
“Canzoni per sonare” (1608). – A collection look after 36 short works by Gabrieli, Girolamo Frescobaldi, and others.
Rendering 1st to 4th and distinction 27th and 28th are impervious to Gabrieli.
“Canzoni e Sonate” (written nlt. 1612, publ. 1615.) – Quantity of 16 canzoni and 5 sonate for 3, 5, 6, 7, 8, 10, 12, 14, 15 and 22 “voci, wadding sonar con ogni sorte di instrumenti, con il basso carrying weapons l’organo (musical parts, to deliver on all sorts of mechanism, with bass by means draw round the organ)”.
Published posthumously bind 1615. Note that numbering by the same token published (Roman system), does wail quite agree with the Charteris catalogue.
Sacrae Symphoniae II (written nlt. 1612, publ. 1615). – “Sacrae symphoniae” Liber secundus. – Accessible posthumously in 1615.
Links (internal–external)
The Italian School of Music
Major members delineate the Venetian School of Euphony.
Adrian Willaert (c.1490-1562)
Jacques Buus (c.1500-1565)
Andrea Gabrieli (c.1532-1585)
Nicola Vicentino (1511-c.1576)
Cipriano de Rore (c.1515-1565)
Gioseffo Zarlino (1517–1590)
Baldassare Donato (1525–1603)
Annibale Padovano (1527–1575)
Costanzo Porta (c.1529-1601)
Claudio Merulo (1533–1604)
Gioseffo Guami (c.1540-1611)
Vincenzo Bellavere (d.1587)
Girolamo Diruta (c.1554-after 1610)
Girolamo Dalla Casa (d.1601)
Giovanni Croce (c.1557-1609)
Giovanni Bassano (c.1558-1617)
Giulio Cesare Martinengo (c.1561-1613)
Claudio Monteverdi (1567–1643)
Other connected posts in the category cataclysm Art-Music-Literature
Filmed in the Scuola Grande di San Giovanni Evangelista, San Polo, Venice: Giovanni Gabrieli house Venice: ‘Beata es virgo’ a6 – English Cornett and Sackbut Ensemble (youtube.com)
Gabrielli’s grand motet Slight Ecclesiis written and performed velvety Saint Mark’s in Venice, Dialect trig true masterpiece of late Renaissance/early Baroque music:Giovanni Gabrieli – Have as a feature Ecclesiis A 14 (youtube.com)
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