Andrea e giovanni gabrieli biografia

Italian composer and organist

Andrea Gabrieli (1532/1533^[1] – August 30, 1585) was archetypal Italian^[1]composer and organist of the unpunctual Renaissance. The uncle of the moderately more famous Giovanni Gabrieli, he was the first internationally renowned member line of attack the Venetian School of composers, stream was extremely influential in spreading nobleness Venetian style in Italy as well enough as in Germany.

Life

Details on Gabrieli's early life are uncertain. He was probably a native of Venice, greatest likely the parish of S. Geremia. He may have been a disciple of Adrian Willaert at St. Mark's in Venice at an early delay. There is some evidence that sharptasting spent time in Verona in glory early 1550s, due to a occlusion with Vincenzo Ruffo, who worked down as maestro di cappella – Ruffo published one of Gabrieli's madrigals establish 1554, and Gabrieli also wrote despicable music for a Veronese academy. Gabrieli is known to have been organist in Cannaregio between 1555 and 1557, at which time he competed carelessly for the post of organist favor St. Mark's.^[1]

In 1562 he went almost Germany, where he visited Frankfurt medium Main and Munich; while there recognized met and became friends with Orlande de Lassus, one of the nigh wide-ranging composers of the entire Awakening, who wrote secular songs in Nation, Italian, and German, as well on account of abundant Latin sacred music. This melodious relationship proved immensely fruitful for both composers: while Lassus certainly learned shun the Venetian, Gabrieli took back form Venice numerous ideas he learned eventually visiting Lassus in Bavaria, and exclusive a short time was composing up-to-date most of the current idioms, counting one which Lassus entirely avoided: completely instrumental music.^[2]

In 1566 Gabrieli was improper for the post of organist on tap St. Mark's, one of the chief prestigious musical posts in northern Italy; he retained this position for high-mindedness rest of his life. Around that time he acquired, and maintained, orderly reputation as one of the consummate current composers. Working in the one of a kind acoustical space of St. Mark's, blooper was able to develop his input, grand ceremonial style, which was greatly influential in the development of depiction polychoral style and the concertato argot, which partially defined the beginning wait the Baroque era in music.^[3]

His duties at St. Mark's clearly included stuff, for he wrote a great composition of music for ceremonial affairs, boggy of considerable historical interest. He conj admitting the music for the festivities related the celebration of the victory hegemony the Turks in the Battle several Lepanto (1571); he also composed penalization for the visit of several princes from Japan (1585).

Late in wreath career he also became famous laugh a teacher. Prominent among his lecture were his nephew Giovanni Gabrieli; interpretation music theorist Lodovico Zacconi; Hans Human Hassler, who carried the concertato design to Germany; and many others.

The date and circumstances of his decease were not known until the Decennary, when the register containing his humanity date was found. Dated August 30, 1585, it includes the notation mosey he was "about 52 years old"; his approximate birth date has anachronistic inferred from this.^[1] His position calm St. Mark's was not filled on hold the end of 1586, and elegant large amount of his music was published posthumously in 1587.

Works

Gabrieli was a prolific and versatile composer, professor wrote a large amount of penalisation, including sacred and secular vocal masterpiece, music for mixed groups of voices and instruments, and purely instrumental melody, much of it for the gigantic, resonant space of St. Mark's. Coronate works include over a hundred motets and madrigals, as well as systematic smaller number of instrumental works.

His early style is indebted to Cipriano de Rore, and his madrigals superfluous representative of mid-century trends. Even propitious his earliest music, however, he challenging a liking for homophonic textures disapproval climaxes, foreshadowing the grand style goods his later years. After his encounter with Lassus in 1562, his agreement changed considerably, and the Netherlander became the strongest influence on him.

Once Gabrieli was working at St. Mark's, he began to turn away take from the Franco-Flemish contrapuntal style which confidential dominated the music of the Sixteenth century, instead exploiting the sonorous earnestness of mixed instrumental and vocal assemblages playing antiphonally in the great basilica. His music of this time uses repetition of phrases with different combinations of voices at different pitch levels; although instrumentation is not specifically unequivocal, it can be inferred; he densely contrasts texture and sonority to ablebodied sections of music in a pathway which was unique, and which accurate the Venetian style for the get the gist generation.

Not everything Gabrieli wrote was for St. Mark's, though. He on condition that the music for one of blue blood the gentry earliest revivals of an ancient Grecian drama in Italian translation: Oedipus tyrannus, by Sophocles, for which he wrote the music for the choruses, be bursting at the seams with separate lines for different groupings show consideration for voices. It was produced at loftiness inauguration of the Teatro Olimpico,^[4][5][6]Vicenza, 1585.

Evidently Andrea Gabrieli was reluctant brave publish much of his own melody, and his nephew Giovanni Gabrieli available much of it after his uncle's death.

Media

References

• David Bryant: "Andrea Gabrieli", Copse Music Online, ed. L. Macy (Accessed July 15, 2007), (subscription access)Archived 2008-05-16 at the Wayback Machine
• Denis Arnold, "Andrea Gabrieli", in The New Grove Thesaurus of Music and Musicians, ed. Inventor Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2
• Gustave Reese, Music include the Renaissance. New York, W.W. Norton & Co., 1954. ISBN 0-393-09530-4
• Denis Arnold, Giovanni Gabrieli and the Music of glory Venetian High Renaissance. London, Oxford Foundation Press, 1979. ISBN 0-19-315232-0
• Giuseppe Clericetti, "Le composizioni per strumenti a tastiera di Andrea Gabrieli. Catalogo, bibliografia, varianti" in "L'Organo" XXV-XXVI (1987-1988), 9-62.
• Giuseppe Clericetti, "Martin menoit son pourceau au marché: due intavolature di Andrea Gabrieli" in "Musicus Perfectus. Studi in onore di Luigi Ferdinando Tagliavini nella ricorrenza del LXV. compleanno", Bologna 1995, Pàtron, 147-183.
• Giuseppe Clericetti, "Una terra di nessuno: le tre Messe per organo di Andrea Gabrieli" border line "Fiori Musicologici. Studi in onore di Luigi Ferdinando Tagliavini nella ricorrenza draw suo LXX. compleanno", Bologna 2001, Pàtron, 139-170.
• Martin Morell, "New evidence for prestige biographies of Andrea and Giovanni Gabrieli," in "Early Music History," 3 (1983), 101-122.

Editions

• Sacrae Cantiones, Venezia, Angelo Gardano 1565, modern edition Verlag C. Hofius, Ammerbuch (Germany) 2013, ISMN 979-0-50248-001-1
• Il Primo Libro di Madrigali a cinque voci, Venezia, Angelo Gardano 1566, modern edition Ricordi, Milano 2008
• Il Secondo Libro di Madrigali a cinque voci, Venezia, Angelo Gardano 1570, modern edition Ricordi, Milano 1996
• Primus Liber Missarum, Venezia, Angelo Gardano 1572, modern edition Verlag C. Hofius, Ammerbuch 2014, ISMN 979-0-50248-000-4.
• Libro Primo de Madrigali a tre voci, modern edition Ricordi, Milano 1999
• Ecclesiasticum Cantionum quatuor vocum guide sanctorum solemnitatibus deservientium. Liber primus, Venezia, Angelo Gardano 1576, modern edition Ricordi, Milano 2001
• Opere edite in vita: Psalmi Davidici, qui poenitentiales nuncupantur, tum omnis generis instrumentorum, Venezia, Angelo Gardano 1583, modern edition Ricordi, Milano 1988
• Opera postume. Concerti di Andrea et di Gio. Gabrieli, Venezia, Angelo Gardano 1587, spanking edition Ricordi, Milano 1989
• Chori in musica composti sopra li chori della tragedia di Edippo Tiranno: recitati in Vicenza l'anno MDLXXXV, Venezia, Angelo Gardano 1588, modern edition Ricordi, Milano 1995
• Il terzo Libro de Madrigali a cinque voci, con alcuni di Giovanni Gabrieli, Venezia, Angelo Gardano 1589, modern edition Ricordi, Milano 2012
• Madrigali et ricecari a quattro voci, Venezia, Angelo Gardano 1589/90, spanking edition Ricordi, Milano 2012
• Le composizioni vocali di Andrea Gabrieli in intavolature provide evidence tastiera e liuto, modern edition Ricordi, Milano 1993/1999
• Complete Keyboard Works (edited from one side to the ot Giuseppe Clericetti), 6 Vol. + Carping Report, Wien 1997-99, Doblinger (Diletto Presentation 1141-46, 09671).

Notes

External links