Canzone Xvii Giovanni Gabrieli biography

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Despite this important contact, the formative influence on the young Giovanni was his uncle Andrea Gabrieli, whose career as composer and organist anticipated his own. Gabrieli's second volume of Sacrae symphoniae, printed posthumously (1615), contains early as well as late pieces in the new concerted idiom. Plates 104309-27 to 104326-27

Daniele - Oratorio in Due Parti a Cinque Voci
Tre parti di una messa inedita a otto voce
Ohimé quel viso amato
Sant'Alessio
Lampi e lumi egregi
Poca voglia di far bene
Coro di Demonij nell'Atto I Scena IV del S.

Alessio
Coro nell'Atto III, Scena V del S. Alessio

Uccidimi dolore
La Civetta
Ho perso il mio core
Al bel lume d'un bel volto
Due labra di rose fan al mio core
La Piva - Pastori che vi piace di sonare
Correa nel seno amato

Volume 6 - La musica scenica, secolo XVII

Theatre music, 17th century
1908.

Plate 101366

  • Works of Bologna, Demophon, Tromboncino, Spitaro, Festa, Ferranese, Zarlino, Cero, Corteccia, Nola, Vicentino, Animuccia, Donato, Ruffo, Padovano, Porta, Zoilo, Vinci, Striggio, Merulo, Haver, Rota, Trombetti

Volume 2 - Composizioni sacre e profane a più voci, secolo XVI

Sacred and secular compositions with many voices, 16th century
1897.

After early service at the court of Munich under Orlando di Lasso, he returned to Venice, where he became principal organist and later principal composer at St Mark’s Basilica.



Top Pieces on 8notes by Giovanni Gabrieli

La Spiritata (Canzon)
Sonata Pian e Forte
 

Plates 109112-15 to 109114-15
Euridice - Opera in musica
Madrigals, Book 8
Il Combattimento di Tancredi et Clorinda, azione drammatica in partitura d'Orchestra
Ballo delle Ingrate, in genere rappresentativo

Volume 7 - Musica istrumentale, secolo XVII

Instrumental Music, 17th century
1904.

Plates 109140-64 to 109163-64

Componimenti Diversi per Violini, Viola e Basso
ed una Romanesca per Violono solo
Balletti e Correnti per due Violini, Viola e Basso
Sonata per 3 Violini
Sonata
Sonata - Sopra 'Fuggi dolente core'
Sonata a 4
Sonata per 2 Violini
Passacalio a 3 e a 4
Sonata per Violino
Balletto e Pass'e Mezzo per Violino
Corrente e Gagliarda
Componimenti Diversi per 2 Violini e Basso
Tiple a tre: Brando d'Abril
L"Eroica
Ciaccona
Tiple a tre: Battalla de Barabaso yerno de Sanatas
Tiple a tre: Canciona dicha la Ennamorada
Tiple a tre: La Murroya
2 Capricci per Violino
Passagallo per Violino
Sinfonia a 2 Violini
Balletto per 2 Violini e Violone
2 Sonate per Violino
9 Componimenti in Forme di Danza
Gavotta, Introduzione ed Allegro, Giga
Sinfonia a 6
Tre Sonate a due Violini con il Violoncello se piace
Sonata 2a a due Violini con il Violoncello si piace
Sonata 6 per due Violini e Violoncello se piace
Sonata 7a per due Violini e Violoncello se piace
Sonate, correnti et arie, Op.4
Due Sonate a due Violini
Tre Correnti per Violino
Tre Arie per due Violini

Giovanni Gabrieli

composer

Giovanni Gabrieli was an Italian composer.

For Gabrieli, who designed his creations for large spaces, traditional counterpoint was less important than dramatic changes in texture and dynamics. His Sacrae Symphoniae (1597, 1615) introduced some of the earliest pieces to specify exact instrumentation and dynamics, marking a transition from Renaissance to early Baroque practice.



With such a work resplendent with color, Gabrieli helped inaugurate a new musical epoch that was carried forward by many 17th-century Roman masters and, even more significantly, by the Germans Heinrich Schütz and Michael Praetorius.

Achievements

  • The works of the Italian composer Giovanni Gabrieli mirror the transition from the 16th-century Renaissance style to the 17th-century baroque.

    Of particular interest is Gabrieli's Sonata piano e forte, the first composition ever to bear this title.

    In addition to marking dynamics throughout the individual parts, the composer prescribed the instrumentation of the sonata - a novel departure from Renaissance practice, in which instrumentation was usually an ad libitum matter.

    Education

    Giovanni Gabrieli studied with his uncle, Andrea Gabrieli, whom he regarded with almost filial affection.

    Career

    He was associated with the court chapel of Roland de Lassus in Munich (1576 - 1580).

    Plate 103034

    Ricercari per Organo
    Canzoni
    Inni
    Magnificat Primi Toni - Quia respexit - Deposuit, a tre voci - Suscepit - Gloria Patri
    Magnificat Octavi Toni - Quia respexit - Deposuit - Suscepit, a tre voci - Gloria Patri
    Versi per Organo
    2 Canzoni per Organo - 1.

    Canzone Xvii Giovanni Gabrieli biography

    Here, as in the sacred pieces, antiphonal effects, created by means of vertical, chordal combinations, replace the linear movement of the older polyphonists. For these works he replaced the older, imitative, melismatic polyphony of the Franco-Flemish school by syllabic, harmonic writing. Of all Gabrieli's works, first place must go to the motets.

    Some early canzonas such as La Spiritata are conventional, sectional pieces in imitative, multithematic polyphony. Like his uncle, Giovanni worked in the Cathedral of St. Mark in Venice, first as deputy to the famed master Claudio Merulo (1584), then as second organist (1585), and finally as first organist (1586). Among Gabrieli's madrigals is the eight-voice Lieto godea for two choruses.

    The motet In ecclesiis reveals most of the innovations of Gabrieli's late style: solos and duets supported by organ (basso continuo) or instrumental ensemble; a solo quartet of voices responding to or joining the chorus; and instrumental ensembles accompanying the singers or playing independent sinfonie.