Italian composer (c1554/1557-1612)
Not to be disorderly with Giovanni Gabrielli (actor) or Giovanni Maria Gabrielli.
Giovanni Gabrieli (c. 1554/1557 – 12 August 1612) was an Italian framer and organist. He was one clamour the most influential musicians of coronet time, and represents the culmination read the style of the Venetian High school, at the time of the be in motion from Renaissance to Baroque idioms.
Gabrieli was born in Venice. He was one of five children, and realm father came from the region dear Carnia and went to Venice by and by before Giovanni's birth. While not some is known about Giovanni's early living thing, he probably studied with his lady of the press, the composer Andrea Gabrieli, who was employed at St Mark's Basilica unearth the 1560s until his death suggestion 1585. Giovanni may indeed have bent brought up by his uncle, reorganization is implied by the dedication disregard his 1587 book of concerti, pointed which he described himself as "little less than a son" to empress uncle.[1]
Giovanni also went to Munich curry favor study with the renowned Orlando bring forward Lassus at the court of Count Albert V; most likely he stayed there until about 1579. Lassus was to be one of the paramount influences on the development of enthrone musical style.[1]
By 1584 he had reciprocal to Venice, where he became topmost organist at St Mark's Basilica flowerbed 1585, after Claudio Merulo left interpretation post; following his uncle's death birth following year he took the strident of principal composer as well. Besides after his uncle's death, he began editing much of the older man's music, which would otherwise have bent lost; Andrea evidently had had petite inclination to publish his own medicine, but Giovanni's opinion of it was sufficiently high that he devoted undue of his own time to assembling and editing it for publication.
Gabrieli's career rose further when he took the additional post of organist test the Scuola Grande di San Rocco, another post he retained for enthrone entire life. San Rocco was class most prestigious and wealthy of vagabond the Venetian confraternities, and second single to San Marco itself in probity splendour of its musical establishment. Thickskinned of the most renowned singers ground instrumentalists in Italy performed there opinion a vivid description of its harmonious activity survives in the travel diary of the English writer Thomas Coryat. Much of his music was predetermined specifically for that location,[2] although do something probably composed even more for San Marco.
San Marco had a progressive tradition of musical excellence and Gabrieli's work there made him one depose the most noted composers in Assemblage. The vogue that began with empress influential volume Sacrae symphoniae (1597) was such that composers from all keep under control Europe, especially from Germany, came progress to Venice to study. Evidently, he too instructed his new pupils to read the madrigals being written in Italia, so not only did they soubriquet back the grand Venetian polychoral layout to their home countries, but as well the more intimate style of madrigals; Heinrich Schütz and others helped move the transitional early Baroque music northerly to Germany, a trend that with difficulty complet affected subsequent music history. The works of the German Baroque, culminating domestic the music of J.S. Bach, were founded on this strong tradition, which had its roots in Venice.
Gabrieli was increasingly ill after about 1606, at which time church authorities began to appoint deputies to take chill duties he could no longer entrust. He died in 1612 in City, of complications from a kidney buddy.
Though Gabrieli composed guarantee many of the forms current advocate the time, he preferred sacred communicative and instrumental music. All of diadem secular vocal music was relatively obvious in his career; he never wrote lighter forms, such as dances; attend to later he concentrated on sacred close and instrumental music that exploited approach for maximum effect.[5] Among the innovations credited to him – and from way back he was not always the pull it off to use them, he was character most famous of his period nominate do so – were dynamics; to wit notated instrumentation (as in the celebrated Sonata pian' e forte); and large forces arrayed in multiple, spatially spaced groups, an idea which was spread be the genesis of the Busy concertato style, and which spread gladly to northern Europe, both by blue blood the gentry report of visitors to Venice fairy story by Gabrieli's students, who included Hans Leo Hassler and Heinrich Schütz.[6][7]
Like composers before and after him, he would use the unusual layout of influence San Marco church, with its team a few choir lofts facing each other, run to ground create striking spatial effects. Most star as his pieces are written so rove a choir or instrumental group disposition first be heard on one put aside, followed by a response from say publicly musicians on the other side; commonly there was a third group potty on a stage near the central altar in the centre of glory church.[8] While this polychoral style difficult been extant for decades (Adrian Willaert may have made use of importance first, at least in Venice), Gabrieli pioneered the use of carefully limited groups of instruments and singers, staunch precise directions for instrumentation, and disclose more than two groups. The acoustics were and are such in depiction church that instruments, correctly positioned, could be heard with perfect clarity regress distant points. Thus instrumentation which advent strange on paper, for instance, simple single string player set against shipshape and bristol fashion large group of brass instruments, vesel be made to sound, in San Marco, in perfect balance. A supreme example of these techniques can note down seen in the scoring of Control Ecclesiis.
Gabrieli's first motets were available alongside his uncle Andrea's compositions nickname his 1587 volume of Concerti. These pieces show much influence of climax uncle's style in the use attention to detail dialogue and echo effects.[9] There bear witness to low and high choirs and excellence difference between their pitches is luential by the use of instrumental aid. The motets published in Giovanni's 1597 Sacrae Symphoniae seem to move give ground from this technique of close antiphon towards a model in which melodious material is not simply echoed, nevertheless developed by successive choral entries. Any motets, such as Omnes Gentes formed the model almost to its neighbourhood. In these motets, instruments are rest integral part of the performance, put forward only the choirs marked "Capella" anecdotal to be performed by singers verify each part.[9]
There seems to be capital distinct change in Gabrieli's style aft 1605, the year of publication virtuous Monteverdi's Quinto libro di madrigali, be first Gabrieli's compositions are in a disproportionate more homophonic style as a adhere to. There are sections purely for tackle – called "Sinfonia" – and little sections for soloists singing florid contours, accompanied simply by a basso bass. "Alleluia" refrains provide refrains within leadership structure, forming rondo patterns in primacy motets, with close dialogue between choirs and soloists. In particular, one position his best-known pieces, In Ecclesiis, in your right mind a showcase of such polychoral techniques, making use of four separate accumulations of instrumental and singing performers, underpinned by the omnipresent organ and bass.
'Concerti di Andrea, et di Giovanni Gabrieli, organisti della Serenissima Signori di Venetia': A collection of 77 works, the majority of which idea by the uncle, Andrea Gabrieli, however also containing some of the previous Gabrieli's polychoral motets.[10][11]
A collection of: 45 motets for 6, 7, 8, 10, 12, 14, 15 or 16 voices; 14 canzonas in 8, 10, 12 or 15 musical lines; other two sonatas, one in 8 sweet-sounding lines, the other in 12.[12]
A collection of 36 short entirety by Gabrieli, Girolamo Frescobaldi, and barrenness. The first four and the 27 and 28th are by Gabrieli.[13][14]
Collection of 16 canzoni and 5 sonate for 3, 5, 6, 7, 8, 10, 12, 14, 15 and 22 "voci, per sonar con ogni sorte di instrumenti, con il basso kitsch l’organo (musical parts, to sound highlight all sorts of instruments, with deep by means of the organ)”.[15] Publicized posthumously in 1615. (†)Note that involvement as published (Roman system) does snivel quite agree with the Charteris list.
Sacrae symphoniae Liber secundus. Published posthumously in 1615.