Giovanni Gabrieli Research Articles

Техника многохорного письма в сочинениях Миколая Зеленьского

The heyday of the art of polychoral composition in European musical culture falls on the middle of the 17th century. The style originated in the churches of western and central Italy. It united a whole generation of young Polish composers educated in Venice and Rome. One of them is the famous Polish composer Mikolaj Zielenski. In musical style Zielenski follows the traditions of late Renaissance polyphony. His compositions mark the beginning of a long period of influence of Italian style on Polish music. Until today the question remains open, where the composer got acquainted with the Venetian technique of writing multi-choir music. The composer could master the polychoral style without leaving Poland. The polychoral style was then very widespread thanks to the activities of Italian musicians throughout Europe.All of Zielenski 's works known today were published in Venice in 1611. The first of these, Offertoria totius anni, includes multi-choir compositions similar to Giovanni Gabrieli's Sacrae symphoniae. The collection contains 55 compositions, the last of which is the Magnificat for three choirs. Mikolaj Zielenski 's Magnificat can be considered a classical composition for three choirs. In terms of stylistic and compositional features, it follows Italian traditions, in connection with which it is often compared with Giovanni Gabrieli's Magnificat.The history of polychoral style is one of the most interesting pages in the history of European musical culture. The Venetian style influenced the music of Central and Eastern Europe, including Russian musical culture.

Compositional Strategies for Large-Scale Works Around 1600

Giovanni Gabrieli’s posthumously published motets In ecclesiis and Benedictus es, Dominus ( Sacrae symphoniae ... liber secundus , 1615) show obvious characteristics of self-quotation and reworking. An analysis of the works focuses on a characteristic ascending-fifths sequence which has been called “Monte Romanesca” by Robert Gjerdingen who introduced the term for the eighteenth century. In this study, the term is expanded to include music from the end of the sixteenth century for the first time. Further analysis concentrates on motivic and modal connections as well as special harmonic features such as chromatic-third relationships. Additionally, several other works of the composer are considered, showing that Gabrieli built on highly sophisticated harmonic, motivic, and formal compositional strategies in his large-scale oeuvre. Also, apparent processes of imitation in the Missa sine nomine of Gabrieli’s pupil Alessandro Tadei suggest that the younger composer used either or both of his teacher's motets as a model. A comparative analysis of all three works provides further insight into compositional methods at the “dawn of the Baroque” era and sheds new light on what must have been a special teacher-student relationship.

Klasik Batı Müziği Yaratılarında Boyutsal Seslendirme

Spatial is related to multi-dimensionality in nature. Spatial sound is perceived in three dimensions in relationship with the source location. Thus, spatial sound perception provides the location of sound source. In other words, this capability of localizing sound in space is often referred to as spatial sound. In music technology, spatial sound, which is introduced to the listener through various techniques such as mono, stereo, quadro, ambio, surround etc., is in the domain of spatial audio studies. Hundreds of years ago, when there was no concept of music technology yet, spatial sound was practiced by a number of classical music composers. Giovanni Gabrieli, in the 16th century, splits the choir in two groups named "cori spezzati" similar to the stereo technique. The Baroque period composer Vivaldi’s “per eco in lontano” can be regarded as the first spatial sound performance with echo technique on a concert hall. In the history of classical music, Classical period composers Haydn and Mozart, Romantic period composers Berlioz and Mahler, and 20th century composers Ives and Stockhausen have composed some pieces which can also be considered as spatial sound performances. In this study, the relationship between classical music composers above and their performances connected with spatial sound will be discussed, examining the original parts of their music and establishing a connection with between their performances and dimensionality. The result of this study points out that some classical music composers can consciously raise awareness in the audience by presenting spatial sounds in their music.

Bassoon in the 16–17 centuries: the issues of the bassoon practice development

Bassoon in the 16–17 centuries: the issues of the bassoon practice development

Giovanni Gabrieli: Transmission and Reception of a Venetian Musical Tradition. Ed. by Rodolfo Baroncini, David Bryant, and Luigi Collarile

Giovanni Gabrieli: Transmission and Reception of a Venetian Musical Tradition. Ed. by Rodolfo Baroncini, David Bryant, and Luigi Collarile

Hearing the City in Early Modern Europe ed. by Tess Knighton and Ascensión Mazuela-Anguita

Reviewed by: Hearing the City in Early Modern Europe ed. by Tess Knighton and Ascensión Mazuela-Anguita Lynette Bowring Hearing the City in Early Modern Europe. Edited by Tess Knighton and Ascensión Mazuela-Anguita. Turnhout: Brepols, 2018. [428 p. ISBN 9782503579597 (paperback), €65.] Illustrations, music examples, tables, bibliography, index. Many tantalizing glimpses of civic soundscapes have survived in primary sources, but scholars have only recently started to piece these together into detailed sonic histories. Hearing the City in Early Modern Europe provides a welcome forum for the scholars working in this field. The foundations for this substantial essay collection were the international workshop "Hearing the City: Musical Experience as Portal to Urban Soundscapes" (Barcelona, 2015), organized by the Catalan Institution for Research and Advanced Studies (ICREA), and the subsequent Marie Curie Foundation research project "Urban Musics and Musical Practices in Sixteenth-Century Europe." Emerging from these projects is a varied intellectual landscape that cultivates many new insights through its interdisciplinary breadth. This volume makes a significant contribution to the fields of urban sound studies and urban musicology through its twenty-one essays that include research from many major scholars. "Urban musicology" is a concept rich in potential; as Joachim Kremer notes in his contribution to the volume, it provides a way to acknowledge and access the rich diversity of musical experiences that were generated by the stratified social hierarchies of early modern societies (p. 146). The idea of an "ur ban soundscape" opens this volume to a still wider range of both enriching and disruptive sonic experiences in the early modern city. Such concepts draw heavily on the groundbreaking work of Reinhard Strohm, who showed the potential of the term "soundscape" in Music in Late Medieval Bruges (Oxford: Clarendon Press, 1985), and Tim Carter, who delineated the field of urban musicology in his "The Sound of Silence: Models for an Urban Musicology" (Urban History 29, no. 1 [May 2002]: 8–18); the essay by Dinko Fabris helpfully situates the current volume in relation to this scholarly lineage (pp. 53–56). The essays display a loyalty to this disciplinary heritage, creating a unifying intellectual undercurrent in a volume that otherwise spans a vast geographic and temporal space. These concepts provide many opportunities for unexpected intersections of different disciplines and viewpoints. Geography and architecture, which are frequently depicted as passive containers for musical traditions, become active forces that shape and guide the sounds of urban spaces. Networks of individuals, social strata, and communication allow for the incorporation of personal and societal perspectives, bringing value to both subjective and collective aural experiences. Insights from ethnographic studies of modern [End Page 91] societies cast new light onto the soundscapes of the past, and "connected histories" (p. 73) allow for sounds to resonate through intercultural exchanges. In the introduction to the volume, "Listening to Music in Early Modern Italy" (pp. 25–49), Tim Carter draws together many of the main themes. Through Carolyn Abbate's notions of drastic and gnostic ("Music—Drastic or Gnostic?" Critical Inquiry 30, no. 3 [Spring 2004]: 505–36), Carter argues that a "drastic" approach to listening may bring a closer understanding of how early modern soundscapes were heard at the time and how we may today experience those sounds in a historically informed way. His case studies for such drastic listening, Giovanni Gabrieli's In ecclesiis (from the Symphoniae sacrae) and Battista Guarini's poem Mentre vaga Angioletta (and Claudio Monteverdi's duet setting), demonstrate how close readings of the music and texts may guide a modern listener into a more intimate understanding of past listening and appreciation practices. In support of his approach, Carter connects drastic and gnostic impulses to geographic, social, and ethnographic insights in a range of primary source vignettes to show that, although listening practices were by no means uniform, there is still much here that can add to the modern experience of this music. A number of essays expand this methodological basis further and seek intersections between the different fields represented in the book; the first group of essays, entitled "Crossing Boundaries," opens new perspectives by blurring these disciplinary boundaries. Fabris assesses the interdisciplinary expansion of soundscape studies; from this viewpoint, he uses...

Correspondence

In her review of Giovanni Gabrieli: transmission and reception of a Venetian musical tradition (of which we are editors and, inter alia, authors), Eleanor Selfridge-Field describes the volume as ‘a valuable and eminently useful resource’ (Early Music, xlvi/1 (2018), pp.167–9). Yet some of her observations do not corroborate this judgement. We here comment on salient passages in her review. Selfridge-Field writes: ‘This collection of essays ... is intended to celebrate, I believe, the strong stimulus to Gabrieli studies of Baroncini’s too narrowly distributed Giovanni Gabrieli (Palermo, 2012) ... Selected quotations from Baroncini’s book appear before each chapter’. The ‘selected quotations from Baroncini’s book’ are, in reality, the abstracts of the individual chapters, placed in the volume before the main body of text. Furthermore, as here certified by the editors (one of whom authored the 2012 monograph), this new collection of essays has no celebratory contents or intentions. Selfridge-Field also comments: ‘Although bibliographies are generously provided and citations are clear, they occasionally serve to illustrate how little use has been made of previous studies on the same or closely related subjects’. Recommending the use of RILM, she adds: ‘Since all the contributors are recognized scholars, it is difficult to imagine how it is possible to ignore this behemoth of music bibliography’. After this statement, she cites only three examples: essays by Stefano Lorenzetti, Massimo Bisson and Rodolfo Baroncini. In the first case, a cursory examination of the omitted bibliography justifies the author’s (and editors’) decision. Volume xxxi (2007) of the Basler Jahrbuch für historische Musikpraxis contains 13 essays collected under the title of ‘Improvisatorische Praxis vom Mittelalter bis zum 18. Jahrhundert’, none of them akin to the theme of Lorenzetti’s contribution (‘Giovanni Gabrieli’s keyboard music and the art of improvised composition’). To be sure, Morelli’s 1996 study (‘The role of the organ in the performance practices of Italian sacred polyphony during the Cinquecento’) is not cited, but the same author’s specific investigation of ‘Concorsi organistici a San Marco’ (1998) rightfully finds its place in Lorenzetti’s bibliography. Selfridge-Field’s 1978 essay (‘Canzona and sonata: some differences in social identity’) is no more relevant to Lorenzetti’s study than dozens of other contributions variously focusing on Venetian keyboard music of the 16th and 17th centuries.

Il primo libro de motetti a due, tre, quattro, cinque, & otto voci, con una Messa à Quattro (1610) ed. by Dennis Collins & Steven Saunders (review)

THE FIRST VOLUME IN THE GRANDI EDITIONAlessandro Grandi. Il primo libro de motetti a due, tre, quattro, cinque, & otto voci, con una Messa a Quattro (1610). Edidunt Dennis Collins & Steven Saunders. (Alessandro Grandi Opera Omnia, I.) (Corpus Mensurabilis Musicae, 112.) Munster: American Institute of Musicology, 2011. [Abbrevs., p. ix; acknowledgements, p. x; introd., p. xi-xxxiv; sources, p. xxxv-xxxvii; editorial methods, p. xxxix-xlii; crit. report, p. xliii-lvi; 2 plates; score, p. 3-137. ISBN-10 1-59551-503-8, ISBN-13 978-1-59551-503-2. $110.]The North Italian composer Alessandro Grandi (ca. 1585-1630) has long been recognized as a highly significant figure, albeit one whose music has been largely unavailable in modern editions. His reputation is based on the good press he has received from scholars such as Denis Arnold, Jerome Roche, James Moore, Martin Seelkopf, Jeffrey Kurtzman, and Roark Miller, rather than on any real knowledge of his music, a few select pieces apart. The appearance of this first volume of a projected opera omnia, published in the American Institute of Musicology's Corpus Mensurabilis Musicae series, is thus extremely welcome. Under the watchful eyes of general editor Jeffrey Kurtzman, volume coeditors Robert Kendrick, Dennis Collins, and Steven Saunders have started the process with Grandi's Il primo libro de motetti of 1610. Given that he was a very prolific composer with over twenty sole-author publications involving motets, Masses, psalms, and madrigals, plus works in various anthologies, this is a major undertaking, and the institute and its director Paul Ranzini are to be congratulated in taking it forward.Grandi's first publication contained twenty motets, as well as a setting of the Ordinary of the Mass. It also included a motet, Quae est ista, by Alvise Grani, a trombone player at S. Marco in Venice, and the editor of Giovanni Gabrieli's 1615 Symphoniae sacrae. Including a piece by another composer was not unusual, and indicates some sort of relationship between the two, though the editors here do not speculate as to what that might have been. By the time Grandi published this volume he had already spent about three years as a singer in S. Marco, before returning to Ferrara where he had earlier had an appointment. Grani's motet is included here in an appendix in two versions: one at original pitch and the other transposed a fifth lower, since the piece's clefs fit into the chiavette or high-clef combination (using the F3 clef for the bass). The only one of Grandi's own pieces with an analogous clef configuration (with a C4 clef in the bass) is also given in its original form in the appendix, while the transposed version is included in the body of the volume. All of the other pieces use chiavi naturali.Of the twenty motets, six are for two voices, five for three, and seven for four. There also are single pieces for five and eight voices, while the final Mass Ordinary setting is for four, though with considerable sections to be sung by two and three voices. All have a basso continuo part, given without realization in this edition. The twovoice motets are mainly for two sopranos or two tenors; those for three voices use various combinations; while the four-voice pieces favor the adult male ATTB combination, also used for the Mass. The eight-voice setting of the Marian text, Nativitas tua, is for two equally-cleffed choirs. The most texturally-varied piece here is the five-voice Missus est Gabriel Archangelus, set as an extended Annunciation dialog between a narrator (Texto), Gabriel, and Mary, with a pair of sopranos labelled far away and hidden who sing the phrase Tota pulchra es, Maria twelve times, presumably representing a choir of angels. The piece ends with a five-voice commenting chorus in which the characters lose their individuality. The text is compiled from a variety of mainly biblical sources, while the extended dialog, or mini-oratorio, format suggests that it might have been written for one of the two Ferrarese confraternities at which Grandi worked as maestro di cappella: the Accademia dello Spirito Santo, or the Accademia della Morte. …

Fruits and Vegetables

In May of 1999 I happened to be in Prague for the first performance of Diamonds, a new work for three orchestras. Petr Kotik, who had commissioned the work for The Orchestra of the SEM Ensemble and the Janacek Philharmonic, had organized two orchestral concerts for the Prague Spring Festival. The first had the title Music in Space. Besides Diamonds, it included Earle Brown's Modules I, II, III,· two Canzoni from the Sacrae symphoniae of Giovanni Gabrieli; and Stockhausen's Gruppen. While I was there I had lunch at the Maly [small] Buddha, a vegetarian restaurant near the Hradcany Castle, with pianist Joseph Kubera and singer Thomas Buckner. Joe was the solo pianist in Gruppen and Tom was soloist in Roscoe Mitchell's Fallen Heroes, a featured work on the second concert. The meal was memorable. Never had I tasted vegetarian food so fragrant and delicious. I highly recommend the Maly Buddha to all my friends. (Uvoz 46, Prague 1, Hradcany, Tel/Fax: 02-20513894.) Later that summer I started working on a commission from Tom Buckner for a new work for baritone voice. I immediately thought of writing a song cycle for voice and piano, a work that Tom andJoe could perform. For several years I have been developing a method of composition in which voices and instruments sustain tones against pure-wave oscillators, creating audible beats that occur when two or more closely tuned sound waves coincide. I use electronically generated waves because their purity (no overtones) produces vivid beating against the richer, more complex instrumental sounds. I began experimenting with this phenomenon in the early '80s, when performers started asking me for works. I wanted to make music for conventional instruments with the same aesthetic that informed my earlier electronic pieces (which often explored brain waves, echoes, and room resonances). I have always been drawn to sound that does work, that causes something physical to happen. There are two ways I go about this: 1) sustain one or more pure waves and ask the performer to micro tune tones against them, causing beats at various speeds (the farther apart, the faster the beating; at unison no beating occurs); and 2) design oscillator-sweeps against which the players sustain fixed tones. Since the waves are in constant motion, the beating speeds continually change. In Still and Moving Lines of Silence in Families of Hyperbolas (1984), a series of eleven solos and a duet, players detune sustained pitches around one or more stationary waves. I didn't specify exact tunings-that would have been impossible for the players to execute;

Il terzo libro de madrigali a cinque voci con alcuni di Giovanni Gabrieli: Venezia, Angelo Gardano 1589 by Andrea Gabrieli (review)

NEW VOLUMES IN THE ANDREA GABRIELI EDITIONAndrea Gabrieli. Il terzo libro de madrigali a cinque voci con alcuni di Giovanni Gabrieli: Venezia, Angelo Gardano 1589. A cura di Alessandro Borin. (Edizione nazionale delle opere di Andrea Gabrieli, 13.) Milan: Ricordi, 2012. [Pref. in Ital., Eng., p. 11-22; editorial principles in Ital., Eng., p. 23-24; 4 plates, p. 25-26; score, p. 29-227; crit. commentary in Ital., Eng., p. 229-36. ISBN 978-88-7592-896-4, ISMN 979-0-041-40584-1, pub. no. 140584. i118.]Andrea Gabrieli. Madrigali et ricercari a quattro voci: Venezia, Angelo Gardano 1589/1590. A cura di Alessandro Borin. (Edizione nazionale delle opere di Andrea Gabrieli, 14.) Milan: Ricordi, 2012. [Pref. in Ital., Eng., p. 11-19; editorial principles in Ital., Eng., p. 20-21; 3 plates, p. 22- 24; score, p. 27-146; crit. commentary in Ital., Eng., p. 147-50. ISBN 978- 88-7592-897-1, ISMN 979-0-041-40585-8, pub. no. 140585. i114.]The Edizione nazionale delle opere di Andrea Gabrieli (hereinafter, Opere) represents an important contribution to a fairly small body of scholarship focused on the life and works of Andrea Gabrieli. The collection as a whole will eventually comprise seventeen volumes of music (ten consisting of works published during the composer's lifetime, seven of works published posthumously), and will be the first complete modern edi- tion of Andrea's compositions. Four addi- tional volumes of supplemental materials are planned (in the series Introduzione storico-critica, volumes 1 and 3 have al- ready been published)-with details of bi- ography and chronology, liturgical texts, poetic texts, and the role of Venetian musi- cal and ceremonial culture in Andrea's career-that will give scholars of sixteenth- century Venetian musical life much to cele- brate. Though Andrea served as organist at San Marco rather than as maestro di capella, he was undoubtedly an important figure in Venetian musical circles, and this collected works project ultimately pays tribute to a prolific composer who mastered nearly all of the vocal and instrumental genres of his time.It is perhaps surprising that such a proj- ect was so late in the making. A. Tillman Merritt's edition of Andrea's complete madrigal output (Andrea Gabrieli, Complete Madrigals, Recent Researches in the Music of the Renaissance, 41-52 [Madison, WI: A-R Editions, 1981-84]) filled a significant gap in the availability of modern editions, while making it even more apparent that similar treatment was needed for the instru- mental and sacred vocal works. The earliest volumes of the Opere, first published in 1988, were timely in their release, capitaliz- ing on recently discovered documents sug- gesting that Andrea's year of birth was al- most certainly 1533, rather than ca. 1510 as traditionally given. The new evidence in favor of a revised birth date certainly did not fill in all of the many gaps in our knowl- edge of Andrea's life, but it did prompt a dramatic re-evaluation of his career within the context of his relationship to other mu- sicians. The Opere, then, was well-poised to present a new and increasingly thorough account of the composer's life while provid- ing, for the first time, a complete account of his works.Many of these works are known to us only through the efforts of Andrea's nephew Giovanni. While a good number of Andrea's works appeared in print during his lifetime-both in publications devoted solely to his music and in multicomposer anthologies-many more remained unpub- lished at the time of this death in 1586. Between 1586 and 1590, Giovanni devoted himself to organizing, editing, and publish- ing these pieces, many of which were madrigals. He was aided in his endeavor by Angelo Gardano, who had inherited a very successful printing firm from his father, Antonio, and proceeded to exceed his fa- ther's prolific output with a steady stream of both new editions and reprints during the last third of the century. Since few of these posthumous editions contain dedica- tions, it is likely that Gardano assumed much of the financial burden for the proj- ect. …

Voices and instruments in Baroque Germany

The endlessly varied and complex relationship between musical instruments and the human voice has often served as a starting point for studies in Baroque music. The rise of basso continuo, the exploration of instrumental colour in concerted textures, developments in idiomatic writing for strings and winds—all these are indicators of a move away from the more uniform musical language of the Renaissance. How, where and when these changes occurred in Germany are the subject of this recent study by Barbara Wiermann. The volume is the published version of an ambitious doctoral dissertation completed at the Universität Freiburg in 2002, and in it Wiermann explores mixed vocal-instrumental composition in Germany in the first half of the 17th century. Wiermann begins with a brief overview of the leading role played by the Italians in establishing mixed vocal-instrumental styles, and follows through with the enthusiastic acceptance of these styles by German musicians who saw in them a wealth of performance possibilities. It was the music itself that was first introduced into Germany. Then came the German publications in which Giovanni Gabrieli and Claudio Monteverdi appeared in print alongside such composers as Hans Leo Hassler and Christoph Buel. In time, Italians working in German courts, and Germans returning from their studies in Italy, gave rise to a generation of homegrown musicians—including such influential figures as Johann Hermann Schein and Michael Praetorius—who composed in the Italian style without ever crossing Germany's southern borders. In the introductory pages Wiermann surveys printed collections of works for mixed voices and instruments in Germany, individually published occasional works (so-called Einzeldrucke), as well as works by German composers that exist or were circulated solely in manuscript. Although this survey may not reveal much that is new, readers will find it convenient and helpful to have it presented so clearly and concisely.

Lute music for a princess

This attractively produced facsimile contains a comprehensive selection of lute and vocal music associated with the court of Moritz, Landgrave of Hesse (1573–1638), for whose daughter, Princess Elisabeth (1596–1625), it was compiled. Moritz himself is well known to lute players as the composer of the first of the pavans in Robert Dowland's collection Varietie of lute-lessons (1610), ‘made by the most magnificent and famous Prince Mauritius, Landgrave of Hessen, and from him sent to my Father’, which makes musical reference to John Dowland's famous ‘Lachrimae’ pavan. The elder Dowland's friend, Henry Peacham (himself a composition pupil of Orazio Vecchi), in The compleat gentleman (1622), after noting the talents of other royal musicians, including Henry VIII and the Prince of Venosa (i.e. Gesualdo), declared that ‘above others, who carryeth away the Palme for excellency … is the yet living Maurice, Landgrave of Hessen, of whose owne composition I have seen eight or ten severall sets of Motets, and solemne Musicke, set purposely for his own Chappell; where for the great honour of some Festivall, and many times for his recreation onely, he is his owne Organist. Besides, he readily speaketh ten or twelve severall languages … I passe over his rare skill in Chirurgery, he being generally accounted the best Bone-setter in the Country.’ Not surprisingly, this most widely talented ‘Renaissance man’ ensured that his daughter's education included serious study of both music and languages; her natural inclination was in fact in the field of letters, and a good deal of poetry by her survives in the Kassel archives. Education was something of an obsession for the Landgrave, and this applied not just to members of his own family, but to many of his court servants, including the boy singers of the Hofkapelle, for whom Moritz provided a thorough education at Kassel's Collegium Mauritianum, and often gave them scholarships to study elsewhere; Heinrich Schütz, most famously, was thus given the opportunity to study for a few years with Giovanni Gabrieli in Venice.

Tarihi Gelisim Sürecinde Keman

The reason of the work is to investigate the historical development of the violin instrument. The researcher investigates both the steps involved during the development of violin instrument and the people who concerned during its development are. In the present work, it is determined that the discovery of the violin instrument were based on that the arrow and the bow both used to continue the human life in the beginning of the history of humankind. Additional, it is highlighted that the source of the string-bow like instruments was also the arrow and the bow. In the evolution of the violin, the strings of the violin instrument were modeled by the stretched string of the bow and the music-like echoes of this string after released. By this way, it is considered that Litra and Bandura came out initially and than Fidel and Rebek which families of violin instrument are. Duration of the development of the violin, important steps were taken mainly in seventeenth century. Earliest violin makers generally from Italy were Gaspara Da Salo, Andrea Amati, Antonio Stradivarius and Giuzeppe Guarnerius, and the composers were Giovanni Gabrieli by known of his concerto “Sonat”, Karlo Farina by known his concerto “Kapricio” and Giuseppe Torelli. In the course of time, the violin became more important and the composers gave their specific achievements for violin. The achievements of the composers, I.S. Bach, A. Vivaldi, N. Paganini, C. Tartini, I. Biber, E. Isai and P. Sarasate, have been primarily influenced in the present form of the violin. Nowadays, the violin persists in its adventure as a unique instrument in the world of music

A New Keyboard Work by Giovanni Gabrieli and the Relevance of Its Compositional Technique

There is much evidence that our picture of Giovanni Gabrieli's output is incomplete, and the frequency with which new works have emerged in recent decades suggests that there is still scope for further discoveries. This article focuses on a new keyboard ricercar by Giovanni Gabrieli preserved in the Staatsbibliothek zu Berlin Preusischer Kulturbesitz. The composition, which has previously not been mentioned in the literature, ranks among the most eloquent and impressive of Gabrieli's keyboard works. Until recently, it was located in the binding of an eighteenth-century book. The sources of the work, and its provenance, compositional technique, and relationships to contemporary keyboard pieces are discussed.

Myths of Venice

The 'myth of Venice' refers to the elaborate civic and corporate images created by the Venetian republic from the 15th century on for its self-articulation in changing worlds. As Venice lost economic and political power during the Renaissance-and became instead the pleasuregarden of Europe-its apologists turned to the one thing that undoubtedly set the city apart from much of the rest of Italy, the fact that it was a functioning republic with an 'elected' head of state (the doge). As Venetian writers were eager to point out, this made the city the only legitimate successor to the great republics of Classical Antiquity. As they further noted, Venice was also under the special protection of the Blessed Virgin and of the city's patron saint, St Mark. The result was a potent mix of the secular and the sacred-and of politics and religion-that served as a bulwark for the state at least until its fall to Napoleon. The messages were clear in Venice's elaborate political ceremonies in which, as is well known, music played a full part. The Basilica of St Mark, situated at the geographical and spiritual heart of the city, was the focus of civic and religious festivities according to elaborate protocols that then radiated outwards through Venice's other institutional and ceremonial spaces. The musical fortunes of St Mark's were established by its first important maestro di cappella, Adriano Willaert; were consolidated by the organists Andrea and Giovanni Gabrieli; and continued to flourish under a series of distinguished maestri and associated musicians during the 17th century, including Claudio Monteverdi, Giovanni Rovetta and Francesco Cavalli. Or so the myth goes. But of course, there is always some distance between myth and reality. St Mark's may have been central to the musical myth of Venice, but we now know that other Venetian institutions such as the scuole

Luigi Nono and his fellow travellers

In this article, I explore the inspiration that Nono drew from a number of his ‘fellow travellers’, that is, other composers who were on similar musical and spiritual walkways as Nono: Vincenzo Bellini, for his innovative approach to the voice and his extraordinary use of silence as a spatial device; Andrea and Giovanni Gabrieli, and Thomas Tallis for their composition of choral and instrumental music specific to the acoustic properties of each performing space, including spatially separated choral and instrumental groups, such as Spem in Alium, that explore the space, make the space “live”, and make the space “sing”. In his search for the ‘mobile sound’, the living, non-fixed, musical sound that would correspond to the underlying complexity of micro-tonal movement within all sound, Nono also paid homage to 16th century avant-garde composers such as Nicola Vincentino and Don Carlo Gesualdo for their exploratory uses of chromaticism as a way out of the fixed, extremely limited world of exclusively diatonic music. The article also considers the relevance for young composers today of Nono's search for the ‘mobile sound’ projected into a multi-directional listening space, as part of a broader orientation of ‘composing with the sound’.

Giovanni Gabrieli (ca. 1555-1612): A Thematic Catalogue of His Music with a Guide to the Source Materials and Translations of His Vocal Texts

Giovanni Gabrieli (ca. 1555-1612): A Thematic Catalogue of His Music with a Guide to the Source Materials and Translations of His Vocal Texts

Newly discovered manuscript parts and annotations in a copy of Giovanni Gabrieli's Symphoniae sacrae (1615)

Journal Article Newly discovered manuscript parts and annotations in a copy of Giovanni Gabrieli's Symphoniae sacrae (1615) Get access Richard Charteris Richard Charteris Search for other works by this author on: Oxford Academic Google Scholar Early Music, Volume XXIII, Issue 3, August 1995, Pages 487–498, https://doi.org/10.1093/earlyj/XXIII.3.487 Published: 01 August 1995

Giovanni Priuli'sMissa sine nomineand the legacy of Giovanni Gabrieli

Abstract Giovanni Priuli was a colleague of Giovanni Gabrieli's during the latter's final years. Their musical kinship runs deeper than has hitherto been recognized. Striking resemblances between the Kyrie of Priuli's Missa sine nomine, his only known composition from the years of his affiliation with Gabrieli, show that Gabrieli served his younger colleague as musical mentor, inspiration, and model. They also illuminate the performance practice of polychordal works, the transmission and reception of the Venetian polychoral repertoire north of the Alps, and the chronology of several of Gabrieli's late works.

Giovanni Priuli'sMissa sine nomineand the Legacy of Giovanni Gabrieli

Abstract Giovanni Priuli was a colleague of Giovanni Gabrieli's during the latter's final years. Their musical kinship runs deeper than has hitherto been recognized. Striking resemblances between the Kyrie of Priuli's Missa sine nomine, his only known composition from the years of his affiliation with Gabrieli, show that Gabrieli served his younger colleague as musical mentor, inspiration, and model. They also illuminate the performance practice of polychordal works, the transmission and reception of the Venetian polychoral repertoire north of the Alps, and the chronology of several of Gabrieli's late works.