Andrea Gabrieli
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A caso un giorno mi guidò la sorteA le guancie di roseAma l'Aquila GioveAminta mio gentilAncor che col partireAngel dal terzo cielAngeli, ArchangeliAngelus ad pastores ait a 4Angelus ad pastores ait a 7Ave Regina coelorumB
BattagliaBeata es mariaBeati quorum remissae suntBeatus vir qui inventus estBeatus vir, qui suffert tentationemBonum est et suaueC
Cando pinso al turmendoCantate Domino canticum novumCanzon alla FranceseCanzon detta 'Je ne diray mot bergiere'Canzon detta 'Qui la dira'Canzon franceseCanzon francese detta 'Frais & Gaillard'Canzon Francese detta 'Pour ung plaisir'Canzona ariosaCanzoni alla franceseCari cumbagniCaro dolce ben mioCaro mea vere est cibusChe giova possederChi chi li chiComo viver mil possoConcertiCor meum conturbatum est in meD
Da le Cimerie grotteDapoi che su’l fiorireDeh, dove senza meDeus misereatur nostriDeus noster refugiamDiligam te, Domine à4Dolcissimo ben mioDomine Deus meusDomine, Dominus nosterDomine, ne in furore tuo arguas meDonna, per acquetar vostro desireDue rose fresche, et colte in paradisoDunque baciar sì belle e dolce labbiaDunque fia ver diceaDunque fia veroDunque il comun poterE
E dove non potea la debil voceEcclesiam tuam DomineEcclesiasticarum cantionum quatuor vocumEcco l'aurora con l'aurata fronteEcco Vinegia bellaEgo rogabo patremElla non sa, se non invan dolersiEructavit cor meum a 6Exaudi, Deus, orationem meamF
Fantasia allegraFelici, d'AdriaFiliae HierusalemFiliae JerusalemFuga 4Fuggi, speme mia, fuggiFuit homo missus a DeoG
Giovane donna sott'un verde lauroGira lunga stagion, lucente e vivaGloria in excelsis Deo a 16H
Hi sunt qui cum mulieribusHodie Christus natus estHodie completi suntHodie Simon PetrusHor che nel suo bel senoI
I' vo piangendoI' vo piangendo à 6Il dolce sonnoIl dolce sonno mi promise paceIn nobil sangue vita humile e queta, Ch.180Intonazione del octavo tonoIntonazione del primo tonoIntonazione del quarto tonoIntonazione del quinto tonoIntonazione del secondo tonoIntonazione del septimo tonoIntonazione del sesto tonoIntonazione del terzo tonoIo mi sento morireIsti sunt triumphatoresIudica me, DeusJ
Jubilate Deo a8L
La bella pargolettaLa verginella e simile alla rosaLa virtù, la bontà, l’ardente zeloLasso, amor mi trasportaLaudate Dominum omnes gentesLaura soave, vita di mia vitaLevita LaurentiusM
Madrigale detto 'Con lei foss’io'Madrigali a 3 voci, Libro 1Madrigali a 5 voci, Libro 3Madrigali a 6 voci, Libro 2Madrigali et ricercariMagnificatMagnum hereditatis mysteriumMaria Magdalene et altera MariaMaria stabat ad monumentum forisMentre la greggia errandoMirami, vita mia, miram' un pocoMiserere meiMissa brevis quatuor vocumMissa in F majorMissa Pater peccaviMissa Quando Lieta SperaiMulier, quae erat in civitate peccatrixN
Nativitas tuaNe confideNeve e Rose ha nel voltoNon vedi o sacr’ ApolloO
O beltà raraO crux fidelisO Gloriosa DominaO in primavera eternaO lux beata TrinitasO Passi sparsi a 12O quam metuendusO rex gloriae, Domine virtutemO sacrum conviviumO salutaris a 8O soave al mio cor dolce catenaOr ch’a noi torna la stagion novellaOravit Sanctus AndreasOrgan and Keyboard WorksP
Pass'e mezzo antico per organoPatefactae sunt ianuae coeliPater peccaviPiangeranno le gratiePuelle saltanti imperavit materQ
Quando pensoQuel dolce suonoR
Ricercar 1 del primo tonoRicercar 2 del primo tuonoRicercar 2 del secondo tonoRicercar 6 a quatro vociRicercar 'Anchor che co'l partire'Ricercar ariosoRicercar del duodecimo tonoRicercar del nono tonoRicercar del primo tonoRicercar del primo tono alla quarta altaRicercar del quinto tonoRicercar del secondo tono alla quarta altaRicercar del secondo tuonoRicercar del sesto tuonoRicercar del undecimo tonoRicercar per sonar à 8Ricercari, Libro 2Ricercari, Libro 3Rimanti amor in sempiterno oblioRimanti amor, in sempiterno oblioS
Sacerdos et PontifexSancta et immaculata Virginitas à 4Sancta et immaculata Virginitas à 5Sancta Maria succurre miserisSanctus a 12Saranda volde e plioSassi, Palae, Sabbion, del Adrian lioSic Deus dilexit mundumSonno Diletto et CaroSperar non si poteaSusanne un jourT
Te Deum Patrem ingenitumTirsi morir voleaTirsi vicino a morteToccata del decimo tonoTollite jugum meumV
Vaghi augelletti, che per valli e montiVago uccelletto che cantando vaiVeni sponsa ChristiVerba mea auribus percipeVidentes stellam MagiVieni Flora gentilVieni, vieni, HimeneoViri SanctiVita della vita miaVorrei mostrar, Madonna
WikipediaAndrea Gabrieli (1532/1533 – August 30, 1585) was an Italian composer and organist of the late Renaissance. The uncle of the somewhat more famous
Giovanni Gabrieli, he was the first internationally renowned member of the Venetian School of composers, and was extremely influential in spreading the Venetian style in Italy as well as in Germany.
Details on Gabrieli's early life are uncertain. He was probably a native of Venice, most likely the parish of S. Geremia. He may have been a pupil of Adrian Willaert at St. Mark's in Venice at an early age. There is some evidence that he spent time in Verona in the early 1550s, due to a connection with Vincenzo Ruffo, who worked there as maestro di cappella – Ruffo published one of Gabrieli's madrigals in 1554, and Gabrieli also wrote some music for a Veronese academy. Gabrieli is known to have been organist in Cannaregio between 1555 and 1557, at which time he competed unsuccessfully for the post of organist at St. Mark's.
In 1562 he went to Germany, where he visited Frankfurt am Main and Munich; while there he met and became friends with
Orlande de Lassus, one of the most wide-ranging composers of the entire Renaissance, who wrote secular songs in French, Italian, and German, as well as abundant Latin sacred music. This musical relationship proved immensely fruitful for both composers: while Lassus certainly learned from the Venetian, Gabrieli took back to Venice numerous ideas he learned while visiting Lassus in Bavaria, and within a short time was composing in most of the current idioms, including one which Lassus entirely avoided: purely instrumental music.
In 1566 Gabrieli was chosen for the post of organist at St. Mark's, one of the most prestigious musical posts in northern Italy; he retained this position for the rest of his life. Around this time he acquired, and maintained, a reputation as one of the finest current composers. Working in the unique acoustical space of St. Mark's, he was able to develop his unique, grand ceremonial style, which was enormously influential in the development of the polychoral style and the concertato idiom, which partially defined the beginning of the Baroque era in music.
His duties at St. Mark's clearly included composition, for he wrote a great deal of music for ceremonial affairs, some of considerable historical interest. He provided the music for the festivities accompanying the celebration of the victory over the Turks in the Battle of Lepanto (1571); he also composed music for the visit of several princes from Japan (1585).
Late in his career he also became famous as a teacher. Prominent among his students were his nephew Giovanni Gabrieli; the music theorist Lodovico Zacconi;
Hans Leo Hassler, who carried the concertato style to Germany; and many others.
The date and circumstances of his death were not known until the 1980s, when the register containing his death date was found. Dated August 30, 1585, it includes the notation that he was "about 52 years old"; his approximate birth date has been inferred from this. His position at St. Mark's was not filled until the end of 1586, and a large amount of his music was published posthumously in 1587.
Gabrieli was a prolific and versatile composer, and wrote a large amount of music, including sacred and secular vocal music, music for mixed groups of voices and instruments, and purely instrumental music, much of it for the huge, resonant space of St. Mark's. His works include over a hundred motets and madrigals, as well as a smaller number of instrumental works.
His early style is indebted to
Cipriano de Rore, and his madrigals are representative of mid-century trends. Even in his earliest music, however, he had a liking for homophonic textures at climaxes, foreshadowing the grand style of his later years. After his meeting with Lassus in 1562, his style changed considerably, and the Netherlander became the strongest influence on him.
Once Gabrieli was working at St. Mark's, he began to turn away from the Franco-Flemish contrapuntal style which had dominated the music of the 16th century, instead exploiting the sonorous grandeur of mixed instrumental and vocal groups 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 indicated, it can be inferred; he carefully contrasts texture and sonority to shape sections of music in a way which was unique, and which defined the Venetian style for the next generation.
Not everything Gabrieli wrote was for St. Mark's, though. He provided the music for one of the earliest revivals of an ancient Greek drama in Italian translation: Oedipus tyrannus, by Sophocles, for which he wrote the music for the choruses, setting separate lines for different groupings of voices. It was produced at Vicenza in 1585.
Evidently Andrea Gabrieli was reluctant to publish much of his own music, and his nephew
Giovanni Gabrieli published much of it after his uncle's death.
