Composers

Andrea Gabrieli

Voice
Organ
Mixed chorus
Alto
Soprano
Tenor
Bass
Baritone
Harpsichord
Viol
Madrigal
Religious music
Sacred songs
Song
Motet
Ricercar
Psalms
Canzona
Intonation
Mass
by alphabet
Organ and Keyboard WorksConcertiBattagliaRicercar 6 a quatro vociCanzona ariosaMissa brevis quatuor vocumCanzoni alla franceseAngelus ad pastores ait a 7Ricercari, Libro 2Intonazione del primo tonoToccata del decimo tonoFantasia allegraO sacrum conviviumAngeli, ArchangeliRicercar del primo tonoMadrigali a 3 voci, Libro 1Pass'e mezzo antico per organoRicercar per sonar à 8Ricercar ariosoIn nobil sangue vita humile e queta, Ch.180Maria Magdalene et altera MariaA caso un giorno mi guidò la sorteElla non sa, se non invan dolersiCaro dolce ben mioIntonazione del septimo tonoAngelus ad pastores ait a 4Dunque fia ver diceaGloria in excelsis Deo a 16La bella pargolettaChe giova possederChi chi li chiQuel dolce suonoRicercar del duodecimo tonoMissa Pater peccaviO rex gloriae, Domine virtutemTe Deum Patrem ingenitumAma l'Aquila GioveDeh, dove senza meCaro mea vere est cibusBeati quorum remissae suntE dove non potea la debil voceA le guancie di roseSassi, Palae, Sabbion, del Adrian lioFelici, d'AdriaLasso, amor mi trasportaCor meum conturbatum est in meDue rose fresche, et colte in paradisoDunque baciar sì belle e dolce labbiaBonum est et suaueMadrigali et ricercariRimanti amor in sempiterno oblioIl dolce sonno mi promise paceI' vo piangendoRicercar 'Anchor che co'l partire'O in primavera eternaRicercar del sesto tuonoLaudate Dominum omnes gentesAncor che col partireHodie Christus natus estBeata es mariaO beltà raraIntonazione del octavo tonoLa verginella e simile alla rosaEcco l'aurora con l'aurata fronteExaudi, Deus, orationem meamEcco Vinegia bellaNe confideMaria stabat ad monumentum forisMissa Quando Lieta SperaiSancta Maria succurre miserisDomine Deus meusLaura soave, vita di mia vitaSaranda volde e plioMirami, vita mia, miram' un pocoIo mi sento morireCando pinso al turmendoHor che nel suo bel senoAve Regina coelorumIntonazione del terzo tonoIntonazione del quinto tonoIntonazione del secondo tonoAngel dal terzo cielIntonazione del quarto tonoIntonazione del sesto tonoIl dolce sonnoRicercar 2 del primo tuonoFuggi, speme mia, fuggiPater peccaviComo viver mil possoDomine, Dominus nosterDomine, ne in furore tuo arguas meLa virtù, la bontà, l’ardente zeloDunque fia veroO crux fidelisVaghi augelletti, che per valli e montiDeus noster refugiamO lux beata TrinitasMagnificatPatefactae sunt ianuae coeliMiserere meiDiligam te, Domine à4Hodie completi suntSic Deus dilexit mundumBeatus vir, qui suffert tentationemCantate Domino canticum novumO salutaris a 8I' vo piangendo à 6Sancta et immaculata Virginitas à 5Deus misereatur nostriMagnum hereditatis mysteriumDunque il comun poterOravit Sanctus AndreasVidentes stellam MagiNon vedi o sacr’ ApolloVerba mea auribus percipeDapoi che su’l fiorireSancta et immaculata Virginitas à 4Piangeranno le gratieSperar non si poteaVieni Flora gentilViri SanctiQuando pensoPuelle saltanti imperavit materIudica me, DeusDolcissimo ben mioEcclesiam tuam DomineFiliae JerusalemVago uccelletto che cantando vaiHi sunt qui cum mulieribusSacerdos et PontifexRicercar del secondo tuonoBeatus vir qui inventus estDa le Cimerie grotteEructavit cor meum a 6Tollite jugum meumO soave al mio cor dolce catenaAminta mio gentilFiliae HierusalemNeve e Rose ha nel voltoEgo rogabo patremSonno Diletto et CaroVeni sponsa ChristiMentre la greggia errandoRicercari, Libro 3Or ch’a noi torna la stagion novellaRicercar del secondo tono alla quarta altaTirsi vicino a morteNativitas tuaTirsi morir voleaVita della vita miaHodie Simon PetrusO quam metuendusDonna, per acquetar vostro desireCanzon detta 'Je ne diray mot bergiere'Mulier, quae erat in civitate peccatrixFuit homo missus a DeoMadrigale detto 'Con lei foss’io'Rimanti amor, in sempiterno oblioLevita LaurentiusCari cumbagniCanzon alla FranceseCanzon detta 'Qui la dira'Canzon franceseCanzon francese detta 'Frais & Gaillard'Canzon Francese detta 'Pour ung plaisir'Ecclesiasticarum cantionum quatuor vocumFuga 4Giovane donna sott'un verde lauroGira lunga stagion, lucente e vivaIsti sunt triumphatoresJubilate Deo a8Madrigali a 5 voci, Libro 3Madrigali a 6 voci, Libro 2Missa in F majorO Gloriosa DominaO Passi sparsi a 12Ricercar 1 del primo tonoRicercar 2 del secondo tonoRicercar del nono tonoRicercar del primo tono alla quarta altaRicercar del quinto tonoRicercar del undecimo tonoSanctus a 12Susanne un jourVieni, vieni, HimeneoVorrei mostrar, Madonna
Wikipedia
Andrea 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.