(b Venice, ?1532/3; d Venice, 30 Aug 1585). Italian composer and organist, uncle of Giovanni Gabrieli. He brought an international stature to the school of native Venetian composers after a period when Netherlandish composers had dominated. Although he was not as profound a composer as Giovanni, his music displays an exceptional versatility; he was one of the most important figures of his generation and exerted considerable influence on both later Venetian and south German composers.
DAVID BRYANT
In the register which records Andrea Gabrieli’s death on 30 August 1585, the composer is described as ‘about 52 years of age’; it is thus most likely that he was born in 1532 or 1533. Since he is frequently referred to as ‘Andrea da Cannaregio’ in contemporary documents, it would appear that his place of birth was the Venetian sestiere of that name. There is some documentary evidence to link his family to the parish of S Geremia: his sister Paola is known to have married a linen-weaver of the parish, and Andrea himself was organist at the church of S Geremia from before June 1555 until at least July 1557. Andrea’s father, Domenico, died before 1567. These facts constitute all that is known of the composer’s background and early life.
There is indirect evidence that while in his teens or early twenties, Gabrieli was in Verona and was associated in some way with Vincenzo Ruffo (maestro di cappella at the cathedral from about 1550). His first published madrigal, Piangete occhi miei, appeared in a Ruffo print of 1554. Moreover, Gabrieli’s setting of Petrarch’s sestina Giovane donna sott’un verde lauro, first published in an anthology of 1568, appears to have been intended for the Accademia Filarmonica of Verona.
In 1557 Gabrieli was one of ten unsuccessful applicants for the post of organist at S Marco, Venice, left vacant by the death of Girolamo Parabosco (the winner was Claudio Merulo). Not many years later, however, an important new opportunity arose in the form of a contact with Orlande de Lassus. A document of October 1562, drawn up by a quarter-master employed by the Bishop of Bamberg, lists Gabrieli and Lassus among the retinue of Albrecht V, duke of Bavaria, during a journey from Prague to Frankfurt to attend the coronation of the emperor Maximilian II. It is possible that the two musicians became acquainted in Venice during one of Lassus’s frequent trips to Italy to recruit personnel for the Bavarian court chapel. It is also plausible that Gabrieli returned with Lassus on the latter’s subsequent journey south at the end of 1562. Whatever the case, there can be little doubt that Lassus provided Gabrieli with a major source of musical and artistic inspiration. Gabrieli’s acquaintance with members of the rich and powerful Fugger family of Augsburg may also date from his period abroad.
With the exception of the reference of October 1562, Gabrieli’s movements and activities between 1557 and the mid-1560s, when he was appointed to a permanent position at S Marco, are mostly unknown. There is evidence to suggest that he obtained temporary employment at S Marco during September and October 1564, although the documents in question are 18th-century commentaries on originals that can no longer be traced. The decision by the governing body of the ducal chapel, dated 3 November 1566, to grant Gabrieli a reimbursement of 15 ducats ‘for the considerable travelling expenses sustained in coming to S Marco’ might suggest that the composer remained north of the Alps until summoned to Venice a year or two later. A third possibility is intimated by one interpretation of the madrigal Per monti e poggi, published in the Primo libro di madrigali a cinque voci of 1566. Here, a shepherd and his flock from a land watered by the rivers Secchia and Scultenna (i.e. in the vicinity of Modena) are invited to settle in a country fed by the Ticino, Lambro and Po (a clear allusion to Milanese territory). It is not impossible that the shepherd/pastor in question is Cardinal Carlo Borromeo, abbot in commenda of the abbey of Nonantola (itself situated near a point where the Secchia and Scultenna almost converge), whose solemn entry into Milan (which city was to become his permanent residence) occurred on 23 September 1565. If this is so, Gabrieli was probably residing and working in or near the Lombard capital. Further circumstantial evidence in support of this hypothesis is provided by the admittedly late indications in Paolo Morigia’s La nobiltà di Milano of 1595: Gabrieli, it is claimed, had a high regard for a Salve regina by the Milanese nobleman Lucio Castelnovato, a piece presumably composed before 1569 (in which year it was apparently submitted to the attention of the pope).
In a deliberation of 12 July 1566 the procurators of S Marco granted Claudio Merulo the sum of 10 ducats (a little more than a month’s salary) for services performed between the end of November 1565, after Annibale Padovano had failed to return to his post following a period of leave, and Gabrieli’s arrival in Venice: this suggests that Gabrieli took up his appointment as permanent organist of S Marco at the beginning of 1566. His arrival marks an important step in assuring stability in the musical establishment of the Ducal chapel, threatened after the death of Willaert, the short-lived tenure of Cipriano de Rore as maestro di cappella and the subsequent disappearance of Padovano. Zarlino, recently appointed as maestro di cappella, retained his post until his death in 1590; Merulo, the ‘other’ organist at the basilica from 1557, remained in his position until 1584; many talented singers and, above all, instrumentalists (the Dalla Casa brothers in 1568; the cornettist Giovanni Bassano in 1576) were added to the payroll in this period. Gabrieli himself remained in his post until his death in August 1585, despite an attempt involving Lassus to recruit him for the service of Duke Wilhelm V of Bavaria in 1574.
Few details are known of Gabrieli’s personal and professional life. At about the time of his appointment as organist of S Marco, he appears to have taken on some economic responsibility for the family of his sister Paola: in a legal document of March 1567 he agrees to act as the financial guarantor for Giacomo, elder brother of Giovanni Di Fais (later Gabrieli), who was about to enter a monastery. Documents submitted for tax estimates in 1566 suggest that Gabrieli was then renting two separate living-quarters: one for himself and the other for Paola and her family. The inference is that he had become de facto head of the Di Fais household. In 1578 he received a one-off payment of 20 ducats from his employers at S Marco, apparently on account of economic difficulties caused by his (i.e. his sister’s) numerous family.
Gabrieli published music in all the principal forms and styles current in late 16th-century Venice: masses, motets, madrigals, giustiniane, mascherate and theatre music (including the choruses for Sophocles’ Oedipus tyrannus in Orsatto Giustiniani’s Italian translation, staged in March 1585 for the inauguration of the theatre designed by Andrea Palladio for the Accademia Olimpica, Vicenza: these choruses represent the only surviving example of music written specifically for Renaissance performances of tragic theatre).
The posthumous Concerti (1587) include sacred and secular compositions for the most important ceremonies of the Venetian church and state. The text of the motet Benedictus Dominus Deus contains an explicit reference to an important military victory, presumably that at Lepanto in 1571. The first performance of O crux splendidior probably took place during the ceremony for the foundation of Palladio’s church of the Redentore, erected by the Venetian state as thanksgiving for the passing of the plague epidemic of 1575–7. A series of mass sections in five to 16 parts (one to four choirs) was perhaps written on the occasion of the visit of five Japanese princes in June 1585 (though the composer’s death notice in late August of that year notes that his fatal illness had begun some five months before). Hor che nel suo bel seno and Ecco Vinegia bella commemorate the arrival of Henri III of France in 1574. The madrigal Felici d’Adria, printed in the Secondo libro di madrigali for five, six and eight voices (1570), was written for a visit Archduke Charles of Austria made to Venice in 1565 or 1569.
Gabrieli’s large-scale polychoral works correspond in style less to the double-choir psalm-settings published by Willaert in 1550 than to the compositions written by Lassus for the Munich court chapel. It is indeed possible that the Venetian composer’s stay north of the Alps was intended as a means of familiarizing him with the ceremonial music in vogue in the great northern courts; his earliest known large-scale motets, the eight-part Lucida ceu fulgida and 12-part Deus misereatur nostri, appeared in a print largely comprised of motets in honour of various members of the Habsburg family. In comparison with these pieces, his later polychoral compositions tend to exhibit a more clear-cut separation between the various groups of performers, and there is a growing preference for contrapuntal simplicity, chordal textures and homophonic blocks of sound (though modified, presumably, through improvised embellishment); imitation, when present, is as likely to occur between entire groups of voices as single parts. This is perhaps a result of the clear-cut spatial separation of groups of performers in S Marco. The widening of overall range in the supposedly later works (where at times the outer parts reach C and a''') is a clear indication of instrumental participation; in some works, the marking of one choir as ‘cappella’ indicates that this is the only fully vocal group. Further characteristics of the later works are an increased propensity for the use of V–I harmonic relationships and a growing awareness of the structural possibilities of musical climax through the use of gradually shortening note values and acceleration of the rate of exchange between choirs.
In his madrigals Gabrieli quickly abandoned the Petrarch sonnet in favour of the poetic madrigal. Several texts were set only by him, suggesting that he had direct contact with the poets concerned or that he was required by patrons to set specific texts. As in the motets, there is increasing use of homophonic textures (contrasting with passages in imitative counterpoint) and the verbal underlay becomes more syllabic; variety is increasingly obtained through repetition of phrases in different combinations of voices and at different pitches. Gabrieli’s debt to Lassus is particularly evident in his greghesche and giustiniane (antecedents, in turn, of the madrigal comedies of Orazio Vecchi and Banchieri); the obvious models are Lassus’s pieces of 1555.
In his keyboard music Gabrieli adopted the standard forms of toccata, ricercar, canzona and intonazione. The intonazioni are preludes, written in a quasi-improvisatory style, with chords held in one hand against which the other hand provides decorative figuration. Some toccatas are similar in style, though longer; others are marked by the addition of an imitative, fugal section which, in some cases, comes to dominate the composition as a whole. Venice was clearly an important centre for the development of the form; many composers were active in the city at some time, and six were organists at S Marco. Gabrieli’s ricercars are consistently contrapuntal, with a lengthy development of the main theme set against a succession of counter-themes to which it is often closely related. The canzonas are mostly transcriptions of French chansons, with little adaptation of the original except for ornamentation, above all at cadences.
Gabrieli’s popularity as a composer is attested by the numerous reprints of his collections, as well as by the frequent occurrence of his compositions in anthologies. His vocal works continued to be published and recopied in manuscripts in Italy and, until well into the 17th century, in German-speaking regions and the Low Countries, both in their original form and in arrangements for lute or keyboard. As late as about 1640, in Germany or for a German patron, his four-part motets and madrigals and his three organ masses (probably published in the lost fourth book of Gabrieli’s organ works) were copied in keyboard tablature in Italy. Evidence of Gabrieli’s popularity outside Venice, and north of the Alps in particular, is provided by the dedications of his publications. Of the non-Venetian dedicatees, a clear majority are northerners and all are titled heads of state, high-ranking church dignitaries (including Pope Gregory XIII) or leading bankers. By contrast, the Venetians include no high-ranking patricians, patriarchs or, in general, men of particular wealth, power or influence: the actor, merchant and musician Antonio Molino, the second-rank official Girolamo Molino and Domenico Paruta, abbot of the Venetian monastery of S Gregorio. The family of Giovanni Saracini (dedicatee of the Primo libro de madrigali a sei voci of 1574), from Bologna, owned a banking firm in Venice. As for Gabrieli’s activities and influence as a teacher, Lodovico Zacconi, in his Prattica di musica of 1592, referred to his many pupils and stated that he himself had studied with Andrea. Other pupils were Hans Leo Hassler and Gregor Aichinger (further evidence for Gabrieli’s popularity in northern Europe), and, naturally, Giovanni Gabrieli. In 1585 the Venetian musician Marco Facoli made provision in his will for his son’s keyboard and general musical studies with Gabrieli, a confirmation of the latter’s pre-eminence as a teacher in Venice.
Andrea Gabrieli: Edizione nazionale delle opere, ed. D. Arnold and D. Byrant (Milan, 1988–) [AG i–xvii] [vol.i incl. complete list of projected vols.]Editions: Musica divina, i/1–2, ii/2–3 ed. C. Proske (Regensburg, 1853–76) [P]Andrea and Giovanni Gabrieli: La musica strumentale in San Marco I, II, ed. G. Benvenuti, IMi, i–ii (1931–2) [B i–ii]Die sieben Busspsalmen, ed. B. Grusnick (Kassel and Basle, 1936) [G]Ricercari für Orgel I, II, ed. P. Pidoux (Kassel, 1936, 2/1952) [PR]Intonationen für Orgel, ed. P. Pidoux (Kassel, 1941, 2/1967) [PI]Canzonen und ricercari ariosi für Orgel, ed. P. Pidoux (Kassel, 1943–52, 2/1961) [PC]Canzoni alla francese, ed. P. Pidoux (Kassel and Basle, 1953) [PF]Andrea Gabrieli: Complete Madrigals, ed. A.T. Merritt, RRMR (1981–4) [M i–xii]
(all printed works except anthologies published in Venice)
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Sacrae cantiones, liber primus, 5vv, insts (1565, 3/1584 with basso pro organo) [1565] |
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Primus liber missarum, 6vv (1572) [1572] |
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Ecclesiasticarum cantionum omnibus sanctorum solemnitatibus deservientium liber primus, 4vv (1576) [1576] |
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Psalmi Davidici, qui poenitentiales nuncupantur, 6vv, insts (1583) [1583] |
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Concerti di Andrea, e di Gio: Gabrieli … continenti musica di chiesa, madrigali, & altro … libro primo 6–8, 10, 12, 16vv, insts (158716, basso per organo in D-As Tonk. Schl. 200a) [158716] |
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Works in 15686, 158714, 15882, 15905, 159311, 15983, 159919, 16031, 160720, 16102, 16103, 161010, 16168, 161724 |
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Missa ‘Ove ch’io posi’, 6vv, 1572 |
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Missa ‘Pater peccavi’, 6vv, 1572; ed. K. Proske, Selectus novus missarum, i/2 |
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Missa ‘Quando lieta sperai’, 6vv, 1572 |
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Missa ‘Vexilla regis’, 6vv, 1572 |
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Missa, 4vv, D-Mbs; P i/1, 167 |
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Missa, 4vv, Mbs |
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Missa (Ky, Gl, San, Bs), 12, 16vv, 158716; Ag xi |
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Angeli archangeli, 4vv, 1576; P i/2, 399; I-Tn Giordano 4 (kbd version) |
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Angelus ad pastores, 4vv, 1576; Tn Giordano 4 (kbd version) |
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Angelus ad pastores, 7vv, 158716, AG xi; contrafactum as Die Engel sprach, ed. in H. Schütz: Neue Ausgabe sämtlicher Werke, v (Kassel, 1955), no.27 |
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Angelus Domini descendit, 7vv, 158716, AG xi |
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Ave regina coelorum, 8vv, 158716, AG xi |
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Ave sanctissima Maria, 5vv, 1565 |
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Beata es Maria, 5vv, 1565 |
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Beati immaculati, 8vv, 158716, AG xi |
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Beati quorum remisse sunt, 6vv, 1583; ed. in AMI, ii (1897/R1968), 123; G, no.2 |
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Beatus vir qui inventus est, 4vv, 1576, I-Tn Giordano 4 (kbd version) |
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Beatus vir qui non abiit, 6vv, 158716, AG xi |
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Beatus vir qui suffert, 4vv, 1576, P i/2, 457; Tn (kbd version) |
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Benedicam Dominum in omni tempore, 12vv, 158716, AG xi; 16031 (8vv), 161724 (org version), CH-Bu F.ix.43 (kbd version) |
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Benedictus Dominus Deus, 8vv, 158716, AG xi; 161724 (org version); PL-Wn mus. ms. 326 (kbd version) |
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Bonum est confiteri Domino, 5vv, 1565 |
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Bonum est et suave [= Sonno diletto e caro], 6vv, 160720 |
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Cantate Deo, exultate, justi [= Hor ch’à noi torna], 6vv, 16102 |
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Cantate Domino canticum novum, 5vv, 1565, 159619 (kbd version); B i, 1 |
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Caro mea vere est cibus, 4vv, 1576, P i/2 207; I-Tn Giordano 4 (kbd version) |
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Christe rex [= Sonno diletto e caro], 6vv, 16103 |
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Confitebor tibi, Domine, 5vv, 1565, 3/1584 abridged |
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Congratulamini mihi omnes, 8vv, 158716, AG xi; D-Bsb mus.ms. 40158 (kbd version), Rp C.119 (different kbd version), PL-Wn mus. ms. 326 (kbd version entitled ‘Confitemini Domino’) |
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Cur te lusit amor [= Con che lusingh’amor], 6vv, 16102 |
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Deo nostro perennis [= Dolcissimo ben mio], 6vv, 158714 |
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De profundis clamavi, 6vv, 1583; P ii/3, 17 |
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Deus, Deus meus, respice in me, 10vv, 158716, AG xi |
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Deus, in nomine tuo, 8vv, 158716 |
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Deus misereatur nostri, 12vv, 15686, AG xi; 1587 (modified and abridged) 161724 (org version), GA, 71 |
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Deus noster refugium at virtus, 5vv, 1565 |
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Deus qui beatum Marcum, 7vv, 158716, AG xi |
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Deus qui beatum Marcum, 8vv, 158716, AG xi |
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Diligam te, Domine, 4vv, 1576, 159311 (lute version), I-Tn Giordano 4 (kbd version) |
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Domine, Deus meus, in te speravi 7vv, 158716, AG xi; 161724 (org version); CH-Bu F.ix.43 (kbd version) |
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Domine, dominus noster, 5vv, 1565 |
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Domine exaudi orationem (Ps 101), 6vv, 1583; G, no.5 |
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Domine exaudi orationem (Ps 142), 6vv, 1583; G, no.7 |
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Domine, ne in furore (Ps 6), 6vv, 1583; G, no.1 |
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Domine, ne in furore (Ps 37), 6vv, 1583; G, no.3 |
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Domine quid multiplicati sunt, 5vv, 1565 |
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Ecclesiam tuam, Domine, 4vv, 1576, I-Tn Giordano 4 (kbd version) |
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Ego flos campi [= Se vuoi ch’io muoia], 6vv, 16102 |
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Ego rogabo Patrem, 4vv, 1576, 159311 (lute version), Tn Giordano 4 (kbd version) |
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Egredimini et videte, 8vv, 158716, AG xi; CH-Bu F.ix.43 (kbd version), PL-Wn mus.ms.326 (different kbd version) |
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Emendemus in melius, 6vv, 158716, AG xi |
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Eructavit cor meum, 6vv, 158716, AG xii; D-Rp C.119 (kbd version) |
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Exaudi Deus orationem meam, 5vv, 1565 (2p. Cor meum conturbatum est, ed. in AMI, ii, 1897/R1968, 111); Mbs mus.mss. 1640, 1641 (kbd version) |
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Expurgate vetus fermentum, 8vv, 158716, AG xi; CH-Bu F.ix.43 (kbd version), D-Mbs mus.ms.91 (kbd score), Rp C.119 (kbd version) |
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Exultate iusti in Domino, 10vv, 158716, 16031 (version for 8vv), As Ton. Schl. 39 (kbd score), 161724 (org version), CH-Bu F.ix.43 (kbd version) |
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Exurgat Deus, 8vv, 158716, AG xi; 161724 (org version), Bu F.ix.43 (kbd version), PL-Wn mus.ms.326 (different kbd version) |
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Filiae Hierusalem, 4vv, 1576; P i/2, 475; I-Tn Giordano 4 (kbd version) |
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Fuit homo missus a Deo, 4vv, 1576, Tn Giordano 4 (kbd version) |
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Heu mihi, Domine, 5vv, 1565, 3/1584 (modified and abridged) |
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Hic licet, multi sint [= Non ti sarò signor], 6vv 16102 |
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Hi sunt qui cum mulieribus, 4vv, 1576; Tn Giordano 4 (kbd version) |
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Hodie Christus natus est, 7vv, 158716, AG xi |
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Hodie completi sunt dies Pentecostes, 4vv, 1576, 159919 (lute version); Tn Giordano 4 (kbd version) |
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Hodie Simon Petrus, 4vv, 1576; Tn Giordano 4 (kbd version) |
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I am nondicam vos servos, 5vv, 15983 |
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In civitate Dei [= Clori a Damon dicea], 6vv, 161010 |
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Iniquos odio habui, 6vv, 158716, AG xi |
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In tribulatione Dominum [= Dolcissimo ben mio], 6vv, 16102 |
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Isti sunt triumphatores, 6vv, 158716, AG xi |
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Jesu dulcissime [= Aminta mio gentil], 5vv, 16168 |
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Jubilate Deo omnis terra, 8vv, 158716, AG xi; 161724 (org version) |
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Judica me Deus, 7vv, 158716, AG xi |
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Laetare Jerusalem, 5vv, 1565 |
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Laudate Dominum in sanctis eius, 10vv, 158716, AG xi; 161724 (org version) |
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Laudate Dominum omnes gentes, 5vv, 1565 |
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Levavi oculos meos in montes, 5vv, 1565 |
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Levita Laurentius, 4vv, 1576, P i/2, 342; I-Tn Giordano 4 (kbd version) |
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Libera me, Domine, de viis inferni, 5vv, 1565, 3/1584 (transposed) |
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Lucia sponsa Christi [= La bella pargoletta], 6vv, 16103 |
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Lucida ceu fulgida, 8vv, 15686 |
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Magnificat, 12vv, 158716, GA, 48; F-Pn Rés.Vma.851 (kbd score) |
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Magnum haereditatis, 4vv, 1576; I-Tn Giordano 4 (kbd version) |
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Maria Magdalenae, et altera Maria, 4vv, 1576, P i/2, 146; Tn Giordano 4 (kbd version) |
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Maria Magdalenae, et altera Maria, 4vv [= La bella pargoletta], 6vv, 161010 |
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Maria Magdalenae, Maria lacobi, et Salome, 7vv, 158716, AG xi; D-Mbs mus. ms. 91 (kbd score) Rp C.119 (kbd version) |
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Maria stabat ad monumentum, 6vv, 158716, AG xi; Rp c.119 (kbd version) |
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Miserere mei, Deus, 6vv, 1583, G, no.4 |
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Mulier quae erat, 4vv, 1576, P i/2, 339; I-Tn Giordiano 4 (kbd version) |
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Nativitas tua, Dei genetrix virgo, 7vv, 158716, AG xi |
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Ne confide in forma generosa [= Non ti sdegnar], 6vv, 160720 |
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O crux fidelis, 4vv, 1576; Tn Giordano 4 (kbd version) |
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O crux splendidior, 8vv, 158716, AG xii; CH-Bu F..43 (kbd version) |
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O fili Dei, succurre miseris [= Sancta Maria, succurre miseris], 6vv, 15905, 161724 (org version), Bu F.ix.51 (kbd version) |
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O gloriosa Domina [= O gloriose Domine], 6vv, 158716, Bu F.ix.43 (kbd version) |
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O gloriose Domine, 6vv, 15905, 161724 (org version) |
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O lux beata trinitas, 5vv, 1565; D-Mbs ms. 1641 (kbd version) |
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O quam metuendus, 4vv, 1576; I-Tn Giordano 4 (kbd version) |
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Oravit sanctus Andreas, 4vv, 1576; Tn Giordano 4 (kbd version) |
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O rex gloriae, Domine virtutem, 5vv, 1565 |
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O rex gloriae, qui triumphator hodie, 5vv, 15882; D-Rp C.119 (kbd version) |
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O sacrum convivium, 5vv, 1565; ed. in AMI, ii (1897/R1968), 117 |
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O salutaris hostia, 8vv, 158716, AG xi |
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O spes miserarium [= O dolci parolette], 6vv, 16103 |
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Patefactae sunt ianvae caeli, 4vv, 1576; I-Tn Giordano 4 (kbd version) |
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Pater peccavi in caelum, 5vv, 1565 |
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Pullae saltanti, 4vv, 1576; Tn Giordano 4 (kbd version) |
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Quare fremuerunt gentes, 5vv, 1565, 3/1584 (2p. abridged) |
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Quem vidistis pastores, 8vv, 158716, AG xi; D-Rp C.119 (kbd version) |
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Sacerdos et Pontifex, 4vv, 1576, P i/2, 481; I-Tn Giordano 4 (kbd version) |
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Sancta et immaculata, 4vv, 1576; Tn Giordano 4 (kbd version) |
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Sancta et immaculata, 5vv, 1565 |
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Sancta Maria succurre miseris [= O fili Dei, succurre miseris], 6vv, 158716, AG xi |
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Sic Deus dilexit mundum, 5vv, 1565; D-Rp C.119 (kbd version) |
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Spiritus meus attenuabitur, 5vv, 1565, 3/1584 (transposed) |
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Surge formosa mea, propera sponsa mea [= Dolcissimo ben mio], 6vv, 161010 |
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Surge formosa mia amica [= Caro dolce ben mio], 5vv, 16168 |
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Te Deum patrem, 4vv, 1576, P i/2, 193; I-Tn Giordano 4 (kbd version) |
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Tollite jugum meum, 4vv, 1576, P i/2, 450, Tn Giordano 4 (kbd version) |
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Unicuique suam viro puellam [= Se vuoi ch’io moia], 6vv 158714 |
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Usquequo Domine, 7vv, 158716, AG xi |
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Veni, dilecta mea [= Sonno diletto e caro], 6vv, 161010 |
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Veni, O Jesu mi [= Vieni Flora gentil], 6vv, 16102 |
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Veni sponsa Christi, 4vv, 1576, P i/2, 513; Tn Giordano 4 (kbd version) |
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Verba mea auribus percipe, 5vv, 1565 |
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Videntes stellam, 4vv, 1576; Tn Giordano 4 (kbd version) |
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Viri sancti, 4vv, 1576; Tn Giordano 4 (kbd version) |
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Voce mea ad Dominum clamavi, 5vv, 1565, 3/1584 (modified and abridged) |
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Il primo libro di madrigali, 5vv (1566) [1566] |
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Il secondo libro di madrigali, 5, 6, 8vv (1570, 3/1588 with slightly different contents) [1570, 3/1588] |
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Greghesche et Iustiniane … libro primo, 3vv (1571) [1571] |
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Il primo libro de madrigali, 6vv (1574) [1574] |
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Libro primo di madrigali, 3vv (1575) [1575] |
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Il secondo libro de madrigali, 6vv (1580) [1580] |
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Concerti … continenti musica di chiesa, madrigali, & altro … libro secondo, 6–8, 10, 12vv, insts (158716) [158716] |
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Il terzo libro de madrigali, 5vv (158914) [158914] |
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Madrigali e ricercari, 4vv (1589) [1589] |
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Works in 155429, 15622, 15626, 156416, 156813, 156816, 156819, 157015, 157017, 157515, 15765, 15777, 15792, 15793, 15825, 158312, 158413, 158519, 15861, 15867, 158610, 158611, 158612, 158912, 159011, 159215, 159311, 159419, 16005a, 160111 |
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A caso un giorno mi guidò la sorte (Tansillo), 3vv, 1575, AG vi, M i |
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Ahimè tal fu d’amore (Quirino), 5vv, 1566, M iii–iv |
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Ah le guancie di rose, 8vv, 158716, AG xi, M xi |
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Aldì vel prego (Molino), 3vv, 1571, M i |
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Al dolce volo di Cillenio, 5vv, 158914, M v–vi |
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Alma beata e bella (Sannazaro), 5vv, 3/1588, AG iii, M v–vi |
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Alma serena, 5vv, 1570, AG iii, M iii–iv |
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Ama l’Aquila Giove (Casoni), 5vv, 159215, M v–vi |
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Amami vita mia, 5vv, 1570, AG iii, M iii–v |
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Aminta mio gentil [= Jesu dulcissime], 5vv, 1566, M iii–iv |
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Amor che de mortali, 5vv, 1570, AG iii, M iii–iv |
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Amor crudel infido, 6vv, 1574, M vii–viii |
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Amor mi strugge 'l cor (Petrarch), 6vv, 1574, M vii–viii |
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Ancor che col partire (Molino, parody of D’Avalos), 3vv, 157017, M i |
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Angel dal terzo ciel, 5vv, 1570, AG iii, M iii–iv |
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Arbor vittorioso trionfo (G.B. Caro), 5vv, 156816, M v–vi |
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Asia felice, 4vv, 1589, Mii; I-Tn Foà 4 (kbd version) |
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Ben mille volte il dì (Cassola), 5vv, 1570, AG iii, M iii–iv |
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Cando pinso (Molino), 4vv, 156416, M ii |
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Cantiam di Dio, 12vv, 159011, M xii |
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Canto, canto! Fest fuga, 4vv, 1589, M ii; Tn Foà 4 (kbd version) |
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Canzon se l’esser meco (Petrarch), 4vv, 1589, M ii; Tn Foà 4 (kbd version) |
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Cari cumbagni (Molino), 7vv, 156416, M x |
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Caro dolce ben mio perchè fuggire [= Iam non dicam = Surge formosa mea amica], 5vv, 15765, M v–vi; 159311 (lute version); 160018 (another lute version); I-Mc Tarasconi (kbd score) |
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Che giova posseder (Bembo), 3vv, 1575, AG vi, M i |
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Che piangi alm’e sospiri (Molino), 6vv, 1580, AG viii, M ix |
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Chiaro sol di virtute, 6vv, 15867, M x |
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Chichi lichi cucurucu, 6vv, 1574, M vii–viii |
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Chiedend’un bascio (Nicolò degli Angeli), 5vv, 156819 |
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Chie val aver (Molino), 3vv, 1571, M i |
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Ch’inde darà la bose (Molino), 3vv, 157017, M i |
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Chiraces nu la semo (Molino), 3vv, 1571, M i |
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Cinto m’avea tra belle e nude braccia, 6vv, 1580, AG viii, M ix; 16006 (lute version), PL-Tu Kat.ii, xiv, 13a (kbd version) |
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Clori a Damon dicea, Dolce ben mio [= In civitate Dei], 6vv, 1580, AG viii, M ix; 16005a (lute version entitled ‘Gloria di amor dicea’), Tu Kat.ii, xiv, 13a (kbd version entitled ‘Gloria Damon’) |
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Come avrò pace in terra, 5vv, 3/1588, AG iii, M v–vi |
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Com’esser può che non sei stanco, 6vv, 1580, AG viii, M ix |
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Come vuoi tu ch’io viva, se m’uccidi, 6vv, 1580, AG viii, M ix; 16006 (lute version), Tu Kat.ii, xiv, 13a (kbd version) |
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Como viver (Molino), 5vv, 156416 |
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Con che lusingh’ amor tradito [= Cur te lusit amor], 6vv, 1574, M vii–viii |
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Cor mio s’egli è pur vero, 5vv, 158914, M v–vi |
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Così ogni vostra voglia (Parabosco), 5vv, 1570, AG iii, M iii–iv |
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Da le cimerie grotte, 6vv, 1574, M vii–viii; I-Mc ms. Tarasconi (kbd score of pts 2 and 4) |
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Da poi che su’l fiorire (Cassola), 5vv, 1566, M iii–iv |
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Deh, dove, senza me (Ariosto), 3vv, 1575, M i |
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Deh, qual prova maggior (Parabosco), 5vv, 1570, AG iii, M iii–iv |
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Del gran Tuonante, 10vv, 158716, AG xi, M xii |
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Dimmi, cieco, 5vv, 1570, AG iii, M iii–iv; Mc ms. Tarasconi (kbd score) |
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Dionora, vien, 3vv, 157017, M i |
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Dolcissimo ben mio [= Deo nostro perennis; = In tribulatione Dominum; = Surge, formosa mea, propera sponsa mea], 6vv, 1580, AG viii, M ix; 16005a (lute version), 160018 (different lute version), PL-Tu Kat.ii, xiv, 13a (kbd version), I-Mc ms. Tarasconi (kbd score) |
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Donna cinta di ferro e di diamante (giustiniane), 6vv, 1580, AG viii, M ix; PL-Tu Kat.ii, xiv, 13a (kbd version) |
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Donna la vostr’ingiusta crudeltade, 6vv, 1574, M vii–viii |
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Donna per aquetar vostro desire (Gottifredi), 5vv, 1566, M iii–iv |
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Due rose fresche (Petrarch), 5vv, 1566, M iii–iv; Tn ms. Kat. ii iv, 13a (kbd version) |
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Dunque-baciar si bell’e dolce labbra (Ariosto), 3vv, 1575, AG vi, M i |
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Dunque fia ver dicea (Ariosto), 3vv, 1575, AG vi, M i |
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Dunque fia vero, 7vv, 158716, AG xi, M ix–x |
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Dunque il comun poter, 4vv, 1589, M ii; I-Tn Foà 4 (kbd version) |
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Ecco l’aurora (Quinno), 5vv, 1566, M iii–iv; Mc Tarasconi (kbd score) |
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Ecco la vaga aurora, 8vv, 158716, AG xi, M xi |
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Ecco Vinegia bella, 12vv, 158716, AG xi, M xii |
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E dove non potea la debil voce (Ariosto), 3vv, 1575, AG vi, M i |
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Ella non sa se non invan dolersi (Ariosto), 3vv, 1575, AG vi, M i |
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Fame pur canto mal (Molino), 3vv, 1571, AG vi, M i |
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Febo, Febo, noi cantiamo, 4vv, 1589, M ii; Tn Foà 4 (kbd version) |
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Felici d’Adria, 8vv, 1570, AG iii, M xi |
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Fontana d’eloquenza, 6vv, 15792, M ix–x |
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Forestier inamorato (Molino), 3vv, 157017, M i |
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Fradei la xé cusi! le no xé fuse (mascherata), 3, 4, 10vv, 160111 |
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Fuggi speme mia (C’ini), 5vv, 1570, AG iii, M iii–iv |
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Fuor fuori a sì bel canto, 4vv, 1589, M ii; Tn Foà 4 (kbd version) |
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Gentil madonna, 5vv, 1570, AG iii, M iv–v |
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Giovane bella, 5vv, 1566, M iii–iv |
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Giovane donna sott’un verde lauro (Petrarch), 4vv, 156813, M ii; Tn Foà 4 (kbd version) |
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Gira longa stagion, 5vv, 1570, AG iii, M iii–iv |
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Giunto m’havea, 6vv [Cinto m’havea] |
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Gloria damon, 6vv [= Clori à damon dicea] |
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Goda hor beato il Po (Magno), 6vv, 1574, M vii–viii |
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Gratie ch’a poch’il ciel largo destina (Petrarch), 6vv, 1574, M vii–viii |
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Gratie che’l mio signor, 4vv, 1589, M ii; Tn Foà 4 (kbd version) |
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Hor ch’à noi torna [= Cantate Deo, exultate, justi], 6vv, 1580, AG viii, M ix–x |
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Hor che nel suo bel seno, 8vv, 158716, AG xi, M xi |
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I’diè guard’a San Pietro, 3vv, 158612, M i |
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Il dolce sonno mi promise pace (Ariosto), 3vv, 1575, AG vi, M i |
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In dar natura a voi, 5vv, 158312, M v–vi |
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In nobil sangue (Petrarch) (2p. G. Gabrieli: Amor s’è in lei), 6vv, 158716, AG ii, M ix–x |
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In quest’amate sponde, 4vv, 1589, M ii; Tn Foà 4 (kbd version) |
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Io mi sento morire, 7vv, 158716, AG xi, M ix–x |
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Ite caldi sospiri (Petrarch), 5vv, 1566, M iii–iv; Mc ms. Tarasconi (kbd score) |
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I’ vidi in terra angelici costumi (Petrarch), 5vv, 15626, M v–vi |
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I’ vo piangendo (Petrarch), 5vv, 15626, M v–vi |
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I’ vo piangendo (Petrarch), 6vv, 158716, AG xi, M ix–x |
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La bella pargoletta (Tasso) [= Lucia sponsa Christi; = Maria Magdalenae, et altera Maria], 6vv, 1580, AG viii, M ix; PL-Tu ms. Kat.ii, xiv, 13a (kbd version) |
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Lasso amor mi transporta (Petrarch), 6vv, 1574, M vii–viii |
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Laura soave (Cassola), 5vv, 1570, AG iii, M iii–iv |
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La verginella è simile alla rosa (Ariosto), 3vv, 1575, AG vi, M i |
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La virtù, la bontà, 5vv, 1566, M iii–iv |
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La viva neve (Amalteo), 5vv, 1570, AG iii, M iii–iv |
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Le chiome a l’aura, 5vv, 1566 |
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Ma da qual atro cor, 5vv, 157015, M v–vi |
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Manoli chie faremo? (Molino), 3vv, 1571, M i |
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Mentre io vi miro, 5vv, 158914, M v–vi |
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Mentre la belle Dori e le compagne, 6vv, 1580, AG viii, M ix; 158413 (lute version) |
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Mentre la greggia errando, 5vv, 158914, M v–vi |
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Mirami vita mia, mirami un poco 5vv, 158914, M v–vi |
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Mi xé stao in tutte cande (Molino), 4vv, 156416, M ii |
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Molino à le virtù, 5vv, 1570, AG iii, M iv–v |
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Nel bel giardin entrate, 6vv, 158716, AG xi, M x |
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Neve e rose ha nel volto (Casone), 6vv, 1574, M vii–viii |
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Non così bell’appar in Oriente, 5vv, 158914, M v–vi |
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Non mi pesa mio bene, 6vv, 1574, M vii–viii; Mc Tarasconi (kbd score) |
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Non pur quell’una bell’ignuda mano (Petrarch), 6vv, 1570, AG iii, M iii–iv |
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Non ti sarò signor (see Con che lusingh’ amor tradito) |
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Non ti sdegnar, o Filli, ch’io ti segua [= Gott ist getrew; = Ne confide in forma generosa], 6vv, 1580, AG viii, M ix; 158413 (lute version), 159419 (lute version), PL-Tu Kat.ii, xiv, 13a (kbd version) |
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Non vedi ò sacr’ Apollo, 5vv, 1570, AG iii, M iv–v |
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Nu semo arlievi dell’antighitae (mascherata), 3, 4, 10vv, 160111 |
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Nu tutti buni cumpagni (mascherata), 5vv, 160111 |
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O agapimu glicchimu (Molino), 3vv, 1571, M i |
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O agnima morusa (Molino), 3vv, 1571, M i |
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O belli e vaghi pizzi, 4vv, 1589, M ii; I-Tn Foà 4 (kbd version) |
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O beltà rara, 5vv, 1566, M iii–iv |
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Occhi sereni, angeliche parole, 4vv, 157515, AG viii, M ix; 158912 (Canto only with four new parts by Lodovico Balbi), Tn Foà 4 (kbd version) |
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O Dea, che tra le selve, 8vv, 158716, AG xi, M xi |
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O dolci parolette of dolce riso (Cassola) [= O spes misererium], 6vv, 1570, A iii, M vii–viii; Mc ms. Tarasconi (kbd score) |
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O in primavera eterna, 5vv, 15825, M v–vi |
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O mia canzun (Molino), 3vv, 1571, M i |
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O mia morusa (Molino), 3vv, 1571, M i |
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O passi sparsi (Petrarch), 12vv, 158716, AG xi, M xiii |
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O soave al mio cor dolce catena, 6vv, 1580, AG viii, M ix |
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Passato è ’l tempo (Petrarch), 5vv, 1566, M iii–iv |
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Perchè di fiamm’ancor, 5vv, 1566, M iii–iv |
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Perchè madonna (Molino), 3vv, 1571, M i |
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Per farmi Amor d’ogn’ altro più contento (Gallani), 6vv, 1580, AG viii, M ix; F-Pn ms. Rés. Vma. 851 (kbd score) |
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Per monti e poggi, 5vv, 1566, M iii–iv; I-Mc Tarasconi (kbd score) |
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Piangeranno le Gratie, 5vv, 158914, M v–vi |
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Piangete occhi miei, 5vv, 155429 |
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Piangi pur Mus’ogn’hor (giustinian), 5vv, 15765, M v–vi |
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Pront’ era l’alma mia, 8vv, 158716, AG xi, M xi |
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Quand’havrà fin’ Amore (Martelli), 8vv, 158716, AG xi, M xi |
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Quand’io talor mi doglio (Molino), 6vv, 1574, M vii–viii |
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Quand’io v’odo parlar (Petrarch), 5vv, 1566, M iii–iv |
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Quando lieta ver’ noi, 5vv, 1566, M iii–iv |
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Quando nel cor m’entrasti (Molino), 6vv, 1574, M vii–viii |
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Quando penso a quel loco, 5vv, 1566, M iii–iv |
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Quando spirti divini, 5vv, 1570, AG iii, M iii–iv |
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Quanti sepolti, 5vv, 1570, AG iii, M iii–iv |
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Quel dolce suono e quel soave canto, 6vv, 1580, AG vii, M ix |
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Quel gentil fuoco, 5vv, 15777 |
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Rendete al Saracini, 6vv, 1574, M vii–viii |
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Rimanti Amor in Sempiterno oblio, 5vv, 15765, M v–vi |
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Ringrazio e lodo il ciel (Tansillo), 6vv, 1574, M vii–viii |
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S’al ’amorose calde parole, 6vv, 1574, M vii–viii |
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S’al ciel piace signora, 5vv, 3/1588, AG iii, M v–vi |
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Saranda volde (Molino), 4vv, 156416, M ii |
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Sassi palae (Molino), 5vv, 156416, M ii |
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Se mai degnasti Amore, 5vv, 158914, M v–vi |
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Sento, sent’un rumor, 8vv, 158716, AG xi, B i, 203, M xi |
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Se per lasciar di te memoria eterna, 5vv, I-VEaf 220 |
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Se sol pensando, 5vv, 1570, AG iii, M iii–iv |
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Se tu m’ami i t’adoro, 6vv, 1580, AG xi, M ix; 159419 (lute version) |
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Se vuoi ch’io muoia ò nuovo Basilisco [= Ego flos campi, and Unicuique suam viro puellam], 6vv, 1580, AG viii, M ix |
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Signor cui fu già poco, 5vv, 15861, v–vi |
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Sonno diletto e caro [= Bonum est, and Christe rex = Veni dilecta mea], 6vv, 1580, AG viii, Mix; 16006 (lute version); PL-Tu Kat.ii, xiv, 13a (kbd version) |
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Sperar non si potea da sì bell’ Alba, 6vv, 15793, M ix–x |
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Tirsi che fai, 8vv, 158716, AG xi, M xi |
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Tirsi morir volea (Guarini), 7vv, 158716, AG xi, M ix–x |
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Tirsi vicin’à morte, 5vv, 158914, M v–vi |
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Tria gerundas (Molino), 3vv, 1571, M i |
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Tu mi piagasti à morte, 6vv, 1574, M vii–viii; I-Mc Tarasconi (kbd score) |
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Tu vuoi lasso ch’io pera, 6vv, 1580, AG viii, M ix |
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Una felice etate (G.B. Zuccarini), 5vv, 158611 |
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Vaghi augelletti, 5vv, 1570, AG iii, M iii–iv |
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Vago uccelletto (Petrarch), 5vv, 1566, M iii–iv |
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Veggo fra i raggi d’oro, 4vv, 1589, M ii; Tn Foà 4 (kbd version) |
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Vezzosa Filli, 8vv, 159011, M xi |
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Vieni Flora gentil vieni e discaccia [= Veni O Jesu mi], 6vv, 1580, AG viii, M ix; 16005a (lute version) |
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Vieni vieni Imeneo che già sen fugg’il sole, 4vv, 1589, M ii; Tn Foà 4 (kbd version) |
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Vieni vieni Imeneo vieni dunque, 8vv, 159011, M xi |
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Vita de la vita mia, 5vv, 158914, M v–vi |
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Voi non volete donna (Veggio), 6vv, 1580, AG viii, M ix |
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Voi sete in grand’errore, 5vv, 158610, M v–vi |
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Volto di mill’e mille gratie adorno, 6vv, 1574, M vii–viii |
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Vorrei mostrar madonna, 4vv, 1589, M ii; Tn Foà 4 (kbd version) |
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Vostro fui e sarò, 5vv, 1570, AG iii, M iii–iv |
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Zentil donn’e segnuri (Molino), 3vv, 1571, M i |
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Chori in musica … sopra li chori della tragedia di Edippo tiranno (Venice, 1588); AG xii, ed. in L. Schrade: La représentation d’Edippo tiranno au Teatro olimpico (Paris, 1960): |
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Choro I: Santo oracol di Giove, 3vv; Trema la ment’in me stupida, 4vv; Sacro, e possente dio, 3vv; Quali son hor le tue risposte?, 1v; Dinnelo hor tu, 3vv; O del gran Giove nata, 4vv; E te Feb’ancor chiamo, 4vv; Hor qui benigni ancor, 6vv; Giance da morb’afflitto, 6vv; Già de li frutti suoi ricca, 3vv; Come spessa d’augei, 3vv; Ma la misera turba, 5vv; E le tenere spose, 2vv; Si raddoppiano gl’inni, 4vv; Levaci tu da tanti strazi homai, 2vv; Et da questa cittade, 3vv; Questo, o Giove, 4vv, Deh ci consenta, il ciel, 3vv; E tu Bacco non meno, 6vv |
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Choro II: Qual é, qual é colui, 4vv; Temp’è già, 4vv; C’homai di Giove il figlio, 3vv; E per compagne ha seco, 3vv; Però che da le parti più secrete, 6vv; Il qual per folte selve, 6vv; Qual tauro afflitto suole, 5vv; Così fuggir sperando, 5vv; Ben gravemente mi spaventa, 4vv; Che si come non sono, 4vv; Onde dubbia ho la mente, 2vv; E in certa speme, 2vv; Che dianzi unqua non seppi, 3vv; Ne ancor saperlo posso, 1v; Che raggion non consente, 3vv; E stolta cosa è inver, 6vv; Ma fermament’in me, 4vv; Quando a lui già la monstruosa Sfinge, 6vv |
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Choro III: O voglia’l ciel, 2vv; E quel tant’habbia sol, 3vv; Queste non fia, 2vv; Però ch’in esse occulte, 3vv; Ben la ingiustitia, 4vv; Giunta nel maggior colmo, 6vv; Prenda pur cura ognuno, 4vv; Chi la giustitia sprezza, 5vv; E chi pien d’avaritia, 3vv; Ne le sceleratezze, 4vv; Da malvaggio, 4vv; Ma chi fia tra mortali, 6vv; A che debb’io, 2vv; Qual di religion pietoso zelo, 3vv; O a visitar gl’eccelsi, 4vv; Ma tu ch'a voglia tua reggi e governi, 4vv; Hor gl’oracoli antique, 6vv |
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Choro IV: Misera humana prole, 4vv; Quinci a l’essempio tuo mirando, 4vv; Poscia che tu, 3vv; O come, ò sommo Giove, 4vv; Tu quasi torre ben fondata, 2vv; Quinci ottenuto havendo Regal titolo, 2vv; Ma chi più di te, 6vv; Tu quell’utero istesso, 3vv; Ma com’è che’l paterno, 3vv; Te manifesta al fine, 6vv; O del seme di Laio, 4vv; Me la tua dura sorte, 6vv; Verò dirò, 6vv |
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Madrigali et ricercari, 4vv (1589): |
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Ricercar del primo tuono, B i, 45; Ricercar del secondo tuono, B i, 54; Ricercar del secondo tuono, B i, 64; Ricercar del sesto tuono, B i, 74; Ricercar del settimo tuono, B i, 68; Ricercar del nono tuono, B i, 81; Ricercar del duodecimo tuono, B i, 86 |
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Intonationi d’organo di Andrea Gabrieli et di Gio: suo nipote … libro primo (159310) (works by A. Gabrieli are wrongly attrib. G. Gabrieli in 160729): |
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Del Primo tono, PI 3; Del secondo tono, PI 4; Del terzo tono, PI 5; Del quarto tono, PI 6; Del quinto tono, PI 7; Del sesto tono, PI 8; Del settimo tono, PI 9; Del ottavo tono, PI 10; Toccata del primo tono, PI 11; Toccata del sesto tono, PI 12; Toccata del ottavo tono, PI 18; Toccata del nono tono, PI 23 |
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Ricercari … composti et tabulati per ogni sorte di stromenti da tasti … libro secondo (159513): |
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Ricercar del primo tuono, PR i, 3; Primo tuono alla quarta alta, PR, i, 8; Secondo tuono alla quarta alta, PR, i, 12; Terzo tuono, PR ii, 26; Quarti toni, PR ii, 29; Quinti toni, PR i, 16; Sesto tono, PR i, 20; Settimo tono, PR i, 24; Nono tono, PR i, 28; Undecimo tono, PR i, 33; Duodecimo tono, PR i, 36 |
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Il terzo libro de ricercari … tabulati per ogni sorte di stromenti da tasti (159619): |
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Ricercar del primo tono, PR ii, 3; Secondo tono, PR ii, 6; Quinto tono, PR ii, 10; Quinto tono, PR ii, 14; Nono tono, PR ii, 16; Nono tono, PR ii, 19; Fantasia allegra del duodecimo tono, PC i, 3; Anchor che co’l partire (on Rore’s madrigal), PC ii, 38; Cantate Domino (on A. Gabrieli’s motet), a 5, PC ii, 35; Canzon ariosa, PI 29; Io mi son giovinetta (on madrigal by ‘Giachet’, attrib. D. Ferrabosco in Einstein, 1949, iii, 56), PI 32; Pass’e mezzo antico, PI 36 |
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Canzoni alla francese et ricercari ariosi, tabulate per sonar sopra istromenti da tasti … libro quinto (160518): Frais & Gaillard (on Crecquillon’s chanson), a 4, PC i, 9; Martin menoit (on Janequin’s chanson), a 4, PC i, 14; Ricercar sopra Martin menoit (on Janequin’s chanson), PC i, 17; Orsus au coup (on Crecquillon’s chanson), PC i, 21; Ricercar sopra Orsus au coup (on Crecquillon’s chanson), PC i, 24; Pour ung plaisir, PC i, 27; Ricercar sopra Pour ung plaisir, PC i, 29; Susanne un jour (on Lassus’s chanson), a 5, PC i, 6; 4 ricercar arioso, PC i, 32–43 |
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Canzoni alla francese per sonar sopra istromenti da tasti … libro sesto (160519): Con lei foss’io, a 4, PF 32; Ricercar sopra Con lei foss’io, a 4, PF 36; Je ne diray mot bergiere, PF 30; Je prens en gre, PF 14; Le bergier, a 4, PF 19; Orsus (on model attrib. ‘Jacob’), a 4, PF 23; Petit Jacquet, a 4, PF 12; Qui la dira (on Janequin’s chanson), a 4, PF 26; Qui la dira, a 4, PF 3; Ung gay bergier, a 4 (on Crecquillon’s chanson), PF 7 |
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Ricercar per sonar, a 8, 158716, AG xi, B i, 25 |
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Aria della battaglia per sonar d’istrumenti da fiato, 159011; B i, 93 |
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Toccata del sesto tuono, 15939 |
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Toccata del decimo tuono, 15939; ed. in AMI, iii (c1902/R), 77 |
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3 organ masses: Messa domenichal; Messa della beata virgine; Messa apestolorum: I-Tn; all ed. S. Dalla Libera (Milan, 1959) |
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[Madrigal] di Andrea Gabrieli, 3vv, Tn Foà 4 (kbd score), AG xvii |
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Canzoni alla francese per sonar sopra stromenti da tasti (Venice, 1571); lost or spurious, mentioned in J. von Wasielewski: Geschichte der Instrumentalmusik im XVI. Jahrhundert (Leipzig, 1878) |
F. Sansovino: Venetia, città nobilissima et singolare (Venice, 1581, rev. 2/1604 by M.R.D.G. Stringa)
C. von Winterfeld: Johannes Gabrieli und sein Zeitalter (Berlin, 1834/R)
G. Benvenuti: Introduction to Andrea e Giovanni Gabrieli e la musica strumentale a San Marco, IMi, i–ii (1931–2)
A. Einstein: ‘Italienische Musik und italienische Musiker am Kaiserhof und an den erzherzoglichen Höfen in Innsbruck und Graz’, SMw, xxi (1934), 3–52
A. Ghislanzoni: Storia della fuga (Milan, 1952)
D. Arnold: ‘Ceremonial Music in Venice at the Time of the Gabrielis’, PRMA, lxxxii (1955–6), 47–59
D. Arnold: ‘Brass Instruments in Italian Church Music of the Sixteenth and Early Seventeenth Centuries’, Brass Quarterly, i (1957–8), 81–92
W. Yeomans: ‘Andrea Gabrieli’s Canzoni et Ricercari (Libro primo)’, MMR, lxxxviii (1958), 16–21
D. Arnold: ‘Con ogni sorte di stromenti: Some Practical Suggestions’, Brass Quarterly, ii (1958–9), 99–109
D. Arnold: ‘Andrea Gabrieli und die Entwicklung der “cori spezzati” – Technik’, Mf, xii (1959), 258–74
D. Arnold: Giovanni Gabrieli (London, 1974)
D. Arnold: Giovanni Gabrieli and the Music of the Venetian High Renaissance (London, 1979), 1–28
D. Bryant: ‘Liturgia e musica liturgica nella fenomenologia del mito di Venezia’, Mitologie, ed. G. Morelli (Venice, 1979), 205–14
D. Bryant: ‘The cori spezzati of S Marco: Myth and Reality’, EMH, i (1981), 165–86
M. Morell: ‘New Evidence for the Biographies of Andrea and Giovanni Gabrieli’, EMH, iii (1983), 101–22
Andrea Gabrieli 1585–1985 (Venice, 1985)
Andrea Gabrieli e il suo tempo: Venice 1985
G. Benzoni, D. Bryant and M. Morell, eds.: ‘Gli anni di Andrea Gabrieli’, Edizione nazionale delle opere di Andrea Gabrieli, i (Milan, 1988)
R. Charteris: ‘Two Little-Known Manuscripts in Augsburg with Works by Giovanni Gabrieli and his Contemporaries’, RMARC, xxiii (1990), 125–36
D. Bryant: ‘Una cappella musicale di stato: la basilica di S. Marco’, La cappella musicale nell’Italia della Controriforma (Cento, 1993), 67–73
R. Charteris: ‘An Early Seventeenth-Century Manuscript Discovery in Augsburg’, MD, xlvii (1993), 35–70
V.J. Panetta: ‘Organ Motets by Giovanni Gabrieli?’, Studi musicali, xxvii (1997), 55–72
E. Quaranta: Oltre San Marco. Organizzazione e prassi della musica nelle chiese di Venezia nel Rinascimento (Florence, 1998)
M. De Santis, ed.: ‘I testi poetici: edizione critica delle fonti letterarie’, Edizione nazionale delle opere di Andrea Gabrieli, iii (Milan, 1998)