(b ?Venice, c1554–7; d Venice, Aug 1612). Italian composer and organist, nephew of Andrea Gabrieli. Together with Willaert, Andrea Gabrieli and Merulo, he was one of the leading representatives of 16th- and early 17th-century Venetian music.
DAVID BRYANT
Giovanni was one of five sons and daughters of Piero di Fais ‘called Gabrieli’, a native of Carnia who resided for some time in the parish of S Geremia, Venice. Little is known of his early years. It is possible that he was brought up by Andrea, to whom, in the dedication to Concerti … continenti musica di chiesa, madrigali, & altro (RISM 158716), he described himself as ‘little less than a son’; precise information regarding the relationship between uncle and nephew is, however, scant. Like Andrea, Giovanni spent a period of study and apprenticeship under Orlande de Lassus at the court of Duke Albrecht V in Munich. One of his first published madrigals, Quand’io ero giovinetto, appeared in Il secondo libro de madrigali a cinque voci de floridi virtuosi (RISM 157511), a collection of works by composers in Albrecht's service. Gabrieli remained in Munich for some years, and in 1578 the court records show him to be in receipt of both salary and livery. He probably left this employment either in the following year or shortly after, as part of the exodus of musicians after the death of Duke Albrecht in 1579. He was in Venice in 1584, acting as temporary organist at S Marco on the vacation of that post by Claudio Merulo. His appointment was made permanent when he was successful in the competition held on 1 January 1585, and he retained the post until his death: for some months during 1585 the two Gabrielis – uncle and nephew – served together as organists of the ducal chapel.
After Andrea Gabrieli’s death in 1585, Giovanni edited a large number of his uncle's works for publication: in particular, the Concerti (1587), a collection of large-scale sacred, secular and instrumental pieces (see illustration), and the Terzo libro de madrigali a cinque voci (1589). To both of these volumes he added several of his own compositions. A number of his organ intonazioniand ricercares were published in Andrea’s Intonationi d’organo … libro primo (1593) and Ricercari … libro secondo (1595), both of which were probably edited by Giovanni together with other volumes of his uncle’s keyboard compositions. A further sign of the close affinity between uncle and nephew is the fact that, after 1585, Giovanni took over Andrea’s role as the principal composer of ceremonial music for S Marco. In the same year he composed music for at least one of the pastoral plays given in the ducal palace several times annually.
In 1585 Gabrieli was elected to succeed Vincenzo Bellavere as organist to the Scuola Grande di S Rocco, with a salary of 24 ducats. He took up his duties on 13 February of that year and held the post for the rest of his life. He was required to be present in the confraternity on so regular a basis as might seem quite incompatible with his service at S Marco, and he undoubtedly sent substitutes on many occasions. Besides playing for the confraternity’s monthly Mass, held on the first Sunday of each month, he was required to be present for Mass and/or Vespers on no fewer than 24 major feast days, as well as for Sunday Vespers (except during Advent and Lent) and Friday Compline. Particularly sumptuous was the music performed annually on the confraternity’s name day, which occurred on 16 August. Besides the regular organist and singers of the scuola, the list of payments to musicians in 1603 mentions the following participants in the ceremonies: Giovanni Bassano, his company of players and an extra four instrumentalists; three violinists; one violone; four lutenists; a company of singers from Padua; eight other singers from Padua; a bass singer from S Marco and ‘other special singers’. Gabrieli was given an extra payment for having procured ‘7 organs at 21 lire each’.
The first comprehensive collection of Gabrieli’s works was the Sacrae symphoniae (1597); the contents undoubtedly reflect, in particular, his duties at S Marco, but it is not unlikely that several of the pieces were written for and first performed at the confraternity of S Rocco or in the various parish and monastic churches of Venice, where Gabrieli frequently participated in music-making on major feast days. Many of the works in the 1597 volume were quickly reprinted north of the Alps, notably in two volumes of Sacrae symphoniae printed by Kauffmann of Nuremberg in 1598 (RISM 15982; the collection was edited by Caspar Hassler). Gabrieli’s fame in German-speaking lands is also reflected in the fact that he was engaged to teach pupils sent to Venice by several northern princes: Alessandro Tadei was sent from Graz for two and a half years beginning in March 1604 and, on his return, was appointed as organist to Archduke Ferdinand; in 1599, Morgens Pedersøn, Hans Nielsen, the organist Melchior Borchgrevinck, two choirboys and two other singers were sent to Venice for a year at the expense of the king of Denmark; a further group from Denmark in 1602–4 included Nielsen and Hans Brachrogge; Pedersøn was back in Venice from 1605 to 1609; Johannes Grabbe was sent from Westphalia from 1607 to 1610; and Schütz was sent from the Saxon court from 1609 until shortly after Gabrieli’s death in 1612; Christoph Clemsee was probably in Venice during the last years of Gabrieli’s life. There were Venetian pupils as well. Francesco Stivori dedicated a collection of instrumental music to ‘the most magnificent, my dear master, signor Giovanni Gabrieli’ (Ricercari, capricci et canzoni, libro terzo, 1599), and an unnamed ‘pupil of sig. Gio. Gabrieli’ was elected as organist of the Dominican convent of SS Giovanni e Paolo on 26 July 1602. A further pupil was the Augustinian friar Taddeo dal Guasto, a member of the Venetian convent of S Stefano, and organist there from 1605. In recording their decision to elect Taddeo, the friars recalled Gabrieli’s positive judgement of his student’s abilities and referred to the close relationship existing between composer and monastery. Taddeo dal Guasto, himself a member of the S Marco ensemble, was the executor of Giovanni’s will and editor of the posthumously published Canzoni et sonate of 1615.
Few details are known of Gabrieli’s family circle and financial situation. His father almost certainly died before 1572; this, over and above all musical considerations, would explain the almost filial relationship between uncle and nephew. On 9 September 1587, a notarial document drawn up ‘in the house of the undermentioned brothers’ describes an arrangement by which Giovanni, his brothers Domenico and Matteo, and his sister Marina agree to supplement with 100 ducats each the dowry of their sister Angela who, according to another notarial document of January 1586, was about to enter the Venetian convent of S Giovanni Laterano. These references might explain the decision of the procuratori of S Marco on 30 December 1586 to pay the musician the uncommonly large sum of a year’s salary in advance, in part out of ‘respect for his needs’. Both notarial documents specify that the composer was now living in the parish of S Vidal; he was, indeed, buried in the convent church of S Stefano, in the same parish. In a letter of 1604, the composer refers to his ‘numerous family’: it is unclear whether his dependents are his own children or those of his sister or sisters-in-law. An entry in the Venetian necrology under 12 August 1612 records the composer's death, apparently from a kidney stone, and gives his age as 58 (indications of age in these documents are, however, notoriously unreliable).
Unlike his teachers and most of his colleagues, who are known to have composed in a wide variety of genres, Giovanni is known almost entirely through his vocal and instrumental music for the church: large-scale motets and other settings for ensembles of voices and instruments, large- and smaller-scale music for instrumental ensembles, and compositions for organ. The light secular forms such as the villanella and canzonetta are all but absent from his output. All Gabrieli’s surviving madrigals were composed in the 16th century and are published in anthologies dominated by the works of other composers. The occasional character of several of his madrigals is apparent from their texts. The eight-part O che felice giorno is an expanded version of the text in the rappresentazione given before the Doge Pasquale Cicogna on St Stephen's day 1585 (the madrigal was later reworked as Hodie Christus natus est, a motet for Christmas Vespers). Udite, chiari e generosi figli, which contains an explicit reference to the ‘fair and noble sons of happy Hadria’, was probably intended for insertion in another pastoral play. Other madrigals celebrate distinguished personages: Sacro tempio d’honorforms part of a cycle of twelve sonnets composed in honour of the Venetian noblewoman Bianca Capello on the occasion of her marriage to Francesco de’ Medici, Grand Duke of Tuscany; Sacri di Giove augei honours Jacob Fugger, dedicatee of the Concerti (RISM 158716, where the madrigal was published); Quando Laura, ch’or tant’illustr’e bea forms part of an anthology dedicated to the soprano Laura Peverara for her wedding to count Annibale Turco in February 1583; the six-part Scherza Amarilli e Clori is Gabrieli’s contribution to the marriage celebrations of Georg Gruber of Nuremberg and Helen Joanna Kolmann in 1600.
Many of Gabrieli’s motets are liturgically appropriate to the major occasions in the Venetian church and State calendar. On these occasions, ceremonial required the doge to be present in S Marco or in one or other of the city’s churches for the celebration of mass and/or vespers. Thus Deus, qui beatum Marcum was probably intended for performance on the feast of St Mark or during the investiture ceremony for a doge or some other high-ranking Venetian state official (for which the text is also prescribed). Other texts in honour of St Mark are Iubilemus singuli and Virtute magna operatus est. Several motets are for the Ascension Day festivities, which combined the liturgical celebrations of Mass and Vespers with the ceremony of the Wedding of Venice to the Sea, an allegorical ceremony which symbolized Venetian domination over the Adriatic. Textual analysis of In ecclesiis and Dulcis Iesu patris imago suggests that their origins lie in the annual ceremonies held on the third Sunday in July, when the doge and other high-ranking officials were required to attend Mass in the church of the Redentore, in thanksgiving for the passing of the plague epidemic of 1575–7. Several motet texts are drawn from Christmas Vespers, celebrated at the Benedictine church of S Giorgio Maggiore in the presence of major state dignitaries. There are also large-scale motets for Easter, Pentecost, Holy Trinity, Corpus Christi and the feasts of the Blessed Virgin. Other texts are generically celebrative in nature and are appropriate for use on a wide variety of liturgical occasions. It is tempting to speculate that at least some of these pieces were written for use on the major festivities in the various parish and monastic churches, of which there were some 150 in Venice. The presence of large musical ensembles was normal on such occasions.
Gabrieli’s earliest music shows his indebtedness to Lassus and, above all, to his uncle Andrea. Five large-scale motets and five madrigals were included in Andrea’s Concerti (158716). As in Andrea’s late works, the writing is basically chordal, and word-setting is syllabic. Occasional expressive chromaticism arises from harmonic rather than melodic considerations, lively rhythms often produce cross-accents and syncopations, harmonies are simple and counterpoint frequently all but non-existent. Imitation between choirs occurs in the form of repetition of materials and, especially towards climaxes, the use of strettos. In the double-choir works the contrasting groups take the form of a coro superiore and a coro grave. The bass line frequently descends to low C and clearly requires instrumental participation, though the use of voices to perform these parts is not to be ruled out (the parts in question are, indeed, supplied with text). Like Andrea’s, too, the lowest part of the upper choir is frequently not a real bass in the tuttis. Gabrieli’s interest in texture and sonority is always apparent. The overall feeling of the music is one of power: an appropriate musical symbol for the state church of Venice.
Most of the music written before 1597 uses cori spezzati. The Sacrae symphoniae of 1597 show Gabrieli moving towards a style in which thematic material is developed dynamically in dialogue form, as opposed to being stated in one choir and answered almost exactly in the other (at most, with transposition), as is more typical of Andrea. The harmonic idiom is still simple and essentially diatonic, with many cadential passages caused by frequent interchanges between the choirs. In general, however, Gabrieli now tends to make greater use of dissonance and employ a wider range of tonal centres. Textures are, if anything, further simplified. The melodic element is of greater importance than in the Concerti. Naturally, in the three- and four-choir works, harmony tends to be simpler than in double-choir pieces. These large-scale works, however, exploit colour contrasts more than ever before.
In general, the function of Gabrieli’s large-scale motets as musical adjuncts to what seems in no small degree to have been a series of quite unrelated, special occasions celebrated not only in S Marco but also, probably, in other churches in Venice, determines a variety of styles and manners of performance. The considerable range in the number of voices – from six to 16 in the Sacrae symphoniae of 1597, from seven to 19 in the Symphoniae sacrae of 1615 – is itself indicative of a certain heterogeneity of intention. So are some apparent ‘inconsistencies’ of orchestration as described in contemporary archival documents: mass or vespers may be celebrated ‘solemnly by the capella’, ‘with singers and organ’ or ‘with all manner of instruments’. As a rule, however, the greatest occasional events and liturgical commemorations (above all, Christmas, Easter, Ascension, Pentecost, Holy Trinity, St Mark) required the participation both of the salaried instrumentalists of the Basilica (three such players were engaged permanently in 1568, a fourth in 1576) and of extra musicians specially hired for the ceremony in question. Archival evidence (presented in Quaranta) suggests that Gabrieli’s employment of mixed vocal and instrumental ensembles in his festive church music represents a mere continuation of what, in Venice, were normal performance practices inherited from previous centuries.
Payment records for the years 1586–7 mention up to 12 supplementary instrumentalists: mostly cornetts and trombones, but also up to two violins. By the early 17th century, the use of strings increased but winds still dominated: a payment to extra musicians brought in for Christmas Day 1603, for example, lists four cornetts, five trombones, one bassoon, two violins and one violone. A list of singers drawn up in the mid 1590s by the maestro di cappella Baldassare Donato names 13 resident adults: two sopranos (castratos), four contraltos (male), three tenors and four basses. Obviously, in the same way as the instrumentalists, extra singers could be hired on an occasional basis. Little information is available on the participation of boy singers. However, beside the 24 adult singers mentioned in a list of 1562 are the names of five boys who were required to participate daily in the performance of polyphonic music; of 14 extra singers hired for first Vespers in festo ascensionis Domini, 1604, three were ‘putti soprani’.
In a resolution drawn up by the governing body of the basilica on 2 April 1607, some five years before Gabrieli’s death, not only is it strongly implied that the singers, organists and other instrumentalists were regularly present during the greatest religious solemnities, but also that one unfortunate consequence of their division into spatially separated groups could prove of no little embarassment to their employers. In the document the procuratori, having emphasized how important it is ‘to perform music in the organ lofts at such times as the Most Serene Prince and the Most Serene Signoria come to church’, underlined the necessity of placing one of the best musicians in each loft ‘to beat the time as it is regulated by the maestro’. For this purpose, Giovanni Bassano (together, presumably, with at least some of the instrumentalists, since he was capo dei concerti) was assigned to Gabrieli’s loft and one of the singers to the other; the maestro di cappella generally stood with a group of singers in a hexagonal pulpit positioned in the nave of the church to the right of the iconostasis. This would explain why the term ‘cappella’ is applied, in no fewer than 16 of his extant works (as, indeed, in Andrea’s large-scale mass movements of the Concerti), to a single, usually four-part choir, whose part-ranges lie comfortably within the medium range and which is generally harmonically self-sufficient (necessarily so, since it is distant from the other groups of performers). In turn, the use of ‘cappella’ to describe a group of ripieno singers suggests that some or all of the parts with text underlay in the other choirs were performed by vocal soloists, not only in those parts which bear the specific designation ‘Voce’ (which occurs in 22 of Gabrieli’s compositions, all for cori spezzati) but also, by inference, in the other works. Some large-scale works, it would appear, did not involve the ripieno singers. The 11-part Surrexit Christus (1615), for example, contains specifications for two cornetts, two violins, four trombones and three solo voices. The specifications which accompany the printed parts of the ten-part Iubilate Deo omnis terra (1615) show that instruments could be used both to double voice parts and to replace them: three parts are labelled ‘cornett and voice si placet’, ‘trombone and voice si placet’ and ‘bassoon and voice si placet’ respectively. A surviving copy of the second Symphoniae sacrae (in PL-Wu) includes early 17th-century German annotations to Attendite popule meus – in which all eight parts have text underlay and each of the upper four parts is assigned to a vocal soloist using the printed label ‘Voce’ – prescribing the use of stringed instruments for the lower four parts. The same commentator describes choir I of the 15-part Salvator noster as the ‘violin choir’, though, in the composition as printed, text underlay occurs in all parts of the work and instruments are not specified (one vocal soloist is mentioned in connection with choirs I and III, and two in connection with choir II). How much this practice of instrumentation corresponds to Venetian usage is open to doubt: archival documentation suggests that mixed consorts were more common in Venice, as opposed to the homogeneous timbres frequently described in German-speaking regions. Though Praetorius’s indications for instrumental participation are also valuable for these pieces, these too must be used with some caution since they also reflect German taste and are of a later date than the music to which they refer: in line with the annotations in the Symphoniae sacrae II, Praetorius describes how certain choirs were performed by homogeneous groups of instruments, such as violins, flutes or cornetts for the upper choirs, trombones or bassoons for those of lower tessitura (in these choirs, he adds, at least one part must be sung to ensure textual completeness). The increased number of indications for specific instruments in the Symphoniae sacrae of 1615 is perhaps due to an all-too-literal approach to what, in Gabrieli’s original performing materials, may well have been mere annotations regarding individual performances: in general, usage appears to have been highly flexible. Yet, in several of the late works, the parts marked for instruments are treated quite differently from the vocal parts. Likewise, solo voices are clearly differentiated from the ripieno choir by florid writing and greater concertante play between parts. The use of the basso continuo allows solo voices to be accompanied by the organ as well as instrumental groups. Other instruments are specified in basso seguente parts (D-Kl mus. 51a and 62f; though these two manuscripts were compiled in Germany and are thus not necessarily representative of Venetian practice): the three such parts in the 18-part Hic est filius Dei are marked ‘basso continuo’ (probably organ), ‘violone’ and ‘lute’ respectively, while the 19-part Alti potentis Domini has a ‘basso grande’ for lute.
Gabrieli’s music for instrumental ensemble consists of canzonas and sonatas. Like the motets, these were probably designed for use in S Marco during mass and vespers on the most important liturgical commemorations and greatest occasional events; they certainly exploit the exceptionally large resources available in the church and the virtuosity of several players, in particular Girolamo Dalla Casa and Giovanni Bassano. As in some of Gabrieli’s late motets, the ornamentation applied to the melodic lines is similar to that set out in the treatises of these two virtuoso cornett players. One is tempted to see, in the frequent contrast between a few highly embellished lines and the plainer main body of instruments, a deliberate exploitation of their presence in the instrumental band of the basilica.
The appointment of Monteverdi as maestro di cappella at S Marco in 1613 meant that Gabrieli’s impact on Venetian composers during the first half of the 17th century was comparatively small. G.B. Grillo, his successor as organist of the S Rocco confraternity and himself appointed to S Marco in 1619, was one of the few to follow his ideas, writing not only a Sonata pian e forte but also concertante motets in a similar style to some of those published in the Symphoniae sacrae of 1615. Like Andrea, Giovanni was most influential north of the Alps. His many German pupils have already been mentioned. His organ music was included in several tablatures using German notation, such as Bernhard Schmid’s Tablatur Buch (RISM 160729) and Johann Woltz’s Nova musices organicae tabulatura (RISM 161724). Much of his church music was printed by German publishers and the popularity of polychoral music in northern Europe can be traced largely to his model. Schütz’s Psalmen Davids of 1619 show direct links with Gabrieli’s motet style, not only in the general layout of instruments and voices but also in details of cadential progressions and formal design. Smaller-scale German church music also owed much to works such as the chromatically expressive Timor et tremor; music by Schein and others displays a similar attitude to word-painting and uses a similar melodic and harmonic style rather than exploiting the potential of the basso continuo. Schütz’s Cantiones sacrae (1625) were particularly indebted in this way, and Gabrieli’s music was one of the most influential Italian models in Germany before Monteverdi. It was probably this strong German interest which led to the rediscovery of his music in the early 19th century by Winterfeld, whose transcriptions of most of Gabrieli’s sacred music and some pieces for instrumental ensemble are still extant (in D-Bsb).
numbers refer to the Thematic Catalogue
Editions: Giovanni Gabrieli: Opera omnia, ed. D. Arnold and R. Charteris, CMM, xii (1956–) [A i–xi]Giovanni Gabrieli: Composizioni per organo, ed. S. Dalla Libera (Milan, 1957–9/R) [L i–iii]Catalogue: Giovanni Gabrieli (ca. 1555–1612): A Thematic Catalogue of his Music with a Guide to the Source Materials and Translations of his Vocal Texts, ed. R. Charteris (New York, 1996)
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Concerti … continenti musica di chiesa, madrigali, & altro … libro primo, 6–8, 10, 12, 16vv, insts (158716) [1587] |
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Sacrae symphoniae, 6–8, 10, 12, 14–16vv, insts (1597) [1597] |
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Symphoniae sacrae … liber secundus, 7–8, 10–17, 19vv, insts (1615) [1615] |
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Works in 15904, 16002, 16123, 161218, 16132, 16152, 161724 |
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43–5 |
Kyrie, 12vv, 1597; A ii |
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71–3 |
Kyrie, 12vv, 1615; A iv |
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46 |
Gloria, 12vv, 1597; A ii |
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47 |
Sanctus-Benedictus, 12vv, 1597; A ii |
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74 |
Sanctus-Benedictus, 12vv, 1615; A iv |
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144 |
Alti potentis Domini, 19vv, D-Kl (inc.); A ix |
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5 |
Angelus ad pastores ait, 12vv, 1587, Rp (org), PL-PE (org); A i |
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23 |
Angelus Domini descendit, 8vv, 1597, A-LIm (lute), SK-Le (org); A i |
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60 |
Attendite popule meus, 8vv, 1615, 161724 (org); A iii |
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122 |
Audi Domine hymnum, 7vv, 16123, PL-Wn (org); A vii |
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145 |
Audite caeli quae loquor, 12vv, D-Kl (inc.); A ix |
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123 |
Audite principes, 16vv, 16152; A vii |
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146 |
Audite principes, 16vv, Kl (inc.; much material shared with C123); A ix |
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8 |
Beata es, virgo Maria, 6vv, 1597, SK-Le (org); A i |
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18 |
Beati immaculati in via, 8vv, 1597, 161724 (org), D-Bsb (org), PL-Wn (org); A i |
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21 |
Beati omnes, qui timent Dominum, 8vv, 1597, 161724 (org), D-Bsb (org), Mbs (kbd), GB-Ob (lute), PL-PE(org), Wn (org), SK-Le (org); A i |
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33 |
Benedicam Dominum in omni tempore, 10vv, 1597, 161724 (org), PL-PE (org); A ii |
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62 |
Benedictus es Dominus, 8vv, 1615; A iii |
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11 |
Benedixisti Domine, 7vv, 1597, D-Tl (kbd), SK-Le (org); A i |
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84 |
Buccinate in neomenia tuba, 19vv, 1615, 161724 (org), PL-GD (org, 4 pts); A v |
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6 |
Cantate Domino, 6vv, 1597, 161218 (lute), 161724 (org), D-Bsb (org), Rtt (org, inc.), GB-Ob (lute), I-Tn (kbd); A i |
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61 |
Cantate Domino, 8vv, 1615; A iii |
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76 |
Confitebor tibi, Domine, 13vv, 1615; A iv |
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154 |
Confitebor tibi, Domine, 13vv, 16152 (much material shared with C76), 161724 (org); A iv |
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54 |
Congratulamini mihi, 6vv, 1615, Tn (kbd); A iii |
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4 |
Deus, Deus meus, ad te, 10vv, 1587, 161724 (org), CH-Bu (org), D-Esl (kbd); A i |
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124 |
Deus, Deus meus, respice in me, 12vv, 16152; A vii |
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59 |
Deus, in nomine tuo, 8vv, 1615; A iii |
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125 |
Deus, in nomine tuo, 8vv, Kl; A vii |
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36 |
Deus, qui beatum Marcum, 10vv, 1597, SK-Le (org); A ii |
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126 |
Diligam te, Domine, 7vv, 16002, D-Mbs (kbd, inc.); A vii |
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26 |
Diligam te, Domine, 8vv, 1597, PL-Wn (org); A ii |
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127 |
Domine, Deus meus, ne, quaeso, 6vv, 16152, I-Tn (kbd); A vii, L iii, 15 |
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22 |
Domine, Dominus noster, 8vv, 1597, 161724 (org), PL-Wn (org); A i |
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15 |
Domine exaudi orationem meam, 8vv, 1597, Wn (org), SK-Le (org); A i |
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34 |
Domine exaudi orationem meam, 10vv, 1597, 161724 (org), D-Bsb (org), Esl (kbd), SK-Le (org); A ii |
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128 |
Dulcis Iesu patris imago, 20vv, D-Kl; A vii |
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2 |
Ego dixi; Domine miserere mei, 7vv, 1587, I-Tn (kbd); A i |
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129 |
Ego rogabo Patrem, 6vv, 15904, A-LIm (lute); A vii |
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147 |
Ego rogabo Patrem, 6vv, D-Rp (inc.; much material shared with C129); A ix |
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29 |
Ego sum qui sum, 8vv, 1597, PL-Wn (org), SK-Le (org); A ii |
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12 |
Exaudi Deus orationem meam, 7vv, 1597, 161724 (org); A i |
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67 |
Exaudi Deus orationem meam, 12vv, 1615, 161724 (org); A iv |
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7 |
Exaudi Domine iustitiam meam, 6vv, 1597, 161724 (org), I-Tn (kbd); A i |
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82 |
Exaudi me, Domine, 16vv, 1615; A v |
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27 |
Exultate iusti in Domino, 8vv, 1597, 161724 (org), D-Bsb (org), PL-PE (org), Wn (org), SK-Le (org); A ii |
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53 |
Exultavit cor meum in Domino, 6vv, 1615, I-Tn (kbd); A iii |
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130 |
Exultet iam angelica turba, 14vv, 16152; A vii |
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131 |
Exultet iam angelica turba, 17vv, D-Kl; A vii |
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138 |
Gloria Patri, 8vv, Bsb; A viii |
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132 |
Hic est filius Dei, 18vv, Kl; A viii |
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28 |
Hoc tegitur sacro, 8vv, 1597, Rtt (org), SK-Le (org); A ii |
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133 |
Hodie Christus a mortuis, 12vv, D-Kl; A viii |
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40 |
Hodie Christus natus est, 10vv, 1597, PL-GD (partial org score), SK-Le (org); A ii |
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134 |
Hodie completi sunt dies Pentecostes, 7vv, 16002, A-LIm, D-Bsb (org), SK-Le (org); A viii |
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148 |
Hodie completi sunt dies Pentecostes, 7vv, D-Esl(inc.; much material shared with C134) |
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57 |
Hodie completi sunt dies Pentecostes, 8vv, 1615; A iii |
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20 |
Iam non dicam vos servos, 8vv, 1597, PL-Wn (org), SK-Le (org); A i |
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1 |
Inclina Domine aurem tuam, 6vv, 1587; A i |
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78 |
In ecclesiis, 14vv, 1615; A v |
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30 |
In te Domine speravi, 8vv, 1597, SK-Le (org); A ii |
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16 |
Iubilate Deo omnis terra, 8vv, 1597, 161724 (org), A-LIm (lute), I-Tn (kbd), PL-Wn (org); A i |
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136 |
Iubilate Deo omnis terra, 8vv, 16132; A viii |
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135 |
Iubilate Deo omnis terra, 8vv, D-Bsb; A viii |
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65 |
Iubilate Deo omnis terra, 10vv, 1615; A iii |
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51 |
Iubilate Deo omnis terra [= Iubilate omnes], 15vv, 1597, SK-Le (org); A ii |
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31 |
Iubilemus singuli, 8vv, 1597, PL-PE (org); A ii |
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38 |
Iudica me, Domine, 10vv, 1597, SK-Le (org); A ii |
|
149 |
Laetentur omnes qui sperant in te Domine, 14vv, D-Lr (inc.); A ix |
|
19 |
Laudate nomen Domini, 8vv, 1597, SK-Le (org); A i |
|
63 |
Litaniae BVM, 8vv, 1615; A iii |
|
32 |
Magnificat, 8vv, 1597, PL-Wn (org), SK-Le (org); A ii |
|
48 |
Magnificat, 12vv, 1597, Le (org); A ii |
|
75 |
Magnificat, 12vv, 1615; A iv |
|
79 |
Magnificat, 14vv [= Laudabo Deum Dominum], 1615; A v |
|
83 |
Magnificat, 17vv, 1615; A v |
|
150 |
Magnificat, 20 or 28vv, A-Wn (inc.); A ix |
|
151 |
Magnificat, 33vv, Wn (inc.); A ix |
|
35 |
Maria virgo, 10vv, 1597, PL-PE (org), SK-Le (org); A ii |
|
137 |
Miserere mei Deus, 4vv, D-Bsb; A viii |
|
9 |
Miserere mei Deus, 6vv, 1597, PL-Wn (org), SK-Le (org); A i |
|
17 |
Misericordias Domini, 8vv, 1597, 161724 (org), PL-Wn(org); A i |
|
69 |
Misericordia tua, Domine, 12vv, 1615; A iv |
|
50 |
Nunc dimittis, 14vv, 1597, SK-Le (org); A ii |
|
14 |
O Domine Iesu Christe, 8vv, 1597, 161724 (org), D-Esl (kbd), I-Tn (kbd), PL-Wn (org), SK-Le (org); A i |
|
68 |
O gloriosa virgo, 12vv, 1615, D-Kl (as O gloriose Iesu); A iv |
|
139 |
O Iesu Christe, 6vv, 16152, 161724 (org), I-Tn (kbd, entitled O doctor optime); A viii, L iii, 11; [model for Schütz, Iesu dulcissime] |
|
24 |
O Iesu mi dulcissime, 8vv, 1597, D-Bsb (org), PL-Wn (org), SK-Le (org); A i |
|
56 |
O Iesu mi dulcissime, 8vv, 1615; A iii |
|
140 |
O Iesu mi dulcissime, 8vv, D-Bsb; A viii |
|
3 |
O magnum mysterium, 8vv, 1587; A i |
|
52 |
Omnes gentes plaudite manibus [= Matri sanctae plaudite filii], 16vv, 1597, 161724 (org), D-Bsb (org); A ii |
|
81 |
O quam gloriosa hodie beata Maria processit, 16vv, 1615; A v |
|
10 |
O quam suavis, 7vv, 1597, 161724 (org), GB-Ob (lute); A i |
|
58 |
O quam suavis, 8vv, 1615; A iii |
|
41 |
Plaudite, psallite, iubilate Deo omnis terra [= Virgini iubilemus], 12vv, 1597, 161724 (org), PL-PE (org); A ii |
|
77 |
Quem vidistis, pastores, 14vv, 1615; A v |
|
39 |
Quis es iste qui venit, 10vv, 1597, D-Bsb (org), SK-Le (org); A ii |
|
49 |
Regina coeli laetare, 12vv, 1597, Le (org); A ii |
|
80 |
Salvator noster hodie dilectissimi natus est, 15vv, 1615; A v |
|
55 and 153 |
Sancta et immaculata virginitas, 7vv, 1615 (copy in PL-Wu with addl pt in MS by Staden), I-Tn (kbd); A iii, ix |
|
25 |
Sancta et immaculata virginitas, 8vv, 1597, PL-PE (org), SK-Le (org); A i |
|
13 |
Sancta Maria succurre miseris, 7vv, 1597, 16002 (with opening words ‘O fili Dei succurre miseris’), 161724 (org), SK-Le (org); A i |
|
66 |
Surrexit Christus, 11vv, 1615; A iii |
|
141 |
Surrexit Christus, 12 or 16vv, D-Kl; A viii |
|
37 |
Surrexit pastor bonus, 10vv, 1597, SK-Le (org); A ii |
|
70 |
Suscipe clementissime Deus, 12vv, 1615; A iv |
|
142 |
Timor et tremor, 6vv, 16152; A viii |
|
143 |
Timor et tremor, 6vv, D-Bsb (related to C142); A viii |
|
42 |
Virtute magna operatus est, 12vv, 1597, SK-Le (org); A ii |
|
64 |
Vox Domini super aquas Iordanis, 10vv, 1615; A iii |
|
Concerti … continenti musica di chiesa, madrigali, & altro … libro secondo, 6–8, 10, 12, 16vv, insts (158716) [1587] |
|
|
Works in 157511, 157515, 158311, 15861, 158611, 15876, 158914, 159011, 159123, 159211, 15955, 16005a, 160118, 160729 |
|
|
118 |
A Dio, dolce mia vita, 10vv, 1587; A vi |
|
88 |
Ahi, senza te, pretiosa Margherita, 4vv, 15955; A vi |
|
85 |
Alma cortes’e bella [= My soul is deeply wounded], 3vv, 15876; A vi |
|
120 |
Amor, dove mi guidi, 12vv, 159011; A vi |
|
180 |
Amor s’è in lei con honestate aggiunto (F. Petrarch) (2p. of A. Gabrieli, In nobil sangue), 6vv, 1587; A vi |
|
117 |
Chiar’angioletta semb’agl’occhi miei, 8vv, 159011, A-LIm (lute); A vi |
|
99 |
Da quei begl’occhi ove s’accese il foco, 5vv, 158914; A vi |
|
89 |
Deh, di me non ti caglia, amico vero, 4vv, 15955; A vi |
|
100 |
Dimmi, dimmi ben mio, 5vv, 158914; A vi |
|
112 |
Dolce nemica mia, 7vv, 1587, LIm (lute); A vi |
|
105 |
Dolci, care parole, 5vv, 158914; A vi |
|
93 |
Donna leggiadra e bella, 5vv, 158311; A vi |
|
115 |
Dormiva dolcemente la mia Clori, 8vv, 159011, LIm (lute); A vi |
|
116 |
Fuggi pur se sai, 8vv, 159011; A vi |
|
90 |
Labra amorose e care [= How long shall fading pleasure], 4vv, 15955, 160729 (org); A vi |
|
113 |
Lieto godea sedendo [= Auxilium promisit Deus; Ein Kindlein fein; Fröhlich zu sein; Heilig ist Gott; Quam pulchra es amica mea], 8vv, 1587, 16005a (lute), 160118 (lute), LIm (lute), D-WINtj (org, inc.); A vi |
|
114 |
O che felice giorno [= Hodie Christus natus est], 8vv, 159011, A-LIm (lute); A vi |
|
94 |
O ricco mio thesoro [= Nos autem gloriari oportet], 5vv, 158311; A vi |
|
152 |
Però di prego, 3vv, D-Dl (text lacking); A ix |
|
91–2 |
Quand’io ero giovinetto, 5vv, 157511; A vi |
|
106–07 |
Quando Laura, ch’or tant’illustr’e bea, 5vv, I-VEaf; A vi |
|
102 |
Queste felici herbette, 5vv, 158914; A vi |
|
119 |
Sacri di Giove augei, sacre fenici [= Sancti Ignatii socii Iesu festam], 12vv, 1587; A vi |
|
95–6 |
Sacro tempio d’honor (G.B. Zuccarini), 5vv, 158611; A vi |
|
103–04 |
S’al discoprir de l’honorata fronte, 5vv, 158914; A vi |
|
111 |
Scherza Amarilli e Clori [= Alleluia quando iam emersit], 6vv, Honori et amori Georgii Gruberi (Nuremberg, 1600); A vi |
|
110 |
Se cantano gl’augelli (O. Guargante) [= Blandina maine Schöne and Dass Musica die schöne], 6vv, 159211; A vi |
|
97–8 |
Signor, le tue man sante, 5vv, 15861; A vi |
|
109 |
S’io t’ho ferito, non t’ho però morto, 6vv, 159123; A vi |
|
121 |
Udite, chiari e generosi figli, 15vv, D-Kl; A vi |
|
101 |
Vagh’amorosi e fortunati allori, 5vv, 158914; A vi |
|
86–7 |
Voi ch’ascoltate in rime spars’il suono (Petrarch), 4vv, 157515; A vi |
|
C1 |
Alleluia quando iam emersit [= Scherza Amarilli e Clori], 6vv, 16152, I-Tn (kbd); A ix, L iii, 20 |
|
C2 |
Auxilium promisit Deus [= Lieto godea sedendo], 8vv, D-Esl; A ix |
|
C3 |
Blandina meine Schöne [= Se cantano gli augelli], 6vv, 161213; A ix |
|
C4 |
Dass Musica die schöne [= Se cantano gli augelli], 6vv, 161916; A ix |
|
C5 |
Ein Kindlein fein [= Lieto godea sedendo], 8vv, D-Rp; A ix |
|
C6 |
Fröhlich zu sein [= Lieto godea sedendo], 8vv, 162416; A ix |
|
C7 |
Heilig ist Gott [= Lieto godea sedendo], 8vv, Bsb; A ix |
|
C8 |
Hodie Christus natus est [= O che felice giorno], 8vv, 16152; A ix |
|
C9 |
How long shall fading pleasure [= Labra amorose e care], 4vv, GB-Och; A ix |
|
C17 |
Iubilate omnes [= Iubilate Deo omnis terra], 15vv, 1597 (MS addn to pr. ptbks in D-Rp); facs. in A ix |
|
C10 |
Laudabo Deum Dominum [= Magnificat C79], 14vv, Kl; A ix |
|
C18 |
Matri sanctae plaudite filii [= Omnes gentes plaudite manibus], 16vv, 1597 (MS addn to pr. ptbks in Rp); facs. in A ix |
|
C11 |
My soul is deeply wounded [= Alma cortes’e bella], 3vv, GB-Och; A ix |
|
C12 |
Nos autem gloriari oportet [= O ricco mio thesoro], 5vv, 160411, PL-PE (org); A ix |
|
C13 |
Quam pulchra es amica mea [= Lieto godea sedendo], 8vv, 15995; A ix |
|
C14 |
Sancta Maria virgo [= Amor dove mi guidi], 12vv, 159011 (MS addn to pr. ptbks in B-Br); A ix |
|
C15 |
Sancti Ignatii socii Iesu festam [= Sacri di Giove augei], 1587 (MS addn to pr. ptbks in D-Rp); A ix |
|
C16 |
Virgini iubilemus [= Plaudite, psallite, iubilate Deo omnis terra], 12vv, 1597 (MS addn to pr. ptbks in Rp); facs. in A ix |
|
171–85 |
Sacrae symphoniae, 6–8, 10, 12, 14–16vv, insts (1597), A x: Canzon primi toni, 8vv; Canzon primi toni, 10vv; Canzon quarti toni, 15vv; Canzon septimi toni, 8vv (inc. org version in D-Mbs); Canzon septimi toni, 8vv; Canzon septimi et octavi toni, 12vv; Canzon noni toni, 12vv; Canzon noni toni, 8vv (org version in A-LIm); Canzon duodecimi toni, 8vv; Canzon duodecimi toni, 10vv; Canzon duodecimi toni, 10vv; Canzon duodecimi toni, 10vv; Canzon in echo duodecimi toni, 10vv; Canzon in echo duodecimi toni, 10vv (alternative version to C180: ‘variata di concerto, con l’organo insieme’); Sonata octavi toni, 12vv; Sonata pian e forte, 8vv |
|
195–214 |
Canzoni et sonate, 3, 5–8, 10, 12, 14–15, 22 insts, bc (org) (1615), A xi: Canzon I, 5vv; Canzon II, 6vv (kbd version in A-Wm); Canzon III, 6vv (kbd version in Wm); Canzon IV, 6vv (kbd version in Wm); Canzon V, 7vv; Canzon VI, 7vv; Canzon VII, 7vv; Canzon VIII, 8vv; Canzon IX [= C190 below]; Canzon X, 8vv; Canzon XI, 8vv; Canzon XII, 8vv; Sonata XIII, 8vv; Canzon XIV, 10vv; Canzon XV, 10vv; Canzon XVI, 12vv; Canzon XVII, 12vv; Sonata XVIII, 14vv; Sonata XIX, 15vv; Sonata XX, 22vv; Sonata XXI ‘con tre violini’, 4 or 5vv |
|
186 |
Canzon I ‘La Spiritata’, 4vv, 160824, 160118 (lute), 160933 (kbd), 161724 (org), 162217 (kbd version by G. Diruta), D-Esl (kbd), I-Tn (kbd), PL-PE (org); A x |
|
187 |
Canzon II, 4vv, 160824, I-Tn (kbd); A x |
|
188 |
Canzon III, 4vv, 160824, A-Wm (kbd ); A x |
|
189 |
Canzon IV, 4vv, 160824, Wm (kbd); A x |
|
190 |
Canzon XXVII ‘Fa sol la re’, 8vv, 160824, repr. 1615 as Canzon IX; A ix, x |
|
191 |
Canzon XXVIII ‘Sol sol la sol fa mi’, 8vv, 160824; A x |
|
192 |
Canzon in echo, 12vv, D-Kl; A x |
|
193 |
Canzon, 12vv, Kl; A x |
|
194 |
Canzon, 4vv, I-VEcap, 159919 (lute), A-Wm (kbd); A x |
|
240–50 |
Intonationi d’organo … libro primo (159310) (wrongly attrib. A. Gabrieli in 160729), A xii: Del primo tono; Del secondo tono; Del terzo et quarto tono; Del quinto tono; Del sesto tono; Del settimo tono; Dell’ottavo tono; Del nono tono; Del decimo tono; Dell’undecimo tono; Duodecimo tono |
|
215 |
Ricercar ottavo tono, 159513, I-Tn (org); A xii |
|
216 |
Ricercar decimo tono, 159513 D-Bsb (org), I-Tn (org); A xii |
|
217, 219–22 |
5 ricercars (org), I-Tn; A xii |
|
218 |
Ricercar, PL-Kj (attrib. Erbach in D-Bsb); A xii |
|
223 |
Canzon, PL-Kj; A xii |
|
224 |
Ricercar, Kj (attrib. Erbach in D-Bsb and Mbs); A xii |
|
225 |
Canzon, PL-Kj (designated ‘Ricercar’ in D-Mbs); A xii |
|
226 |
Ricercar noni toni, D-Bsb; A xii |
|
227 |
Fantasia quarti toni, Bsb; A xii |
|
228–9 |
2 fugues, I-Tn (org); A xii |
|
230 |
Canzon, Tn, attrib. ‘Gabrieli’ (org); A xii |
|
231 |
Canzon, Tn (org); A xii |
|
232 |
Canzon francese, Tn (org) (attrib. both Gabrieli and Hassler); A xii |
|
233 |
Canzon, Tn (org) (attrib. Erbach in D-Bsb); A xii |
|
234 |
Canzon, I-Tn (org) (attrib. Erbach in D-Bsb and Mbs); A xii |
|
235 |
Canzon, F-Pn (attrib. Erbach in D-Bsb; Merulo in I-Tn); A xii |
|
236 |
Toccata del secondo tono, 15939; A xii |
|
237–8 |
2 toccatas, I-Tn (org); A xii |
|
239 |
Toccata primi toni, Tn (org) (attrib. Merulo elswhere in MS); A xii |
BertolottiM; CaffiS; EinsteinIM
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H. Leichtentritt: Geschichte der Motette (Leipzig, 1908/R)
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