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22-545: Gabrieli may refer to: People [ edit ] Andrea Gabrieli (c.1532–1585), composer and organist at San Marco di Venezia Giovanni Gabrieli (c.1554–1612), composer and organist at San Marco di Venezia Chris Gabrieli (born 1960), American politician John Gabrieli , American neuroscientist Ugo Gabrieli (born 1989), Italian footballer Other uses [ edit ] Gabrieli (calligrapher) (10th century), Georgian calligrapher Gabrieli Quartet ,

44-607: A British string ensemble See also [ edit ] Gabrielli , a surname Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Gabrieli . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Gabrieli&oldid=1091580946 " Categories : Disambiguation pages Disambiguation pages with surname-holder lists Surnames from given names Hidden categories: Short description

66-562: A connection with Vincenzo Ruffo, who worked there as maestro di cappella – Ruffo published one of Gabrieli's madrigals in 1554, and Gabrieli also wrote some music for a Veronese academy. Gabrieli is known to have been organist in Cannaregio between 1555 and 1557, at which time he competed unsuccessfully for the post of organist at St. Mark's. In 1562 he went to Germany, where he visited Frankfurt am Main and Munich ; while there he met and became friends with Orlande de Lassus , one of

88-471: A large amount of music, including sacred and secular vocal music, music for mixed groups of voices and instruments, and purely instrumental music, much of it for the huge, resonant space of St. Mark's. His works include over a hundred motets and madrigals , as well as a smaller number of instrumental works. His early style is indebted to Cipriano de Rore , and his madrigals are representative of mid-century trends. Even in his earliest music, however, he had

110-533: A liking for homophonic textures at climaxes, foreshadowing the grand style of his later years. After his meeting with Lassus in 1562, his style changed considerably, and the Netherlander became the strongest influence on him. Once Gabrieli was working at St. Mark's, he began to turn away from the Franco-Flemish contrapuntal style which had dominated the music of the 16th century, instead exploiting

132-573: A locally modified form of the Venetian style—most notably Heinrich Schütz —though polychoral works were also composed elsewhere, such as the many masses written in Spain by Tomás Luis de Victoria . After 1603, a basso continuo was added to the already considerable forces at San Marco—orchestra, soloists, choir—a further step toward the Baroque cantata . Music at San Marco went through

154-527: Is different from Wikidata All article disambiguation pages All disambiguation pages Andrea Gabrieli Details on Gabrieli's early life are uncertain. He was probably a native of Venice , most likely the parish of S. Geremia. He may have been a pupil of Adrian Willaert at St. Mark's in Venice at an early age. There is some evidence that he spent time in Verona in the early 1550s, due to

176-570: Is the basis for the concertato or concerted style, both words being derived from concertare, meaning "to compete with or to strive against." The word appears in the title of some works Giovanni published jointly with his uncle Andrea Gabrieli in 1587: Concerti...per voice at stromenti ("Concertos...for voices and instruments"). The term later came to be widely used, with such titles as Concerti Ecclesiastici (Church Concertos) appearing frequently. The style arose in Northern Italian churches in

198-640: The Venetian style for the next generation. Not everything Gabrieli wrote was for St. Mark's, though. He provided the music for one of the earliest revivals of an ancient Greek drama in Italian translation: Oedipus tyrannus , by Sophocles , for which he wrote the music for the choruses, setting separate lines for different groupings of voices. It was produced at the inauguration of the Teatro Olimpico , Vicenza , 1585. Evidently Andrea Gabrieli

220-435: The chorale cantata , the concerto grosso , and the sonata . The peak of development of the style was in the late 1580s and 1590s, while Giovanni Gabrieli was organist at San Marco and principal composer, and while Gioseffo Zarlino was still maestro di cappella . Gabrieli seems to have been the first to specify instruments in his published works, including large choirs of cornetti and sackbuts; he also seems to be one of

242-399: The 1980s, when the register containing his death date was found. Dated August 30, 1585, it includes the notation that he was "about 52 years old"; his approximate birth date has been inferred from this. His position at St. Mark's was not filled until the end of 1586, and a large amount of his music was published posthumously in 1587. Gabrieli was a prolific and versatile composer, and wrote

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264-449: The alternation of two contrasting bodies of sound, such as chorus against chorus, single line versus a full choir, solo voice opposing full choir, instruments pitted against voices and contrasting instrumental groups; the alternation of high and low voices; soft level of sound alternated with a loud one; the fragmentary versus the continuous; and blocked chords contrasting with flowing counterpoint. Principle of duality, or opposing elements,

286-434: The current idioms, including one which Lassus entirely avoided: purely instrumental music. In 1566 Gabrieli was chosen for the post of organist at St. Mark's, one of the most prestigious musical posts in northern Italy; he retained this position for the rest of his life. Around this time he acquired, and maintained, a reputation as one of the finest current composers. Working in the unique acoustical space of St. Mark's, he

308-430: The earliest to specify dynamics (as in his Sonata pian' e forte ), and to develop the "echo" effects for which he became famous. The fame of the spectacular, sonorous music of San Marco at this time spread across Europe, and numerous musicians came to Venice to hear, to study, to absorb and bring back what they learned to their countries of origin. Germany , in particular, was a region where composers began to work in

330-414: The middle Renaissance, and was one of the major stylistic developments which led directly to the formation of what is now known as the Baroque style. A commonly encountered term for the separated choirs is cori spezzati —literally, "broken choruses" as they were called, added the element of spatial contrast to Venetian music. These included the echo device, so important in the entire baroque tradition;

352-524: The most wide-ranging composers of the entire Renaissance, who wrote secular songs in French, Italian, and German, as well as abundant Latin sacred music. This musical relationship proved immensely fruitful for both composers: while Lassus certainly learned from the Venetian, Gabrieli took back to Venice numerous ideas he learned while visiting Lassus in Bavaria, and within a short time was composing in most of

374-611: The music for the festivities accompanying the celebration of the victory over the Turks in the Battle of Lepanto (1571) ; he also composed music for the visit of several princes from Japan (1585). Late in his career he also became famous as a teacher. Prominent among his students were his nephew Giovanni Gabrieli; the music theorist Lodovico Zacconi ; Hans Leo Hassler , who carried the concertato style to Germany; and many others. The date and circumstances of his death were not known until

396-572: The octagonal bigonzo across from the pulpit. This was a rare but interesting case of the architectural peculiarities of a single building encouraging the proliferation of a style which had become popular all over Europe, and helped define the shift from the Renaissance to the Baroque era. The idea of different groups singing in alternation contributed to the evolution of the concertato style, which in its different instrumental and vocal manifestations eventually led to such diverse musical ideas as

418-497: The sixteenth and seventeenth centuries, and proved to be a good fit for the architectural peculiarities of the imposing Basilica San Marco di Venezia in Venice . Composers such as Adrian Willaert , the maestro di cappella of St. Mark's in the 1540s, wrote antiphonal music, in which opposing choirs sang successive, often contrasting phrases of the music from opposing choir lofts, from specially constructed wooden platforms, and from

440-416: The sonorous grandeur of mixed instrumental and vocal groups playing antiphonally in the great basilica. His music of this time uses repetition of phrases with different combinations of voices at different pitch levels; although instrumentation is not specifically indicated, it can be inferred; he carefully contrasts texture and sonority to shape sections of music in a way which was unique, and which defined

462-456: Was able to develop his unique, grand ceremonial style, which was enormously influential in the development of the polychoral style and the concertato idiom, which partially defined the beginning of the Baroque era in music. His duties at St. Mark's clearly included composition, for he wrote a great deal of music for ceremonial affairs, some of considerable historical interest. He provided

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484-419: Was reluctant to publish much of his own music, and his nephew Giovanni Gabrieli published much of it after his uncle's death. Venetian polychoral style The Venetian polychoral style was a type of music of the late Renaissance and early Baroque eras which involved spatially separate choirs singing in alternation. It represented a major stylistic shift from the prevailing polyphonic writing of

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