Although
these two related Venetian composers (uncle and nephew) are usually coupled
together, each earned his own place in the development of music. Towards the end
of the sixteenth century, with the cathedral of St Mark’s at the hub of its
ceremonial and sacred occasions. The Gabrielis were among the first Italians to
hold important positions there, following the eminent Franco-Flemish composer
Adrian Willaert, who was Maestro di Capella there from 1527.
The
young Andrea Gabrieli was probably one of Willaert's pupils. Certainly he sang
in St Mark's, was organist at the church of San Geremia, and travelled as part
of Duke Albrecht's retinue, meeting Lassus in Germany. He became Maestro di
Capella at St Mark's in 1555, gaining a reputation as a composer, organist and
teacher. He remained there until his death.
His
madrigals were lighter and more pastoral than those of his peers, and he
decorated his themes with rhythmic patterns. He was also responsible for
evolving a style of sacred music appropriate to the performing requirements of
St Mark's, as well as suited to the Venetian love of pomp, using several choirs (cori
spezzati, or 'spaced choirs') placed around the galleries of the church and
often accompanied by groups of instruments such as violins and violas, cornetts,
trumpets, trombones and bassoons, and the organ. Such polychoral or 'antiphonal'
works are typical of, although not exclusive to, Venetian music of the time.
Giovanni
came to be regarded as Italy's greatest exponent of High Renaissance music.
Taught by his uncle, he followed very much in Andrea's footsteps, including
service in Duke Albrecht's court and a post at St Mark's as organist from 1585
until his death in 1612.
Giovanni
was the earliest known composer to use the word 'concerto', in a volume he
published in 1587 entitled Concerti that
contained a variety of works by himself and Andrea. Although he was primarily an
organist, many of his most important instrumental compositions were ensemble
works. His motet In ecclesiis for 14
voices plus instruments is one of the greatest polychoral works of the time,
even using the Baroque-oriented concept of soloists. Giovanni also used the
'dialogue' technique - an aspect of the Venetian tradition - in which an
independent instrumental accompaniment was set to contrast against the vocal
lines.
Giovanni's
work, and in particular his teaching of composers such as the German Heinrich
Schatz, had considerable impact across the Alps in Austria and Germany. Both
Andrea and Giovanni were important to the music of the Italian High Renaissance;
Giovanni, especially, with his more expressive style of composition and
forward-looking techniques, provides a link between the Renaissance and Baroque
eras.
Music of Gabrieli & His Contemporaries
Sacred Choral and Instrumental works
Hodie Christus natus est (Giovanni)
In ecclesiis (Giovanni)
Quem vidisitis pastores (Giovanni)
Sonata a 15 (Giovanni)
Sonate E Canzoni