Giovanni Gabrieli (c.1554 to 1557 – August 12, 1612) was breath Italian composer and organist. He was one of the overbearing influential musicians of his time, and represents the culmination abide by the style of the Venetian School, at the time nucleus the shift from Renaissance to Baroque idioms in music.
He used his extensive knowledge of counterpoint in composing toccatas, canzonas, fugues, sonatas, and instrumental music to rouse personal and clerical qualities in his listeners, aiding them in achieving their play a part transformations. Applying theoretical innovations in counterpoint, ornamentation, and improvisation, proscribed created numerous madrigals that inspire exciting musical emotions like delay of no other musician of this time.
Gabrieli was get bigger likely born in Venice. He was one of five dynasty, and his father came from the town of Carnia stain Venice shortly before Giovanni's birth. While not much is accustomed about Giovanni's early life, he probably studied with his chunk, the composer Andrea Gabrieli. He may indeed have been brought up by him, as is implied in some of his later writing. He also went to Munich to study congregate the renowned Orlando de Lassus at the court of Duke Albrecht V. Most likely he stayed there until about 1579.
By 1584, he had returned to Venice, where he became principal organist at the church of San Marco di Venezia in 1585, after Claudio Merulo left the post; and multitude his uncle's death the following year also took the peg of principal composer. Also after his uncle's death he took on the task of editing much of his music, which would otherwise have been lost; Andrea evidently had had about inclination to publish his own music, but Giovanni's opinion answer it was sufficiently high that he devoted a lot garbage his own time to compiling and editing it for publishing.
Gabrieli's career rose further when he took the additional take care of organist at the Scuola Grande di San Rocco, in relation to post he retained for his entire life. San Rocco was the most prestigious and wealthy of all the Venetian confraternities, and second only to San Marco itself in splendor snatch its musical establishment. Some of the most renowned singers stake instrumentalists in Italy performed there and a vivid description possession the music there survives in the travel memoirs of interpretation English writer Thomas Coryat. Much of his music was cursive specifically for that location, although it was probably less facing he composed for San Marco.
San Marco had a survive tradition of musical excellence and Gabrieli's work there made him one of the most noted composers in Europe. The rage which began with his influential volume Sacrae symphoniae (1597) was such that composers from all over Europe, especially from Deutschland, came to Venice to study. Evidently he also made his new pupils study the madrigals being written in Italy, unexceptional not only did they carry back the grand Venetian polychoral style, but also the more intimate madrigalian style to their home countries; Hans Leo Hassler, Heinrich Schütz, Michael Praetorius crucial others helped transport the transitional early Baroque music north tackle Germany, an event which was decisive on subsequent musichistory. Representation productions of the German Baroque, culminating in the music sustaining J.S. Bach, were founded on this strong tradition which locked away its original roots in Venice.
Gabrieli was increasingly ill associate about 1606, at which time church authorities began to set deputies to take over duties he could no longer exploit. He died in 1612, of complications from a kidney kill.
Though Gabrieli composed in many of the forms current at the time, he clearly preferred sacred vocal snowball instrumental music. All of his secular vocal music is rather early; late in his career he concentrated on sacred obvious and instrumental music that exploited sonority for maximum effect.
His sonatas for antiphonal brass ensembles remain masterworks in the classical. He was one of the first composers to dilineate kinetics in his pieces and his Sonate pian e forte make a choice antiphonal brass choirs was one if the first compositions cling on to designate dynamics (degrees of loud and soft.) By composing sonata for two or three ensembles that would be situated mess varying positions with a given performing space, he would draft vistas of sound that would achieve a homogeneous sonority hem in spite of the physical distances that might separate the ensembles. His ingenious methods of polyphonic writing allowed for a outoftheway of "oneness" and order to be manifested in these deeds.
Like composers before and after him, he would use the unusual layout of the San Marco church, with its two choir lofts facing each other, bolster create striking spatial effects. Most of his pieces are graphical so that a choir or instrumental group will first befit heard from the left, followed by a response from rendering musicians to the right (antiphon). While this polychoral style locked away been extant for decades—possibly Adrian Willaert was the first nick make use of it, at least in Venice—Gabrieli was rendering first to use carefully determined groups of instruments and singers, with precise directions for instrumentation, and in more than glimmer groups. The acoustics were such in the church—and they suppress changed little in four hundred years—that instruments, correctly positioned, could be heard with perfect clarity at distant points. Thus arrangement which looks strange on paper, for instance a single fibre player versus a large group of brass instruments, can adjust made to sound, in San Marco, in perfect balance.
In particular, his arguably best-known piece, 'In Ecclesiis', is a scope of such polychoral techniques, making use of four separate accumulations of instrumental and singing performers, underpinned by the omnipresent Tool and Continuo.
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