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The Edizione nazionale delle opere di Andrea Gabrieli (hereinafter, Opere) represents an important contribution to a fairly small body of scholarship focused on the life and works of Andrea Gabrieli.
A fiery performance of Croce's Laudans exsultet gaudio and an equally punchy and a beautifully balanced Benedictus Dominus Deus Sabaoth by Andrea Gabrieli led the second half.
Thus madrigals composed by Andrea Gabrieli were performed within earshot of popular songs; high art was displayed alongside satirical imagery; formality and revelry were seamlessly entwined.
As well as the Janequin, which was given an impeccably stylish reading in what sounded like authentic Old French, we heard a parody mass by Francisco Guerrero and shorter works by Andrea Gabrieli, Jose Ximenez and Susato, all derived from the same source.
His own compositions were madrigals in the vein of his contemporaries Orlando di Lasso and Andrea Gabrieli.
Among the composers are Josquin Desprez, Orlando di Lasso, Andrea Gabrieli, Jacob Regnart, Jacobus Vaet, and Giaches de Wert.
One could easily imagine Gumpelzhaimer's eagerness to meet Hassler, who was a major exponent of the polychoral style in Germany, and, like Giovanni Gabrieli, studied with Andrea Gabrieli in Venice.
Marie Louise Gollner ("Lassos Motetten nach Hymnentexten und ihre Parodiemessen von Ivo de Vento und Andrea Gabrieli") explores Lasso's motet-style settings of hymns (free, as opposed to the usual chant-based, alternatim liturgical setting) and focuses on two, Vexilla regis prodeunt and Jesu nostra redemptio, which were taken as models by Andrea Gabrieli and Ivo de Vento.