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.
The volumes of the Edizione nazionale delle opere di Andrea Gabrieli are clearly poised to make a significant and lasting impression on those wishing to learn more about this repertoire.
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.
There are three fine motets by Andrea Gabrieli
and others by Merulo, Croce and Giacomo Finetti, this last one of the composers first promulgated by Roche.
469), which he defines as the 'hybrid' madrigal, championed by Andrea Gabrieli
and Giovanni Ferretti.
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.
The bulk of his manuscript works produced during this period, together with some earlier compositions, were posthumously collected and published by some of his friends - Giovanni himself performed the same service for his uncle, Andrea Gabrieli
, in the years that followed the latter's death in 1585.
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
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.