Andrea Gabrieli

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Gabrieli, Andrea


Born between 1510 and 1520, in Venice; died in 1586, in Venice. Italian composer.

Gabrieli began his career in 1536 as a singer; in 1558 he was named organist of the Church of St. Jeremiah (Venice) and in 1584 first organist of St. Mark’s Cathedral. A leading member of the Venetian school, he wrote ecclesiastical compositions for several choruses with orchestra and two organs. He also wrote secular compositions, music for festive ceremonies (the victory at Lepanto in 1571, the opening of the Olimpico Theater in Vicenza in 1585), madrigals, and organ pieces. Gabrieli’s students and successors include H. L. Hassler, G. Croce, O. Vecchi, A. Banchieri, and G. Gabrieli.


Benvenuti, G. Andrea e Giovanni Gabrieli e la musica strumentale in San Marco, vols. 1-2. Milan, 1931-32.
References in periodicals archive ?
Andrea Gabrieli. II terzo libro de madrigali a cinque voci con alcuni di Giovanni Gabrieli: Venezia, Angelo Gardano 1589.
Their programme includes Andrea Gabrieli's Quem vidistis pastores and Poulenc's Christmas motets.
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. In 1581, in Prague, he published an anthology of his uncle's ensaladas with some additional pieces by other composers and even a madrigal that he attributed to himself.
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 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.