Like his uncle, he usually conceived the music for separated choirs but showed an increasing tendency to specify…. Such concerto-like effects became an essential part of the later madrigals and operas of Claudio Monteverdi. In his madrigal Lament of the Nymph , a single soprano…. In the Sacrae symphoniae and of Giovanni Gabrieli, for example, an ensemble of three cornetts, two trombones, and tenor violin accompanies solo voices, alternates with and accompanies one or two choirs, or performs alone. Gabrieli adopted a similar approach in his instrumental music.
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This page is marked for cleanup because at least one of the canzonas is not "open" instrumentation per se, and has specified instruments, so the tagging needs to be looked at again, for the rest of the canzonas.
Also, at least one of these, the Beati immaculati has a RISM link that indicates an organ part, although apart from one note, it is the bass vocal part.. Kyrie primus , Christe, Kyrie tertius , Ch. Gloria, Ch. Sanctus, Ch. Magnificat, Ch. Cantate Domino, Ch.
Exaudi Domine, Ch. Beata es virgo Maria, Ch. Miserere mei Deus, Ch. O quam suavis est, Ch. Exaudi Deus, Ch. Sancta Maria succure miseris, Ch. O Domine Jesu Christe, Ch. Domine exaudi, Ch. Jubilate Deo, Ch. Misericordias Domini, Ch. Beati immaculati, Ch. Laudate nomen Domini, Ch. Jam non dicam vos servos, Ch. Beati omnes, Ch. Domine Dominus noster, Ch. Angelus Domini descendit, Ch. O Jesu mi dulcissime, Ch. Sancta et immaculata virginitas, Ch.
Title Sacrae Symphoniae, Ioannis Gabrielii. Organistae in ecclesia Divi Marci. AAT pages missing] Ego sum qui sum, Ch. Period Renaissance Piece Style Renaissance Instrumentation 12 motets for single choir, 6, 7, and 8vv 5 canzonas and sonata for 8 instruments 23 Motets and Magnificat for double choir, 8, 10, and 12 vv 6 Canzonas for 10 instruments 4 Motets, Magnificat, and 3 mass movements for three choirs, 12, 14, and 15 vv 2 Canzonas and Sonata for 12 instruments 1 Canzona for 15 instruments 1 Motet for four choirs, 16 vv.
This page is only for complete editions and multiple selections from the collection here. Symphonies ; Motets ; Canzonas ; Sonatas ; Magnificats ; Religious works ; Vespers ; For mixed chorus ; Scores featuring mixed chorus ; For unaccompanied chorus ; For 6 voices ; For unaccompanied voices ; Scores featuring the voice ; For 7 voices ; For 8 voices ; For 8 instruments ; Scores with open instrumentation ; For 8 players ; For cornett, 6 trombones, viola ; Scores featuring the cornett ; Scores featuring the trombone ; Scores featuring the viola ; For 2 mixed choruses ; For 10 voices ; For 12 voices ; For 10 instruments ; For 10 players ; For 8 cornetts, 2 trombones ; For 3 mixed choruses ; For 14 voices ; For 15 voices ; For 12 instruments ; For 12 players ; For 2 cornetts, 12 trombones, violin ; Scores featuring the violin ; For 15 players ; For 4 mixed choruses ; For 16 voices ; Latin language.
Editor Paul Hindemith Mainz: Schott Musik International , No. Plate Spelled "Indica me" rather than "Judica me" on this publication. Part of the " Schott Kammerchor-Reihe" series from the s. Subtitled "Psalm 26, ". See Hindemith Foundation for more information on this piece. Sacrae Symphoniae, Ioannis Gabrielii. Gabrieli, Giovanni.
Giovanni Gabrieli c. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School , at the time of the shift from Renaissance to Baroque idioms. Gabrieli was born in Venice. He was one of five children, and his father came from the region of Carnia and went to Venice shortly before Giovanni's birth. While not much is known about Giovanni's early life, he probably studied with his uncle, the composer Andrea Gabrieli , who was employed at St Mark's Basilica from the s until his death in Giovanni may indeed have been brought up by his uncle, as is implied by the dedication to his book of concerti, in which he described himself as "little less than a son" to his uncle.
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Sacrae symphoniae, Liber 1 (Gabrieli, Giovanni)