Giovanni Gabrieli (c. 1554/1557–1612) was an Italian composer and organist.… Read Full Bio ↴Giovanni Gabrieli (c. 1554/1557–1612) was an Italian composer and organist. 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.
He was probably born in Venice and probably studied with his uncle, the composer Andrea Gabrieli. He became the principal organist and composer at the church of San Marco in Venice, where his work made him one of the most noted composers in Europe. He used the church's unusual layout to create striking spatial effects. The vogue which began with his influential volume Sacrae symphoniae (1597) was such that composers from all over Europe, especially from Germany, went to Venice to study.
All of Gabrieli's secular vocal music was composed relatively early; later in his career he concentrated on sacred vocal and instrumental music, which exploited sonority for maximum effect. His best-known piece is arguably In Ecclesiis, which makes use of four separate groups of instrumental and singing performers, underpinned by the omnipresent organ and continuo.
Gabrieli was increasingly ill after about 1606, at which time church authorities began to appoint deputies to take over duties he could no longer perform. He died in 1612, of complications from a kidney stone.
He was probably born in Venice and probably studied with his uncle, the composer Andrea Gabrieli. He became the principal organist and composer at the church of San Marco in Venice, where his work made him one of the most noted composers in Europe. He used the church's unusual layout to create striking spatial effects. The vogue which began with his influential volume Sacrae symphoniae (1597) was such that composers from all over Europe, especially from Germany, went to Venice to study.
All of Gabrieli's secular vocal music was composed relatively early; later in his career he concentrated on sacred vocal and instrumental music, which exploited sonority for maximum effect. His best-known piece is arguably In Ecclesiis, which makes use of four separate groups of instrumental and singing performers, underpinned by the omnipresent organ and continuo.
Gabrieli was increasingly ill after about 1606, at which time church authorities began to appoint deputies to take over duties he could no longer perform. He died in 1612, of complications from a kidney stone.
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Canzon a 12 in Double Echo
Giovanni Gabrieli Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
@lcerante
Subscribe to this channel for more rare recordings of early to late European renaissance and baroque music! Thanks for watching and listening.
@shin-i-chikozima
These pictures and majestic music and beyond description , immeasurable , unfathomable and full of admiration and emotion , and comfortable to the ear and the eye and the mind
@JR15491
Beautiful pictures. I would guess by the acoustics that the recording was done in San Marco.
@TEMB0L
This is a beautiful recording!
By any chance, those anybody knows where I could find the score and parts for this Gabrielli?
I would love to play it.
Thanks LeoCerante for the upload!
@MadMusicologist
The canzon had been published on the CD "The Feast of San Rocco 1608" by the Ensemble Musica Fiata, Cologne, which appeared in 1995.
@globalman
Beautiful music and photos. But isn't this just a piece of a much longer concert?
@aruvqan
When I am Queen of the Universe, this will be my royal fanfare. All joking aside, this is wonderful, I love the way the horns dance around each other. Marvelous
@HelenaWilliams8696
Lovely video photographs of Venice. Delightful Horn choir performance!
@colinhazell6259
Superb!
@MadMusicologist
In those times compoers first checked for which room they write music. Today, we sometimes ignore that, and have pieces like this in a standard concert hall. This practice is as wrong as leaving the "piano" and "forte" away - or the accidentals... But please, give us the complete name (and, if there is the work number) of this real masterpiece.