Volume 10/II contains compositions on texts in Latin, Italian and Venetian dialect. These include two "giustiniane"; Gabrieli’s contribution to a "Canzone" of eleven stanzas in honour of Margaret of Austria, illegitimate daughter of the emperor Charles V and consort of Ottavio Farnese, duke of Parma and Piacenza; his contribution to a "Sestina" celebrating the Venetian noblewoman Bianca Cappello, Grand Duchess of Tuscany; two madrigals in honour of the celebrated soprano Laura Peverara; some miscellaneous madrigals; and two mass settings probably composed during the young musician's stay at the Bavarian court of Albrecht V. Gabrieli’s presence in multi-author anthologies follows a predictable pattern. The young composer’s earliest madrigals appear in editions of music by well-established authors (Vincenzo Ruffo, Cipriano de Rore) or collective anthologies edited by enterprising local musicians or other cultural figures (Giulio Bonagiunta, a singer at St Mark’s; the Venetian poet, actor and musician Antonio Molino). These give way to anthologies of music by highly celebrated composers, to which Gabrieli, his reputation now secure, accedes by invitation; and, beginning in 1583, non-Italian publications (increasingly common in the years following the composer’s death).

Edizione Nazionale delle opere di Andrea Gabrieli, vol. 10 (Le opere attestate in antologie stampate e manoscritte compilate in vita), tomo II

David Douglas Bryant
2022-01-01

Abstract

Volume 10/II contains compositions on texts in Latin, Italian and Venetian dialect. These include two "giustiniane"; Gabrieli’s contribution to a "Canzone" of eleven stanzas in honour of Margaret of Austria, illegitimate daughter of the emperor Charles V and consort of Ottavio Farnese, duke of Parma and Piacenza; his contribution to a "Sestina" celebrating the Venetian noblewoman Bianca Cappello, Grand Duchess of Tuscany; two madrigals in honour of the celebrated soprano Laura Peverara; some miscellaneous madrigals; and two mass settings probably composed during the young musician's stay at the Bavarian court of Albrecht V. Gabrieli’s presence in multi-author anthologies follows a predictable pattern. The young composer’s earliest madrigals appear in editions of music by well-established authors (Vincenzo Ruffo, Cipriano de Rore) or collective anthologies edited by enterprising local musicians or other cultural figures (Giulio Bonagiunta, a singer at St Mark’s; the Venetian poet, actor and musician Antonio Molino). These give way to anthologies of music by highly celebrated composers, to which Gabrieli, his reputation now secure, accedes by invitation; and, beginning in 1583, non-Italian publications (increasingly common in the years following the composer’s death).
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10278/3760148
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