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).File | Dimensione | Formato | |
---|---|---|---|
Gabrieli 10 Tomo II def.pdf
non disponibili
Descrizione: volume principale
Tipologia:
Documento in Post-print
Licenza:
Accesso chiuso-personale
Dimensione
4.55 MB
Formato
Adobe PDF
|
4.55 MB | Adobe PDF | Visualizza/Apri |
I documenti in ARCA sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.