 |
Vidéo :
![]()
![]()
| Composer : | Gabrieli, Giovanni (1557 - 1612) | ||
| Instrumentation : | Winds & String Orchestra | ||
| Style : | Renaissance | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 22 May 2020 The Venetian Giovanni Gabrieli occupied a crucial position in the pedagogical transmission of late-Renaissance and early-Baroque musical style. Giovanni first learned composition at the hands of his uncle Andrea Gabrieli, organist for San Marco Cathedral and standardbearer for Venice's already-rich musical traditions. Giovanni supplemented this experience with a four-year period of service at the Bavarian court chapel of Munich, learning from one of the worldwide paragons of the late-Renaissance style, Orlande de Lassus. In turn, after Giovanni Gabrieli took over the position of San Marco organist from his uncle in 1585, he passed on his stylistic synthesis to a series of his own students. In Venice, both his successor Alessandro Grandi and Claudio Monteverdi were influenced by Gabrieli; over a dozen northern musicians, as well, made the arduous journey to Italy to study with him, among them Heinrich Schütz. A piece of music such as Gabrieli's eight-voiced polychoral motet Jubilate Deo omnis terra (from the first volume of his Sacrae Symphoniae of 1597) admirably displays the synthesis of styles he achieved and passed on. The most obvious musical traits of Gabrieli's Jubilate Deo (Psalm 99:1-4) -- its blend of flawless imitative counterpoint, careful text declamation, and splendid antiphonal effects -- clearly reflect his mastery of both Lassus' teaching and his uncle's. The first verse opens with two classic and well-balanced "points of imitation" in a single choir of higher voices, then builds to a cadence in two syncopated phrases of homophony, much as Lassus might have done. At the important structural moment of the Psalm verse's second half, however, a second choir with contrasting lower textures makes its delayed yet grand entrance. Though by no means exclusive to Venice, this type of choral antiphony had long been a common feature of the music. For the second and third Psalm verses, Gabrieli continues his alternation between three contrasting textures (upper choir, lower choir, and full chordal sonorities), while maintaining a characteristically lucid declamation of the text and sensitivity to its structure. After a brief, dance-like triple-meter section, the final verse ("His truth endures for all generations") appears in a twice-extended coda with extraordinarily close imitation among all eight contrapuntal voices. The imitative motive ripples through the entire choir, blurring the prior antiphonal distinctions in one majestic tapestry of praise. In the Venetian liturgy, Jubilate Deo served a number of high festal Lauds, especially those jubilant services on Christmas morning. Source: AllMusic (https://www.allmusic.com/composition/jubilate-deo-mote t-for-8-voices-1597-c-16-mc0002360383). Although originally composed for Chorus (SSAATTBB), I created this Interpretation of the Jubilate Deo (Be joyful in the Lord) for Winds (Flute, Oboe, English Horn & Bassoon) & Strings (2 Violins, Viola & Cello). | |||
 |
 |
 |
 |
© 2000 - 2024
Home - New realises - Composers
Legal notice - Full version