Gabrieli, G.

Japanese: ガブリエリ，G. - がぶりえり

... However, from around 1830, Italians gradually became more active in creating music, and in the second half of the century, a uniquely Italian style was created in both religious and secular fields. In Rome during the Counter-Reformation, Palestrina and others composed a cappella masses and motets, while in Venice, centered around St. Mark's Basilica, G. Gabrieli and others created colorful religious music that made full use of mixed singing techniques and introduced a variety of instruments. The development of organ music in St. Mark's was also noteworthy. ...

From 【Music】

...Madrigas by L. Marenzio and C. Gesualdo at the end of the 16th century were particularly bold in their use of chromatic harmony to express strong emotions, and even began to exude a scent of fin de siècle decadence. In the second half of the 16th century in Italy, GP Palestrina in Rome realized the ideal of Catholic church music with clear sounds, mainly in the Papal Chapel, while in St. Mark's Basilica in Venice, Andrea and Giovanni Gabrieli developed the technique of double chorus and a style of concerto of voice and instruments, preparing the way for the coming Baroque era. The remarkable tendency towards diversification in 16th-century music was also encouraged by the Protestant Reformation. ...

From Gabrieli

…An Italian musician active from the late Renaissance to the early Baroque. (1)Andrea Gabrieli (1533-1585) Born in Venice, he is said to have studied under Adrian Willaert, the conductor of St. Mark's Basilica. In his youth, he worked as an organist in Venice and other parts of northern Italy. After briefly serving the German Duke of Bavaria, Albrecht V (reigned 1550-79), he was promoted to second organist at St. Mark's Basilica in Venice in 1564 and first organist in 1585. …

From "Sonata"

…
[Baroque]
Sonatas were born in Italy based on the polyphonic canzona of the late Renaissance, and eventually spread to other European countries. Many of the early sonatas, such as G. Gabrieli's Sonata for Piano and Forte (published in 1597), written in the Venetian school's duet choral style, were unclear in their distinction from the contrapuntal canzona, but as the principle of monody began to permeate instrumental music, the full-fledged Baroque sonata was born. These were written primarily for the church and the court, of the three main functions or styles of music at the time: church, court, and theater. …

From the Venetian School

...In 1613, Monteverdi, who played a major role in the transition from Renaissance to Baroque style, established immortal milestones in many fields, both sacred and secular, and made important contributions to early Venetian opera, became the conductor. San Marco's organist Claudio Merulo (1533-1604) was an accomplished composer, not only for organ and ensemble pieces such as toccata, canzona, and ricercare, but also for religious music and madrigals; Annibale Padovano (1527-75), who left behind excellent works in the new style of toccata as well as religious music; A. Gabrieli, who composed various forms of religious vocal music, madrigals, organ pieces, and ensemble pieces; and his nephew G. Gabrieli, who made full use of the Cori-Spezzati technique to create a magnificent world of sound, particularly in the religious vocal music of his two-volume set of Sacrés Symphonies (1597, 1615), and ensemble pieces such as sonatas and canzonas. During Zarlino's time as conductor, a permanent ensemble was formed, and at major festivals musical feasts were held with a choir of 30 and an ensemble of 20.

*Some of the terminology that mentions "Gabrieli, G." is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

Japanese:

…　しかし，30年ごろから徐々にイタリア人の創作が活発になり，世紀の後半には，宗教･世俗両分野において，イタリア独自の様式が創り出されていった。反宗教改革下のローマでは，パレストリーナらがア･カペラのミサ曲やモテットを作り，一方ベネチアでは，サン･マルコ大聖堂を中心に，G.ガブリエリらによって，複合唱の手法を駆使しつつ，さまざまな楽器も導入した色彩豊かな宗教曲が作られた。サン･マルコではまた，オルガン音楽の発展にも見るべきものがあった。…

【音楽】より

…16世紀末のL.マレンツィオやC.ジェズアルドのマドリガーレは特に大胆な半音階和声を駆使して強烈な感情表現を行い，世紀末的頽廃の香りさえただよわせ始める。16世紀後半のイタリアではまた，ローマのG.P.パレストリーナが教皇庁礼拝堂を中心に清澄な響きのうちでカトリック教会音楽の理想像を実現する一方，ベネチアのサン･マルコ大聖堂では，アンドレアとジョバンニの両ガブリエリを中心に二重合唱の技法や声と楽器の協奏様式が発達して，来たるべきバロック時代を準備する。16世紀の音楽に著しい多様化の傾向は，宗教改革によっても助長された。…

【ガブリエリ】より

…ルネサンス後期からバロック初期にかけて活躍したイタリアの音楽家。(1)Andrea Gabrieli(1533‐1585)　ベネチアに生まれ，サン･マルコ大聖堂の楽長ウィラールトAdrian Willaertに学んだといわれる。若いころはベネチアはじめ北イタリア各地でオルガン奏者を務めた。一時ドイツのバイエルン公アルブレヒト5世(在位1550‐79)に仕えたのち，1564年ベネチアのサン･マルコ大聖堂の第2オルガン奏者，85年に第1オルガン奏者に昇進。…

【ソナタ】より

…
［バロック］
　ソナタはルネサンス末期の多声の合奏カンツォーナを基盤としてイタリアで生まれ，やがてヨーロッパ各国に広まっていった。初期のものは，ベネチア楽派の二重合唱様式で書かれたG.ガブリエリの《ピアノとフォルテのソナタ》(出版1597)のように，対位法的なカンツォーナとの区別があいまいなものが多いが，やがてモノディの原理が器楽にも浸透するに及んで，本格的なバロック･ソナタが誕生した。これは，教会，宮廷，劇場という当時の音楽における三つの主要機能もしくは様式のうち，おもに教会と宮廷のために書かれた。…

【ベネチア楽派】より

…また1613年にはルネサンス様式からバロック様式への転換に大きな役割りを果たしつつ聖俗の多くの分野で不朽の金字塔を打ち建て，初期のベネチア･オペラにも重要な貢献をしたモンテベルディが楽長になった。　また，サン･マルコのオルガン奏者としても，トッカータ，カンツォーナ(カンツォーネ)，リチェルカーレなどのオルガン曲や合奏曲だけでなく，宗教曲やマドリガーレの作曲にも優れていたメルロClaudio Merulo(1533‐1604)，新しい様式のトッカータのほか宗教的楽曲にも優れた作品を残したアンニバレ･パドバノAnnibale Padovano(1527‐75)，さまざまな形式の宗教的声楽曲，マドリガーレ，オルガン曲，合奏曲を作曲したA.ガブリエリ，その甥でとくに全2巻の《サクレ･シンフォニア集》(1597,1615)の宗教的声楽曲や，ソナタやカンツォーナなどの合奏曲において，コーリ･スペッツァーティの手法を縦横に駆使して壮麗な音響の世界を展開したG.ガブリエリら，作曲家としても優れた人材が相次いだ。　ツァルリーノが楽長の頃，常設の合奏団が設けられ，大きな祭典には，30人の聖歌隊と20人の合奏団による音楽の饗宴が繰り広げられた。…

※「ガブリエリ，G.」について言及している用語解説の一部を掲載しています。

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