Giovanni Gabrieli: Dialoghi musicali

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Release Date: 14th Aug 2020
Catalogue No: PAS1082
Label: Passacaille
Length: 67 minutes

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Gabrieli, G: Fuggi pur se sai. Aria da sonar a 8, Ch. 116

Work length5:18

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Liuwe Tamminga, Leo Van Doeselaar

Gabrieli, G: O che felice giorno. Hodie Christus natus est a 8, Ch. C8

Work length3:22

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Liuwe Tamminga, Leo Van Doeselaar

Gabrieli, G: Chiar' Angioletta. Aria da sonar a 8, Ch. 117

Work length2:43

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Liuwe Tamminga, Leo Van Doeselaar

Gabrieli, G: Dormiva dolcemente a 8, Ch. 115

Work length4:09

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Liuwe Tamminga, Leo Van Doeselaar

Gabrieli, G: Sacrae symphoniae, Liber 1 (1597)

Work length29:27

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Liuwe Tamminga, Leo Van Doeselaar

No. 29, Canzon per sonar septimi toni a 8, Ch. 171

Track length5:00

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No. 33, Sonata pian e forte, Ch. 175

Track length6:30

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No. 31, Canzon per sonar noni toni a 8, Ch. 173

Track length3:44

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No. 30, Canzon per sonar septimi toni a 8, Ch. 172

Track length4:22

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No. 32, Canzon per sonar duodecimi toni a 8, Ch. 174

Track length4:26

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No. 59, Sonata octavi toni a 12, Ch. 184

Track length5:25

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Gabrieli, G: Canzon vigesimasettima 'fa-sol-la-re' a 8, Ch. 190

Work length3:44

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Liuwe Tamminga, Leo Van Doeselaar

Gabrieli, G: Canzon vigesimaottava 'sol-sol-la-sol-fa-mi' a 8, Ch. 191

Work length2:37

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Liuwe Tamminga, Leo Van Doeselaar

Gabrieli, G: Sonate e Canzoni

Work length15:41

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Liuwe Tamminga, Leo Van Doeselaar

Canzon XII a 8, Ch. 205

Track length4:41

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Canzon XIV a 10, Ch. 207

Track length4:31

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Canzon VIII a 8, Ch. 202

Track length6:29

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Giovanni Gabrieli is one of those Venetian musicians who appears in all music history surveys, but who is actually much less well known than he deserves to be. Modern brass ensembles sometimes perform some of his instrumental pieces in odd transpositions, and motets in concertato style end up in anthologies to illustrate the combination of cori spezzati sacred music. Yet, he was one of the major organists of his time, who wrote in virtually all common vocal and instrumental musical genres, introduced new compositional techniques, worked in the most important Venetian sacred institutions after a sojourn in Bavaria, and trained some of the most important German and Italian composers of the early 17th century. Giovanni Gabrielis complete compositional output is preserved in both printed and manuscripts collections, and consists of about 250 compositions between madrigals (mostly in anthologies), motets, instrumental canzonas and sonatas, and organ pieces (Intonazioni, Ricercari, Canzoni, Toccate, Fughe, and Fantasie). The printed collections of instrumental music that became best known were the Canzoni per sonare con ogni sorte di stromenti (Venice, 1608), and the posthumous Canzoni e Sonate (Venice 1615). Why such polyphonic compositions designated per ogni sorte di stromenti (for all sorts of instruments) are performed by two organists in this recording is a consequence of absolute common practice in the 16th and early 17th centuries. On this new recording, the organists have selected eleven double-choir instrumental pieces (for 8, 10 and 12 parts) taken from the three aforementioned prints (of 1597, 1608, and 1615). The selection of eight-to-twelve-part pieces, performed on two of the most beautiful and suitable organs for this repertoirethe two magnificent organs of the San Petronio Basilica in Bologna (unfortunately no comparable organs have survived in Venice) offers an excellent panorama of Giovanni Gabrielis double-choir compositions in the older (canzoni and madrigals) and newer (sonate) forms and styles of the two decades between the late 16th and the early 17th century in Venice.

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