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Giovanni Gabrieli (c. 1554 /1557 – 12 August 1612) was an Italian composer and organist. ... Jubilate Deo, omnis terr, Ch.16; Misericordias Domin, Ch.17;
Jubilate Deo is a small hymnal of Gregorian chant in the Latin Rite of the Catholic Church, produced after the liturgical reforms of Vatican II. It contains a selection of chants used in the Mass and various liturgies (e.g. Benediction of the Blessed Sacrament ), as well as Marian antiphons and seasonal hymns.
Fuit homo missus a Deo. Erat Joannes in deserto (3) Gaude Barbara beata. Gaude quia meruisti (2) Gaude gloriosa (4) Guttur tuum sicut* (4) Hic est discipulus ille (1) Hodie nata est beata Virgo (1) Homo quidam fuit (2) Inclytae sanctae virginis Catherinae (3) In illo tempore egressus (2) Introduxit me rex in cellam* (4) Jubilate Deo, omnis terra.
The Jubilate in Latin was set to music often, including works by Giovanni Pierluigi da Palestrina in 1575, [17] Giovanni Gabrieli, [63] Guillaume Bouzignac, Charles-Hubert Gervais, Mondonville (1734) and Michel-Richard de Lalande as his S.72/5. Fernando de las Infantas' setting was composed for the Jubilee of 1575. [64]
Returning in 1628 after Gabrieli's death, he studied with his successor at St Mark's Basilica, Claudio Monteverdi. [ 1 ] [ 2 ] Schütz was in the service of the Protestant Elector of Saxony Johann Georg I , and dedicated the collection to the Elector's son, crown prince Johann Georg II , then 16 years old.
Little is known about Valentini's life. He was born around 1582/3, probably in Venice, and almost certainly studied music under Giovanni Gabrieli there. Although the typical graduation Opus 1 of madrigals to be expected from a Gabrieli pupil – such as Opus 1 of Mogens Pedersøn (1608), Johann Grabbe (1609) and Heinrich Schütz (1611) – is not extant, Antimo Liberati (1617–1692) who ...
Andrea Gabrieli (1532/1533 [1] – August 30, 1585) was an Italian [1] composer and organist of the late Renaissance.The uncle of the somewhat more famous Giovanni Gabrieli, he was the first internationally renowned member of the Venetian School of composers, and was extremely influential in spreading the Venetian style in Italy as well as in Germany.
His subsequent development of the form of the chorale concerto, particularly the polychoral variety, resulted directly from his familiarity with the music of such Venetians as Giovanni Gabrieli. The solo-voice, polychoral, and instrumental compositions Praetorius prepared for these events mark the high period of his artistic creativity.