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Antonio Gabrieli

Hello, I am working as a volunteer in the Saint-Pauls church in Antwerp at the musicarchivedepartment. Recently we found four partitures del siggnor Antonio Gabrieli. On the web I can't find anything of a composer by this name. Als the "New Grove" doesn't mention this name. Is there anyone at this forum who can help me get some clarity about this man? Thanks a lot!! Jeannette
Replies (11): Threaded | Chronological
on April 18, 2015 9:13am
When you look at the musical style, does it seem like it was composed in 1802, or could it be that it was just copied in 1802 and was really by Andrea Gabrieli, and they just got the name wrong on the title page? Most of the Google results for "Antonio Gabrieli" seem to be mistaken subsitutes for Andrea.
on April 18, 2015 11:09am
Allen,
I agree that the style should be taken into consideration, but I think it unlikely that the composer was Andrea Gabrieli.  He did in fact compose a "Confitebor tibi Domine" (published in Sacrae Cantiones, 1565), but it is for five voices and, of course, does not employ obbligato instruments (in any case, the term "obbligato" was not in use at that time).  Also, I am not aware that the title "Accademico Filarmonico" was ever associated with Andrea Gabrieli's name.
Regards,
Martin
 
on April 18, 2015 9:52am
Jeannette,
I can’t say for certain, but this person might be Antonio Gabrielli (birth and death dates unknown), a singer and violinist who was a brother of the well-known soprano Caterina Gabrielli (1730-1796).  Reportedly, he was engaged as a violinist in Lucca in the 1770s, and as a singer in Venice in the 1780s.  However, I have not been able to ascertain that he held the title of “Accademico Filarmonico”.
The title-page that you reproduce contains some unusual spellings, such as “a Quadre Voce” (standard Italian “a quattro voci”), “obligati” (standard Italian “obbligati”) and, finally, what appears to be “Venedjia”, which could be a rendition of the variant form “Vineggia” or “Veneggia” (= Venezia).  Possibly, therefore, the manuscript may have been prepared in Venice, or at any rate its copyist may have been from there.  However, this is just speculation on my part.
Regards,
Martin Morell
on April 18, 2015 12:18pm
There is more photomaterial I'll try to upload it, thank you all for responding X
 
on April 18, 2015 12:20pm
 
And also this one
on April 19, 2015 7:51am
The two new pages are very helpful. I think we can all agree this is not Andrea Gabrelli. I think Marty is on to something. The spelling variants could indicate a German-trained copyist or could just be an anomaly; I've seen all sorts of creative spellings in manuscripts. I don't think that the copyist for the Messa was the same as the one for the Confitebor, based on the title page handwriting and the heaviness of the pen. I think the signature on the Messa title page might be a clue, but it's blurry and I can't quite read it. Would you see if you could capture a better image of that?
 
I would also love to see the first and last page of music for each of the pieces. I THINK I might know who the copyist is for the Confitebor, but I want to compare it against the other manuscripts in my collection.
 
if you have trouble uploading that many pages, feel free to email them to me at t-tropp at GalantMusic.com.
 
Tom Tropp
Galant Masters Project
on April 19, 2015 9:18am
Tom,
Thanks for your further comments, although I'm inclined to think that the spelling variants are suggestive more of Venice than of Germany.
I read what you term the signature on the Messa title-page as "pertinet ad" [belongs to] and then something like "E Gliemu[m]", which I would assume points to the owner of the MS (surnamed Gliem?), who might also be the copyist.
Regards,
Marty
on April 19, 2015 9:37am
Agreed, but the name is what I'm interested in, and that's what I can't see so well! Very unlikely, indeed, that the copyist would have signed it unless he was also the owner, BUT it appears to be in the same hand, which is significant. Either way, the copyist might have put an identifying mark on the first or last page of the music.
on April 19, 2015 12:38pm
Because of the time difference I will make some photo's of another script tomorowmorning of which I can make better pictures.
You don't how much it means to me that you are helping me. Thanks!!
Jeannette
on April 20, 2015 3:07am
From the written music, it seems to imply Classical Era: scalar passages in the "melody", simple harmonic movements (6 m. of A minor (?)), Homophonic texture (parts that serve an "accompaniment" function and parts that serve a "melodic" one), written out dynamics (crescendo  marks and "f" (forte)), presence of articulations in the string (?) parts, and written in ornaments (grace notes in vocal part).  The presence of a change in texture from Homophonic in the first four measures to a unison texture in the last two, might even suggest Rococo, but because of the dates on the covers, probably not. All those characteristics would exclude Andrea Gabrieli, but narrow down our prospects.
on April 20, 2015 12:27pm
As promissed some othe pictures. I took the Messa solemnis that we have also as a peace. In fact we have three different peaces, the Confitebor, this Messa Solemnis and a Messa del Signor...
I hope you can give me some information, by the way when you're in Belgium alwas welcoe in our church and our beautifull city!! Greetings from Antwerp, Jeannette.
 
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