Giovanni Gabrieli Miserere Mei
Giovanni Gabrieli (c1555-1612) Miserere Mei Choir of the Church of Our Lady St John’s Wood, London 25 February 2018 www.lgchoir.org.uk Like his uncle, Andrea, Giovanni Gabrieli was born in Venice. After being taught by Andrea, Giovanni went to be taught by Lassus. He returned to Venice to succeed Merulo as principle organist at St Mark's Venice, and, when his uncle died, in 1586, he took Andrea's role as principle composer. Like his teacher, Lassus, composers travelled from around Europe to visit and be taught by him. Venice was then the musical centre of the world and, in this great centre of creativity, Gabrieli, with Monteverdi, developed and made famous the new Baroque style. The 'Miserere Mei' is a setting of Psalm 50: one of the seven penitential psalms and the last psalm in Tenebrae. Published in 1611, quite late in Gabrieli's life; it has much in common with music written by the preceding generations: lots of independent, but imitating parts. However, the melodies are simpler than those of the high Renaissance, with multiple notes to one syllable being a rarity; however the harmony is much more complex with chord progressions used that would have astonished even his uncle.
Giovanni Gabrieli (c1555-1612) Miserere Mei Choir of the Church of Our Lady St John’s Wood, London 25 February 2018 www.lgchoir.org.uk Like his uncle, Andrea, Giovanni Gabrieli was born in Venice. After being taught by Andrea, Giovanni went to be taught by Lassus. He returned to Venice to succeed Merulo as principle organist at St Mark's Venice, and, when his uncle died, in 1586, he took Andrea's role as principle composer. Like his teacher, Lassus, composers travelled from around Europe to visit and be taught by him. Venice was then the musical centre of the world and, in this great centre of creativity, Gabrieli, with Monteverdi, developed and made famous the new Baroque style. The 'Miserere Mei' is a setting of Psalm 50: one of the seven penitential psalms and the last psalm in Tenebrae. Published in 1611, quite late in Gabrieli's life; it has much in common with music written by the preceding generations: lots of independent, but imitating parts. However, the melodies are simpler than those of the high Renaissance, with multiple notes to one syllable being a rarity; however the harmony is much more complex with chord progressions used that would have astonished even his uncle.