Newly Discovered Works by Giovanni Gabrieli

Newly Discovered Works by Giovanni Gabrieli
Author(s): Richard Charteris

Source: Music & Letters, Vol. 68, No. 4 (Oct., 1987), pp. 343-363
Published by: Oxford University Press
Stable URL: https://www.jstor.org/stable/735259
Accessed: 07-04-2020 19:32 UTC
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NEWLY DISCOVERED WORKS BY
GIOVANNI GABRIELI
BY RICHARD CHARTERIS
WHILE Giovanni Gabrieli has been the subject of serious scholarly attention since
the publication early last century of Carl von Winterfeld's monumental three-
volume study,' it was not until the publication twenty years ago of Egon Kenton's
book2 that scholars had access to a thematic catalogue with a guide to the relevant
early prints and manuscripts and nineteenth- and twentieth-century editions. It is
a measure of Kenton's achievement that subsequent studies of Gabrieli have added
virtually no new works or sources to those identified in his catalogue. Indeed, the
index of works by the late Denis Arnold in his study of the composer3 and the
work-list compiled by Elsie M. Arnold for The New Grove4 add only two works to it.
These pieces-a fugue and ricercar for keyboard found in Munich, Bayerische
Staatsbibliothek, Mus. ms. 1581 (ff. 8v_9r & 1OI-l V, respectively), an early
seventeenth-century volume containing works in organ tablature-escaped Ken-
ton's notice even though they had appeared in print ten years before he published
his book.5
Kenton's well-focused book has many merits, but the organization of his
catalogue is not among them: his list of Gabrieli's compositions with its guide to
the early prints and manuscripts (pp. 123-9 of his book) is incomplete (even
according to his own reckoning of Gabrieli's output), and at times it is incorrect
and unrelated to the system of numbering employed in his own thematic catalogue
(pp. 223-51 of his book). This unfortunate situation has detracted from the
usefulness of the catalogue and has been the cause of some confusion when scholars
attempting to identify works according to Kenton's numbers have sometimes used
one set, sometimes the other. Consequently, references below to works by Gabrieli
included in Kenton's catalogue avoid the use of his numbers and instead identify
the works by reference to one or more of the major early sources in which they
appear.
The works that I have discovered, and discuss in this article, fall into two
categories: a group which comprise new music (mostly with new titles) not
J Johannes Gabrieli und sein Zeitalter, Berlin, 1834.

2 Life and Works of Giovanni Gabrieli, [Rome], 1967.
Giovanni Gabrieli and the Music of the Venetian High Renaissance, Oxford, 1979.
The New Grove, vii. 63-65.
In Giovanni Gabrieli: Werke fur Tasteninstrumente, ed. G. S. Bedbrook, Kassel, 1957. Bedbrook knew only the
Munich source, but the ricercar appears in one other source: Cracow, BibliotekaJagiellonska, Mus. ms. 40316, ff.
37v-38r, where it bears the inscription 'Canzon Joann Gabriel'. Kenton referred to this organ book in his
catalogue, though at the time he was writing it was thought to be lost, and he identified it by its old shelf-mark, ms.
191. It was in Berlin, Deutsche Staatsbibliothek, before the end of the Second World War. Kenton's estimation of
the number and identity of the works by Gabrieli in Mus. ms. 40316 is incorrect; it seems that he did not know of
the existence of several microfilm copies that had been made before its disappearance (see those in the Deutsches
Musikgeschichtliches Archiv, Kassel; the Pendlebury Library of Music, Cambridge; and the Isham Memorial
Library, Harvard University). There are only four works by Gabrieli in Mus. ms. 40316, and these are identified
in Richard Charteris, 'New Sources of the Works of Giovanni Gabrieli', Musica disciplina, xl (1987) (forthcoming).
343
mentioned in Kenton's catalogue or in the Arnolds' lists; and a group whose music
has some connection with other, well-known pieces with the same titles by Gabrieli
and which without exception are attributed to Gabrieli in the sources. All but one
of the pieces in the latter category prove to be revised versions of well-known works
(the exception is an earlier version). Like the revisions made to their own works by
other sixteenth- and seventeenth-century composers, these new versions are
undoubtedly the result of revisions made by Gabrieli himself rather than by some
other composer; this matter is dealt with in more detail below. I also make brief
reference to several new contrafacta of Gabrieli's works that I have discovered and
which are not mentioned in the literature on him. All the new compositions (and
some of the new contrafacta, whose texts were almost certainly not added by
Gabrieli) will appear in the last five volumes of the edition of Gabrieli's Opera
omnia.6 Details of my discovery of more than 70 new sources of Gabrieli's works not
included in Kenton's catalogue may be seen there (where relevant) and in a
forthcoming article.7
The first group of new pieces discussed below is found exclusively in sources
that were largely or wholly copied by the German composer, teacher and writer
Adam Gumpelzhaimer (1559-1625), perhaps best known for his Compendium
musicae, which appeared in thirteen editions over a 90-year period following its f
publication in 1591. Gumpelzhaimer spent most of his life in Augsburg: he receive
his musical education there at the Benedictine cloister of St. Ulrich and St. Afra
and was appointed in 1581 to the position of Kantor and preceptor of the school
and church of St. Anna, a position he held until his death. The musical life of St.
Anna flourished under his administration, and the dedications of his publications
to his pupils and to leading citizens of Augsburg indicate the regard in which he
was held in the city.8 His colleagues included many well-known composers, such as
Christian Erbach (d. 1635), Hans Leo Hassler (1562-1612) and Gregor Aichinger
(1564/5-1628). The vocal music of all four men demonstrates clearly the profound
influence that the Venetian style of Andrea and Giovanni Gabrieli had upon their
German neighbours; the influence of Giovanni's style is the stronger, as one might
expect given the generation to which all four belonged. Music by Gumpelzhaimer
and his three colleagues is well represented in his own manuscripts, and,
significantly, a high proportion of it is not found elsewhere.9 Indeed, Gumpelz-
haimer's sources are a veritable gold-mine, whose treasures have yet to be fully
explored by other scholars (it is a pity that much of the new music they contain was
6 Ed. Charteris, Corpus mensurabilis musicae, xii/7-11 (American Institute of Musicology & Stuttgart,
forthcoming).
7 See Charteris, 'New Sources'.
8 See The New Grove, vii. 846.
9 The earliest work to discuss the sources of Gumpelzhaimer's music and to identify those that are partly or
wholly autograph is Otto Mayr, Adam Gumpelzhaimer: ein Beitrag zur Musikgeschichte der Stadt Augsburg im 16. und 17.
Jahrhundert (Augsburg, 1908; enlarged and reprinted as the introduction to Mayr's edition of selected works by
Gumpelzhaimer (Denkmaler der Tonkunst in Bayern, xix, Jg. x/2), Leipzig, 1909). Sources partly or wholly copied by
Gumpelzhaimer include: Berlin, Staatsbibliothek Preussischer Kulturbesitz, Mus. ms. 40028; Cracow, Biblioteka
Jagiellonska, Mus. ms. 40027; and Regensburg, Bischofliche Zentralbibliothek, Butsch mss. 205-10, 237-8,
344
not indicated in the articles on the relevant composers in The New Grove). Among
these sources are four manuscripts that include works attributed to Giovanni
Gabrieli, most of them copied by Gumpelzhaimer himself. These manuscripts are
as follows:
A. Cracow, Biblioteka Jagiellonska, Mus. ms. 40027 (in Berlin before the Second
World War). Gumpelzhaimer dated this score-book 'April 1624' on the front flyleaf
and included one work by Gabrieli:
pp. 256-72, 'Audite principes' (16vv.): attributed; first published in RS 1615.'1
B. Berlin, Staatsbibliothek Preussischer Kulturbesitz, Mus. ms. 40028. Gumpelz-
haimer began the copying of this volume, a score-book, in 1599 and probably
completed it well before he began A above; there are various dates in the
manuscript, 1617 appearing fairly early (p. 73). The volume includes the following
works by Gabrieli, all copied by Gumpelzhaimer himself except for a few copied by
someone else:
pp. 11-14, 'Miserere mei, Deus' (4vv.): attributed; a new composition.
p. 14a, 'Gloria patri et filio' (8vv.): attributed; a new composition.
pp. 33-34, 'Ego rogabo patrem' (6vv.): attributed; first published in MC 1590.
pp. 54-55, 'Exaudi Domine orationem meam' (6vv.): attributed; first published
in SSI 1597.
pp. 88-90, 'Timor et tremor' (6vv.): attributed; a new version of the work whic
first appeared in print in RS 1615.
pp. 108-9, 'Congratulamini mihi' (6vv.): unattributed; first published in SSII
1615.
pp. 111 101, 'Exultavit cor meum' (6vv.): attributed; first published in SSII 1615.
pp. 112-13, 'O Jesu Christe' (6vv.): attributed; first published in RS 1615.
pp. 170-71, 'O Jesu mi dulcissime' (8vv.): attributed; a new composition.
pp. 172-4, 'Jubilate Deo omnis terra' (8vv.): attributed; a new composition
with some relationship to the work of the same title which first appeared in print in
PMIII 1613.
242-3, 248-9 (included in Mayr's list with an indication that Gumpelzhaimer's only contribution to this
copied by his amanuensis, Johann Faust, is a correction, though I have been unable to locate th
(described by Mayr as being wholly copied by Gumpelzhaimer; however, the characteristics of the hand
source are quite different from those of the other autographs, possibly because Gumpelzhaimer used thi
hand for the purpose of presenting the volumes to someone) and 257a (not included in Mayr's list, thou
recently identified it as a Gumpelzhaimer autograph). The presence of Gumpelzhaimer's hand in the
(with the exception of the doubtful ones) may be verified beyond doubt by comparing it with han
descriptions that he wrote in a copy of Compendium musicae (Augsburg, 1618) in the British Library (sh
K.2.c. 1; see f 3V, where Gumpelzhaimer indicates that this copy was intended as a gift to his brother and
he copied a canon) and in three different Stammbicher located variously in Augsburg (see f. 140r of the Stam
belonging to Abel Prasch in the Staats- und Stadtbibliothek, recently discovered by me), Munich (see p
another Stammbuch belonging to Prasch and found in the Bayerisches Nationalmuseum) and Stuttgart (se
of the Stammbuch that once belonged to Paul Jenisch located in the Wurttembergische Landesbibliothek
examples of Gumpelzhaimer's handwriting may be seen in several letters of his found in Augsburg, Sta
Reichsstadt, Musik de 1540-1632, I, Prod. 13; in a catalogue of the music holdings of St. Anna partly co
him (mentioned in n. 19, below); and on a single sheet (including an inventory of musical items dated J
found in the Staats- und Stadtbibliothek, Augsburg, without shelf-mark, and also recently discovered b
10 For a list of abbreviations of publication titles used in lists of works in the present article, see p. 363,
345
pp. 178-9, 'Judica me, Domine' (1Ovv.): attributed; first published in SSI 1597.
pp. 184-6, 'Benedicam Dominum' (10vv.): attributed; first published in SSI
1597.
pp. 186-9, 'Quis est iste qui venit' (10vv.): attributed; first published in SSI
1597.
pp. 190-91, 'Domine exaudi orationem meam' (10vv.): attributed; first
published in SSI 1597.
pp. 199-201, 'Plaudite ... omnis terra' (12vv.): attributed; first published in
SSI 1597.
pp. 202-3, Canzon primi toni (alO): attributed; first published in SSI 1597.
C. Regensburg, Bisch6fliche Zentralbibliothek, Butsch mss. 205-10. Gumpelz-
haimer was the chief compiler of this set of five (not six) part-books which come
from an original set of eight (I will provide further details about this source in a
future article). The page numbers below are taken from the 'Cantus II Chori'
volume. The part-books include the following works by Gabrieli:
p. 37, 'Ego rogabo patrem' (6vv.): attributed and incomplete; first published in
MC 1590.
p. 41, 'Congratulamini mihi' (6vv.): attributed and incomplete; first published
in SSII 1615.
pp. 42-43, 'Exultavit cor meum' (6vv.): attributed and incomplete; first
published in SSII 1615.
p. 44, 'Ego rogabo patrem' (6vv.): attributed and incomplete; this is a new
composition, to an almost identical text (and with some musical references) to that
of the piece on page 37.
p. 56, 'O Jesu Christe' (6vv.): attributed and incomplete; first published i
1615.
p. 87, 'Ein Kindlein fein' (8vv.): attributed and incomplete; a new Germa
contrafactum of Gabrieli's madrigal 'Lieto godea'.
p. 119, 'Beati omnes' (8vv.): attributed and incomplete; first published in SSI
1597.
p. 133, 'O Jesu mi dulcissime' (8vv.): attributed and incomplete; a new
composition also found in B (pp. 170-71) above.
pp. 135-6, 'Jubilate Deo omnis terra' (8vv.): attributed and incomplete; a new
p. 164, 'Jubilemus singuli' (8vv.): attributed and incomplete; first published in
SSI 1597.
D. Regensburg, Bischofliche Zentralbibliothek, Butsch ms. 257a. Gumpelzhaimer

is the only copyist whose hand appears in these part-books; the source is
incomplete and comprises three volumes from an original set of four. Until now it
has not been connected with Gumpelzhaimer. It includes the following works by
Gabrieli:
ff. 1 r3r, 'Miserere mei, Deus' (4vv.): attributed and incomplete; a new
ff. 3r-4r, 'Gloria patri et filio' (8vv.): attributed and incomplete; a new
composition also found in B (p. 14a) above.
346
All the previously identified works by Gabrieli accord substantially with the
standard versions in the early prints cited above. In those cases where attributions
can be verified from other sources, the attributions in Gumpelzhaimer's
manuscripts prove to be accurate for the works of both Gabrieli and other
composers. This fact alone should give us some reason to feel confident about the
attribution to Gabrieli of the new compositions. There are, however, additional
reasons why the attribution of them to him in Gumpelzhaimer's manuscripts
should be regarded as authoritative.
Of the six new works by Gabrieli, four prove to be new versions of works with
the same (or almost identical) texts found in early prints. On the grounds that
other composers of the period revised their own works, and also because of their
stylistic affinity to other works by Gabrieli, there seems to be no doubt that these
new versions emanate from the composer himself-a point made quite clear by
their attribution to him in these sources. As more scholars investigate early prints
and manuscripts, a growing body of evidence is being accumulated which
establishes that sixteenth- and seventeenth-century composers often had second
thoughts about their own compositions: they were just as subject to the dictates of
human nature as composers of other periods. Jessie Ann Owens has revealed the
fascinating process by which Cipriano de Rore revised one of his own
compositions, as can be seen in detail in one of his autograph manuscripts." There
are revised works in the outputs of other composers of the period too, including
Francesco Corteccia (1502-7 1), the elder Alfonso Ferrabosco (1543-88) and John
Coprario (d. 1626).'2 If one were in any doubt about the occurrence of the practice
of revision in Gabrieli's immediate circle, one need only turn to the works of his
" See Milan, Biblioteca Ambrosiana, MS A 10. sup.; and Jessie Ann Owens, 'The Milan Part-Books:
Evidence of Cipriano de Rore's Compositional Process', Journal of the American Musicological Society, xxxvii (1984),
270-98.
12 On Corteccia, see Frank A. D'Accone, 'Updating the Style: Francesco Corteccia's Revisions in his
Responsories for Holy Week', Music and Context: Essaysfor John M. Ward, ed. Anne Dhu Shapiro, Cambrid
Mass., 1985, pp. 32-53, and Francesco Corteccia: Collected Sacred Works. Musicfor the Triduum sacrum, ed. idem (Musi
the Florentine Renaissance, 'Corpus mensurabilis musicae', xxxii/l 1), Stuttgart, 1985, introduction; the earlier
versions of some of the works discussed in the article and introduction are included in the edition along with
later versions. On Ferrabosco, see Charteris, 'The Motets of Alfonso Ferrabosco the Elder (1543-1588)', T
Consort, xxxviii (1982), 445-60 (esp. pp. 452-6), and the works are edited along with variant readings quoted fro
the earlier versions in Alfonso Ferrabosco the Elder (1543-158&): Opera omnia, i: Motets & ii: Motets, Lamentations,
Anthem and Incomplete Motets ('Corpus mensurabilis musicae', xcvi), Stuttgart, 1984; for further references
variants, see idem, Critical Commentary and Additional Materialfor Volumes I, II and III of Corpus Mensurabilis Mus
No. 96, Sydney, 1984. On Coprario, seeJohn Coprario: Fantasia-Suites, ed. idem ('Musica Britannica', xlvi), Lond
1980, pp. 117-18, 125-6, 170-71, and John Coprario: the Five-Part Pieces, ed. idem ('Corpus mensurabilis music
xcii), Stuttgart, 1981, Nos. 17a & b, 18a & b, 42a & b, 43a & b. Revisions were also made by Carpentras, w
wrote a set of Lamentations for Leo X between 1513 and 1521, revised them for Clement VII c. 1524-30 and h
the final version of the set printed as Liber Lamentationum Hieremiaeprophetae (Avignon, 1532). For a discussion of h
revisions and their manuscript sources, see Elizarii Geneti (Carpentras) (ca. 1470-1548): Opera omnia, ii (wh
includes an edition of the music in the 1532 print), ed. Albert Seay ('Corpus mensurabilis musicae', lviii), [Rom
1973, introduction, xv-xxix. Part of Claudin de Sermisy's 'Quare fremuerunt' was evidently revised
publication: see the discussion and transcription of this work in H. Colin Slim, A Gift of Madrigals and Motet
Chicago, 1972, i. 197 & ii. 187-207. Victoria also revised his Lamentations, published in revised form in Officu
Hebdomadae Sanctae (Rome, 1585): see Thomas Rive, 'Victoria's Lamentationes Geremiae: a Comparison of Cappe
Sistina MS 186 with the Corresponding Portions of Officium Hebdomadae Sanctae (Rome, 1585)', Anuario musical,
(1965), 179-208; I am grateful to ProfessorJohn Steele for bringing the details of these to my attention. Dr. Lio
Pike has kindly advised me of revisions among the works of Peter Philips: see Pike, The Vocal Music of Peter Philips
its Technique and Transcription of Selected Items (unpublished dissertation), University of Oxford, 1969-70, i. 117-1
and idem, 'Gaude Maria virgo: Morley or Philips?', Music & Letters, 1 (1969), 127-35. Professor James Haar
drawn my attention to Lilian P. Pruett's (unpublished) discovery of revisions in a book of motets by Costa
Porta, and he has commented on the addition of a coda to a three-voice madrigal by Costanzo Festa in 'Altro no
il mio amor', Words and Music: the Scholar's View, ed. Laurence Berman, Boston, 1972, pp. 93-114; I am gratefu
Professor Haar for the foregoing details. Dr. Andrew Ashbee has informed me of revisions to works ofJohnJenkin
and William Lawes.
347
own teacher and uncle, Andrea, and to the works of his most famous pupil, Schiitz:
both revised a number of their own sacred vocal works.'3
Gumpelzhaimer's attributions of these new works to Gabrieli deserve to be
taken seriously, for the links between Andrea and Giovanni Gabrieli on the one
hand and Augsburg-based composers and patrons on the other were strong and
perfectly capable of providing Gumpelzhaimer with the works that he copied. The
connections are varied and interesting, as the following observations show. By the
time of Giovanni's apprenticeship to his uncle Andrea, the association between
Augsburg and his uncle was already well established,'4 and Giovanni inherited and
perpetuated it. When Hans Leo Hassler left Venice in 1586 for employment in
Augsburg under the patronage of the wealthy Fugger family, he did so after
studying with Andrea Gabrieli and after striking up a friendship with Giovanni
that remained intact for the rest of their lives. Moreover, various members of the
Fugger family were on friendly terms with Giovanni. Following Andrea's death he
published works by his uncle along with some of his own in Concerti di Andrea, et di
Gio: Gabrieli (Venice, 1587), which he dedicated to the elder Jakob Fugger.'5 In his
Sacrae symphoniae (Venice, 1597) he revealed just how familiar he was with the
Fugger family, for he dedicated this print to four of the sons of Marcus Fugger, all
four of whom he knew very well, as the dedication attests; this is not a fawning
piece of work like so many dedications of the period, and in it he apologized for
being unable to attend the wedding of one of the sons in Augsburg. The text of his
'Sacri di Giove augei' in the 1587 print pays direct homage to the Fugger family,
several of whom visited Venice in the early seventeenth century, when they stayed
at the Fondaco dei Tedeschi.'6 Giovanni Gabrieli's pupil Alvise Grani edited many
of his teacher's works after his death and published them in Symphoniae sacrae ...
liber secundus (Venice, 1615); Grani dedicated this to the Abbot Johannes Merck
von Mindelheim of the convent of St. Ulrich and St. Afra, Augsburg (the very
place where Gumpelzhaimer received his early musical instruction and an
institution endowed by the Fugger family). Grani's dedication mentions that the
abbot was an admirer of Gabrieli's music during the composer's lifetime; his
interest is borne out by an early print and a manuscript containing works by
Gabrieli that were once in the convent and are now located in the Staats- und
1' Professor A. Tillman Merritt has kindly informed me that Andrea Gabrieli revised several of his motets: the
original versions appeared in the 1565 and 1572 editions of his Sacrae cantiones for five voices (Venice) and the
revised versions in the 1584 and 1590 editions. Those of his own works that Schutz revised are indicated in
parentheses in the work-list compiled by Joshua Rifkin with Derek McCulloch in The New Grove, xvii. 24-31.
14 Andrea Gabrieli and Lassus were members of the retinue of Duke Albrecht V of Munich who travelled to
Frankfurt to attend the coronation of the Emperor Maximilian II in November 1562. Andrea Gabrieli then visited
Augsburg; though the nature of his business there is unknown, it seems likely that he would have paid his respects
to the Fugger family, who were among the wealthiest and most famous patrons of the arts in southern Germany.
The connections between Andrea and the Fugger family would have been strengthened when Johann Jakob
Fugger went to work at Duke Albrecht's court in 1563. Giovanni Gabrieli's dedication in 1587 of the Concerti di
Andrea, et di Gio: Gabrieli to the elder Jakob Fugger was surely intended to honour Andrea's connection with the
Fugger family as much as to establish Giovanni's association with them. Further on these matters, see Kenton,
Life and Works of Giovanni Gabrieli, Chap. II, esp. pp. 55 & 83.
15 See n. 14, above.
16 Details concerning the visit of members of the Fugger family to Venice are discussed in ibid., p. 62. To
these details can be added the following information. Several early prints devoted to the music of Giovanni
Gabrieli were almost certainly once in the possession of the Fugger family, for this family's coat of arms is printed
on the title-pages of the copies of the 1587 and 1597 prints now in the Staats- und Stadtbibliothek, Augsburg: see
H. M. Schletterer, Katalog der in der Kreis- und Stadt-Bibliothek, dem Staedischen Archive und der Bibliothek des Historischen
Vereins zu Augsburg befindlichen Musikwerke, Berlin, 1878, pp. 59-60. For details concerning the references to the
Fugger family in 'Sacri di Giove augei', see Kenton, op. cit., pp. 405-6.
348
Stadtbibliothek, Augsburg.'7 Several composers from Augsburg are reputed to
have studied with Gabrieli in Venice, among them Wilhelm Lichtlein, Aichinger
and Gumpelzhaimer. The evidence in support of Aichinger's study with Giovanni
Gabrieli (not Andrea as stated in the New Grove article on the latter) rests on his
own comments, but there is no documentary evidence to support the claims in
respect of Gumpelzhaimer and Lichtlein.'8 There is, however, evidence to indicate
that Gumpelzhaimer did use (if not actually own) copies of early prints containing
Giovanni's works, including a copy of the 1597 print.'9 In view, therefore, of the
nature and extent of the connections between Giovanni Gabrieli and Augsburg-
based patrons and composers (Gumpelzhaimer being one of the latter), there is
good reason to accept the authenticity of the new works by him found in
manuscripts written by Gumpelzhaimer, who must surely have acquired them
either from Gabrieli himself or from one of their mutual contacts.
The six new compositions by Giovanni Gabrieli included in Gumpelzhaimer's
manuscripts (A-D above) are as follows:
1. 'Miserere mei Deus' (four voices; clefs G2, C', C2, C3; key-signature one flat).
Sources:
B, pp. 11-14 (with underlay in the lowest-sounding part only),20 attributed to
'7 Johannes Merck von Mindelheim was abbot at St. Ulrich and St. Afra from 1600 to 1632. His coat of arms
is printed in the copy of the 1615 Symphoniae sacrae which is bound together with a copy of the Canzoni et sonate
(1615) at Tonkunst Schletterer 201-14 (with photocopies of the missing bass volumes of both sets at 203a); it has
also been added to Tonkunst Schletterer 39, a manuscript score of the music in the 1597 Sacrae symphoniae (together
with a comment by the copyist on the front flyleaf which reads 'Reverendissimo et amplissimo Patri D. loanni
Celeberrimi Monasterii SS. Udalrici et Afrae Augustae Vindelicorum Abbati Totique Venerabili eiusdem
Monasterii Conventui Divum honori sacrae musicae commodo communi usui Hanc musicam operam Xenii loco
libens merito offert consecratque Gasparus Flurschiutz A' M D CXVI'. For further details about the contents of
these items see Schletterer, op. cit., pp. 60 & 124-5, and Clytus Gottwald, Die Musikhandschriften der Staats- und
Stadtbibliothek Augsburg, Wiesbaden, 1974, pp. 157-61, respectively.
1' On these claims, see Kenton, op. cit., p. 81. The references to Aichinger's study with Gabrieli are found in
ibid., pp. 79-80 & 97, and rely in particular on Aichinger's own comments, which occur in the dedication of his
first book of Sacrae cantiones (Venice, 1590); the New Grove reference is to vii. 54.
' This copy is found at Butsch 75-78 (bound with the 1587 Concerti) in Regensburg, Bischofliche
Zentralbibliothek, and comprises the Cantus and Bassus volumes only. The variant opening notes for Gabrieli'
'Plaudite ... omnis terra' on page 199 of Berlin, Staatsbibliothek Preussischer Kulturbesitz, Mus. ms. 40028, were
also copied by Gumpelzhaimer on to pieces of manuscript paper that have been pasted over the relevant parts of
the work in the two Regensburg part-books; Gumpelzhaimer also made a number of written alterations on the
printed music of the same piece. All Gumpelzhaimer's manuscripts listed under A-C above, plus other Butsch
manuscripts at Regensburg (237-40, 242-3, 248-9 and 268-70, not all copied by him), were once in the library of
the convent and school of St. Anna, Augsburg. General references to manuscript sources found in this library are
included in an early catalogue of the library's holdings compiled mostly by Gumpelzhaimer himself and found in
three parts distributed between two libraries: two in Augsburg, Evangelisch-lutherischen Gesamtkirchenverwal-
tung, Scholarchatsarchiv, 63a & b, and one in Augsburg, Stadtarchiv, Evangelisches Wesensarchiv, 1065. Since
the references to many of the manuscripts are not specific it is impossible to match Gumpelzhaimer's manuscripts
with those in the catalogue with total certainty, though several references correspond in general respects. In
addition to references to manuscript sources this catalogue indicates that the following early prints containing
works by Gabrieli were in the library during Gumpelzhaimer's employment at St. Anna: two copies of Sacrae
symphoniae diversorum excellentissimorum autorum (Nuremberg, 1598), which includes fourteen motets by Gabrieli
(catalogue, ff. 3v & 5V); two copies of Sacrarum symphoniarum continuatio diversorum excellentissimorum authorum
(Nuremberg, 1600), nine motets (ff. 3v & 5V); Sacrae symphoniae diversorum excellentissimorum autorum (Nuremberg,
1601), fourteen motets (f. 7r); Reliquiae sacrorum concentuum Giovan Gabrielis, Johan-Leonis Hasleri . . . (Nuremberg,
1615), nineteen motets (f. 9v); II lauro verde: madrigali a sei voci (Antwerp, 1591), one madrigal (f. 21v); Gemma
musicalis: selectissimas varii stili cantiones, books I and II (Nuremberg, 1588-9), five madrigals (f. 21v); Fiori del
giardino di diversi eccellentissimi autori (Nuremberg, 1597), three madrigals and two instrumental canzonas (f. 22v);
and II vago Alberto di madrigali et canzoni a quattro voci di diversi eccellentissimi autori (Antwerp, 1597), three madrigals (f.
27r). For a transcription of the catalogue see Richard Schaal, Das Inventar der Kantorei St. Anna in Augsburg, Kassel,
1965. For details about St. Anna, see Louise E. Cuyler, 'Musical Activity in Augsburg and its Annakirche, ca.
1470-1630', Cantors at the Crossroads: Essays on Church Music in Honor of Walter R. Buszin, ed. Johannes Riedel, St.
Louis, 1967, pp. 33-34. See also Charteris, 'Regensburg, Bischofliche Zentralbibliothek, Butsch mss. 205-210: a
Little-Known Source of the Music of Giovanni Gabrieli and his Contemporaries' (forthcoming).
Underlay is referred to in descriptions of new vocal works in this article only when it is incomplete.
349
'Johan: Gabriel' in the index compiled by Gumpelzhaimer and his amanuensis
Faust at the beginning of the volume;
D, ff. 1r-3r, attributed to 'Joan: Gabrieli' (one part-book gives the first name as
'Johan:').
The work is a homophonic setting of Psalm 50: 1-20. In both sources it
concludes with comments indicating that the next work is to be performed
following it: 'Gloria Patri sequitur octo vocum' in B and both 'Gloria Patri: 8.
vocum' and 'Sequitur Gloria Patri Octo Voc.' in D.
2. 'Gloria patri et filio' (eight voices; clefs: chorus I G2, Cl, C2, F3, chorus II G
C2, F3; key-signature one flat). Sources:
B, p. 14a (with underlay only in the lowest-sounding part of each chorus),
attributed to 'Joan: Gabriel';
D, ff. 3r-4r (lacking the C2 and F3 parts of chorus I), attribution governed by th
tc Gabrieli of the foregoing work.
As in No. 1, the texture is homophonic throughout. It is worth noting that
Gumpelzhaimer copied Erbach's four-voice setting of the doxology immediately
after this eight-voice setting in both sources, leading to the inescapable conclusion
that he intended Erbach's setting to be used when the full complement of eight
voices was unavailable to perform Gabrieli's.
3. 'O Jesu mi dulcissime' (eight voices; clefs: chorus I Cl, C3, C4, F4, chorus II Cl,
C3, C4, F4; key-signature one flat). Sources:
B, pp. 170-71 (with underlay only in the lowest-sounding part of each chorus),
attributed to 'Johan: Gabriel';
C, only chorus I C3 and C4 parts, and chorus II C', C3 and C4 parts, on page 133;
all but one include an attribution to 'J.G.', amplified to 'Johan: Gabriel' in the
index preceding each book compiled by Gumpelzhaimer and one of his pupils. The
words 'Organo piccolo' appear at the top of the C' part of chorus II which suggests
that Gumpelzhaimer performed the work with a small organ (presumably a
portative) accompanying chorus II. The particular chorus to which each part
belongs is clearly indicated in each part-book; the title in the index of three of the
part-books is indicated incorrectly as 'O puer dilectissime', these being the opening
words of chorus II.
Gabrieli's attraction to this text was such that he set it no fewer than three
times, though until now only two settings have been known: one published in the
Sacrae symphoniae (1597), the other in the Symphoniae sacrae (1615). The music of the
new setting is of special interest, for it has some correspondence to the latter. It is
shorter, and on a number of occasions it is quoted with minor modifications in the
1615 setting. However, at least 60 per cent of the new setting comprises new
material not found in either of the other two settings. That Gabrieli should have
been engaged in self-borrowing should come as no real surprise, for apart from the
fact that he was resetting the same text, he (like a number of his contemporaries)
indulged in self-quotation in other works, for example many of those in the Canzoni
et sonate (1615). The new setting of 'OJesu mi dulcissime' appears to stand midway
between the earlier setting (1597) and the later one (1615): while it lacks the
arresting quality of the justly celebrated 1615 setting, it has moments of serene
350
eloquence that make it a worthwhile addition to the Gabrieli canon.
4. 'Timor et tremor' (six voices; clefs C', C3, C4, C4, C4, F4; key-signature one flat).
Source:
B, pp. 88-90, with an attribution to 'Joan: Gabriel' on the score itself ('Johan:
Gabriel' in the index). Only the title is underlaid in this source, though the text
proves to be the same as that of Gabrieli's well-known setting in the Reliquiae
sacrorum concentuum (1615), intended for use during Holy Week.21
The two settings are very closely related, so much so that the 1615 one seems to
be a refined and improved version of the one in Mus. ms. 40028. Apart from some
minor modifications and a reduction in the number of voices singing in a passage of
two and a half breves, the first 45 breves of music in the 1615 version are identical
to the Mus. ms 40028 version. Thereafter differences begin to emerge. The next
section in both settings treats the words 'et adjutor fortis': the 1615 version here is a
rearrangement of the material in Mus. ms. 40028 as well as being two breves
longer. One further change occurs at the end of this section in the 1615 version:
Gabrieli makes the harmonic movement more decisive by concluding with a
perfect cadence rather than the imperfect cadence that appears in the Mus. ms.
40028 version. In the next section, a setting of the words 'Domine invocavi te',
there are major differences between the two versions. Not only is this section two
breves longer in the 1615 version but the melodic material, texture and harmonic
movement are substantially different. The final words of the text, 'non confundar
in aeternum', are set to almost identical music in both versions.
5. 'Ego rogabo patrem' (six voices; clefs [?C'], C', C3, C4, C4, [?F4]; no
key-signature). Source:
C, p. 44. The outer parts are missing; the attribution in the part-books and their
indexes is to 'Johan: Gabriel'.
The text of this composition is used to celebrate the Ascension of Our Lor
Gabrieli also set it (with the addition of the words 'in aeternum') in a work foun
Musica per concerti ecclesiastici (Venice, 1590). As with the two settings of 'Tim
tremor' (No. 4 above), there is a close relationship between the two settings of 'E
rogabo patrem'. In this instance, however, it is the new setting that appears
the later of the two: not only does it include new material in a much longer
rhythmically more interesting 'alleluia' section at the end of the work but the m
for 'ut maneat vobiscum' is extended, and at various points the counterpoin
improved. The new setting is 52 breves long, as against the 39 breves of the fam
setting. Only the opening eight breves of music are identical.
6. 'Jubilate Deo' (eight voices; clefs G2, G2, C', C2, C3, C3, F3, F3; no key-signature).
Sources:
B, pp. 172-4, with an attribution, in the index only, to 'Johannes Gabriel'; only
the lowest-sounding part is underlaid.
C, pp. 135-6, attributed in the part-books and the indexes to 'Johan: Gabriel';
only the second G2, the C' and C2 and the two C3 parts are found here.
Four works by Gabrieli begin with the words 'Jubilate Deo omnis terra'
(though the text continues differently in each work). and this new comonsition
21 See the editions by Annie Bank (Amsterdam, 1950), Jeremy Noble (University Park, Pennsylvania, 1968)
and G. Goebel (Stuttgart, 1969).
351
brings the total to five. Its text is identical to that of the eight-voice 'Jubilate Deo'
published in Promptuarii musici . . . (Strasbourg, 1613) and then in Reliquiae sacrorum
(1615). The two works are related musically. The 1613 setting is considerably
longer than the new one, which comprises 71 breves in duple metre as against 73?/2
breves in duple metre in addition to fourteen dotted breves in triple metre. The
settings share material until the cadence on an A major chord in breve bar 63 of the
1613 setting and breve bar 62 of the new one. The shared material is not, however,
always used identically: apart from an extra bar of music in the 1613 setting, there
are frequent differences in the distribution of the music, and some differences in
melodic, rhythmic and harmonic detail. There is occasional evidence of changes,
such as those in breve bars 11 and 12 of the 1613 setting, which could be
interpreted as indications of improvement on the new setting. There is no musical
correspondence in the final section of the two pieces, even though the words,
'servite Domino in laetitia', are the same. The final section in the new composition
comprises nine breve bars in duple metre in which the word 'laetitia' is illustrated
with a lively figure in crotchets and quavers. The final section in the other setting is
very much longer, comprising 101/2 breve bars of duple metre and fourteen dotted-
breve bars of triple metre, which is used to illustrate 'laetitia'; this word is repeated
in alternation with duple-metre settings of the words 'servite Domino in' preceding
it.
The date of composition of the well-known setting in the 1613 and 1615 prints
has long been the subject of speculation. Winterfeld thought that the work was
probably written for the coronation of Morosina Morosini, the wife of Doge
Marino Grimani, in 1597, a view supported (but with no documentary evidence)
by Kenton, even though he noted the presence of elements in the construction and
style of the work that are not typical of Gabrieli's works of the 1590s.22 On the other
hand Denis Arnold considered the style of the work to be closer to that evident in
Gabrieli's later works.23 While all three writers realized that the music in the 1613
print was culled from earlier sources (not all of them printed), it is a perfectly
reasonable notion that this particular work is a later one and not the one performed
at Morosina Morosini's coronation. Indeed Arnold's argument, based on purely
musical grounds, is given token support if one accepts the view that the new setting
of'Jubilate Deo' was composed before this well-known setting. The latter probably
dates from the time when Gabrieli rewrote several of his other works, such as the
settings of'Timor et tremor' and 'OJesu mi dulcissime' first published in 1615 and
considered to be very late works.
The next two vocal works to be discussed are found in Kassel, Landesbiblioth
und Muhardsche Bibliothek der Stadt Kassel, among a group of performance parts
once in the library of Moritz and Wilhelm, landgraves of Hesse-Kassel during the
late sixteenth and early seventeenth centuries. These parts include unique copies of
several works by Giovanni Gabrieli, most of them known to Kenton and Arnol
There are, however, far fewer of them than existed in Moritz and Wilhelm
22 See Winterfeld, Johannes Gabrieli und sein Zeitalter, i. 179-80, and Kenton, op. cit., pp. 312-16, respectively
23 See Giovanni Gabrieli and the Music of the Venetian High Renaissance, pp. 263-4.
'352
library, as early catalogues of the collection attest.24 The surviving works by
Gabrieli in these manuscript performing parts are as follows:
20 Mus. ms. 51A, 'Hic est filius Dei' (18vv., with basso continuo, lute and violone
parts): attributed; unique to this source.
20 Mus. ms. 51B, 'Surrexit Christus' (12 vv., with 2 basso continuo parts, a guida
and an optional 5-voice capella): attributed; this work has some musical similarity
to 'Surrexit Christus' (12vv.) in SSII 1615.
20 Mus. ms. 5IC, 'Misericordia tua Domine' (12vv., with basso continuo):
attributed; first published in SSII 1615.
20 Mus. ms. 5IC, 'O gloriosaJesu' (sic) (12vv., with basso continuo): attributed;
first published in SSII 1615, where its text incipit reads 'O gloriosa virgo'.
20 Mus. ms. 51D, 'Hodie Christus a mortuis' (12vv., with basso continuo):
attributed; unique to this source.
20 Mus. ms. 53C, 'Dulcis Jesu patris imago' (20vv., with bass part for organ):
unattributed in the source itself but assigned to Giovanni Gabrieli in the inventory
of the library of Wilhelm, Landgrave of Hesse-Kassel, dated 1638;25 unique to this
source, where it is described as 'sonata con voce'.
20 Mus. ms. 53Z, 'Deus in nomine tuo' (8vv., with basso continuo): attributed;
unique to this source; see the further comments below.
20 Mus. ms. 55D, 'Audi Domine hymnum' (7vv.): attributed; first published in
PMII 1612 and RS 1615.
20 Mus. ms. 55F, 'Audite caeli' (1 2vv.): attributed; unique to this source, where
it lacks one pa rt.
20 Mus. ms. 57H, 'Udite chiari e generosi figli' (15vv., with basso grande):
attributed; unique to this source.
20 Mus. ms. 57H, 'Exultet jam angelica turba' (l7vv.): attributed; this is a
slightly varied version of the work first published in RS 1615.
20 Mus. ms. 57N, 'O che felice giorno' (8vv.): attributed and incomplete; first
published in DM 1590.
20 Mus. ms. 59C, Sonata (a15, with basso continuo): attributed; first published as
Sonata XIX (a15) in CS 1615.
24 The original catalogue of this collection is found in two separate parts, both of them in man
Marburg, Hessischer Staatsarchiv, Bestand 4b: 46a, Nos. 3, 4 and 5. These manuscripts comprise at N
an index of the music and instruments in Moritz's possession dated 14 February 1613, while No. 5
similar items belonging to Wilhelm dated 22 January 1638. Other writers who have referred to the
sources have not indicated that the dates are almost certainly old-style, since the new-style calend
introduced in the Protestant German states (of which Hesse was one) until 1700; consequently, the da
read 14 February 1614 and 22 January 1639 respectively. For a transcript of these catalogues, see E
Beitrage zur Geschichte der Landgraflich-Hessischen Hojkapelle zu Cassel bis auf die Zeit Moritz des Gelehrte
pp. 99-136. The manuscript sources of Gabrieli's works originally in the landgraves' library are listed
second catalogue, which almost certainly includes material added to Moritz's collection after 1614 an
abdication in favour of his son Wilhelm in 1627. The titles of all works in manuscript by Gabrieli found
catalogue are listed in Christiane Engelbrecht, Die Kasseler Hofkapelle im 17. Jahrhundert, Kassel, 19
Many of the works whose titles are listed in this catalogue are now missing; several of them are not
elsewhere, including 'Agite dies laetitiae' (12vv.), 'Chi batte' (7vv.), 'Domine benignus' (6vv.), 'Deu
(16vv.), 'Jesu mi dulcissime' (6vv.), 'Laudans laudabo Domino' (16vv.), 'Quid est dicito quaeso' (10vv.),
'Salvator noster' (10w.) and a seven-part canzona. Several early prints of the works of Gabrieli are also listed in
the two manuscript catalogues; the most important are the Concerti (1587), Sacrae symphoniae (1597), Symphoniae
sacrae (1615) and Canzoni et sonate (1615), of which only the last two survive in the collection today (found for the
most part in Kassel, Landesbibliothek: 4? Mus. 77a & 77b respectively). See Charteris, 'English Music in the
Library of Moritz, Landgrave of Hessen-Kassel, in 1613', Chelys, xv (1986), 33-37, for further details concerning
the 1613 [1614] catalogue; for a discussion of the date of this catalogue see my letter in the correspondence
columns of Chelys, xvi (1987).
25 See n. 24, above.
353
20 Mus. ms. 59F, Canzon [duodecimi toni] (a8): attributed; first published as
Canzon No. 5 in SSI 1597.
20 Mus. ms. 59H, Ricercar sopra re fa mi do (a4, with basso continuo part for
'Cembalo'): this work was mistakenly ascribed to Gabrieli by Christiane
Engelbrecht, Stefan Kunze and Kenton;26 such an attribution is lacking any
authority in the original source, where the work is assigned to 'M.D.C', which
could of course signify the year 1600; the work displays no evidence of Giovanni
Gabrieli's style, and its attribution to him has properly been disputed by Eleanor
Selfridge-Field.27
20 Mus. ms. 59R, Canzon in echo duodecimi toni (alO, with 'basso per l'organo'):
unattributed; first published in SSI 1597.
20 Mus. ms. 59R, Canzon duplicata in echo duodecimi toni (alO, with 'basso per
l'organo'): unattributed; first published in SSI 1597.
20 Mus. ms. 62C, 'Cantate Domino' (8vv., with basso continuo): attributed and
incomplete; first published in SSII 1615.
20 Mus. ms. 62E, 'Fuggi pur se sai' (8vv.): unattributed and incomplete; first
published in DM 1590.
20 Mus. ms. 62F, 'Alti potentis Domini' (19vv., with basso grande): attributed
and incomplete; unique to this source.
20 Mus. ms. 62F, 'Surrexit pastor bonus' (lOvv., with basso continuo): attribute
and incomplete; first published in SSI 1597.
20 Mus. ms. 62F, 'Exaudi Deus orationem meam' (12vv.): unattributed and
incomplete; first published in SSII 1615 and RS 1615.
20 Mus. ms. 62F, 'Audite principes' (16vv., with basso continuo): attributed and
incomplete; first published in RS 1615, though this manuscript source offers a new
version of the work; see the further comments below.
40 Mus. ms. 147A, Canzon (a8, with basso grande): attributed; first published as
Canzon VIII (a8) in CS 1615.
40 Mus. ms. 147D, Canzon in echo (a12, with basso generale): attributed; u
this source.
40 Mus. ms. 147D, Canzon (a12, with basso generale): attributed; unique to this
source.
These manuscript parts should be regarded as being of some authority, for their
links with Gabrieli are strong: the manuscript parts were copied by 'Heinrich
Schiitz, Christoph Cornet and Christoph Kegel, all three of whom were sent by the
Landgrave Moritz von Hessen to study with Giovanni Gabrieli in Venice'.28 Most
of the attributions in the parts refer to Gabrieli merely by his initials; there is no
reason to suppose that anyone else was being referred to, especially as some of the
26 See Engelbrecht, op. cit., p. 179; Stefan Kunze, Die Instrumentalmusik Giovanni Gabrielis, Tutzing, 1963, i.
235, 239, & H. 1-7 (an edition of the piece); and Kenton, op. cit., p. 188.
27 See Venetian Instrumental Music from Gabrieli to Vivaldi, Oxford, 1975, p. 98.
28 Kenton, op. cit., p. 530. This statement appears there without qualification, though Kenton indicates
elsewhere in his book that he was uncertain about the hands responsible for copying 'Audite caeli' and 'Udite
chiari e generosi figli': see ibid., pp. 356 & 360-61. Friedrich Chrysander examined these manuscript parts in the
nineteenth century, and on the parts of 'Udite chiari' he indicated that Schiutz was responsible for copying it: see
ibid., p. 360 n. 95. Despite the claim made by both Kenton and Chrysander, Joshua Rifkin, who has studied these
sources, has established that none of the hands concerned belongs to Schiutz; I am grateful to Professor Riflkin for
bringing the details of his discoveries to my attention, and in due course the identity of all the hands in these
sources will be revealed in a published article. Moritz's enthusiasm for Gabrieli and his music can be confirmed in
two ways: he sent several of his musicians to study with Gabrieli in Venice, where they were supported financially
by Moritz; and much of Gabrieli's music was in the latter's library (see n. 24, above).
354
attributions can be verified unequivocally from printed sources. Two of the works
in the list above require special mention:
1. 'Deus in nomine tuo' (eight voices; clefs C', Cl, C3, C3, C4, C4, F4, F4; with bas
continuo; no key-signature). Source:
Kassel, Landesbibliothek und Muhardsche Bibliothek der Stadt Kassel, 20
Mus. ms. 53Z; attributed to 'G.G.'; unique to this source.
This work is a setting of Psalm 53: 3-5. Gabrieli composed one other piece to
this text, the well-known setting published posthumously in the Symphoniae sacrae
(1615). The work in 20 Mus. ms. 53Z is unrelated musically to it, but the two works
use an identical set of clefs and the same initial and final tone. Strictly speaking, the
manuscript setting is not newly discovered, for it was identified many years ago by
Christiane Engelbrecht, who published an edition of this setting. Although they
knew of the existence of this edition, neither Kenton nor Arnold seems to have
consulted it or the manuscript very closely, for they both misrepresented this
setting as being the same composition as the one published in 1615.30
2. 'Audite principes' (sixteen voices; incomplete, consisting only of: (a) 'Choro
primo' and 'Organo picciolo', clef C', without underlay; (b) 'Organo grande' and
'Cornetto', clef G2, without underlay; (c) 'Co. 1. et 3zo a 10 [recte 16] G.G.', clef [of
first chorus] G2, without underlay; (d) 'Choro primo' and 'Organo picciolo', clef C4;
(e) 'Basso continuo Audite principe[s]', incomplete with no underlay and entitled
overleaf 'Audite principes a 16 G.G.'. Key-signature one flat). Source:
Kassel, Landesbibliothek und Muhardsche Bibliothek der Stadt Kassel, 20
Mus. ms. 62F: this work survives with one vocal and four instrumental parts in this
source, where it is attributed to 'G.G.'.
This copy was known to both Kenton and Arnold, who were both mistaken in
believing that the setting was identical to the complete sixteen-voice setting in
Reliquiae sacrorum (1615). While a number of sections in the two works, for example
the opening ones, have material in common, there are substantial differences
elsewhere (both in the music and in the choice of text), and the works are of
differing length. Kenton provided an illustration of the structure of the 1615
setting,3' but since he confused semibreve bars with breve bars on several
occasions, his estimation of the length of the work and its individual sections is
incorrect. In the 1615 setting there are 76 breve bars in duple metre and 78
dotted-breve bars in triple metre, whereas in the manuscript setting there are 60
breve bars in duple metre and 80 dotted-breve bars in triple metre. After the first
two sections (five breve bars of duple metre and ten dotted-breve bars of triple
metre respectively in both works), there are notable differences in the length of
sections as well as in the music itself. The difference is most marked in the final
sections, where the music and sometimes the text are completely different. In the
absence of so many of the parts of the new version in 20 Mus. ms. 62F, it is
impossible to make any statement about the nature of the harmonic differences
between the two works.
The four remaining new vocal works appear in four different sources. In each of
these sources only one work is attributed to Gabrieli: the new works discussed
29 Das Chorwerk, lxvii (Wolfenbiittel, 1958).
3 See Kenton, op. cit., pp. 164, 187 & 214, and Arnold, op. cit., p. 311. The situation concerning the new
work is stated clearly in Engelbrecht, op. cit., pp. 159-60.
31 Op. cit., p. 354.
355
below. There is no evidence to connect any of the sources with the composer and/or
his circle of friends and pupils. Most of the new works in these sources should be
treated as of doubtful attribution for reasons mentioned below. These new works
are:
1. 'Laudate Dominum de caelis' (ten voices; clefs: chorus I [?G2], Cl, C3, C4, F4,
chorus II G2, Cl, C3, C4, F4; key-signature one flat). Source:
Cracow, Biblioteka Jagiellon'ska, Mus. ms. 40044: an incomplete set of eight
part-books dating from the early to mid seventeenth century which were in Berlin
before the end of the Second World War. This new work is attributed and
incomplete and appears on pages 12-13; one other work by Gabrieli is found in this
source but is unattributed: the eight-voice 'Jubilate Deo omnis terra' first
published in the 1613 Promptuarii musici.
This setting of Psalm 148 survives incomplete, wanting the uppermost voice.
The attribution appears in the part-books as 'J.G.'. Given the significant
representation of pieces by German composers in these part-books there seems
be no doubt that the copyist (who is unknown) was of the same nationality and
that these initials therefore stand for 'Johannes Gabrieli'. The attribution shoul
perhaps be treated with some caution, but one must remember that other early
manuscript sources mentioned in this article (e.g. the Kassel ones, above) employ
the same method of identification when attributing works to Gabrieli. The style of
the work, with its neatly contrasted statements between the two choirs and its
unified statements towards the end, suggests that this is one of Gabrieli's early
pieces; this view is supported by the almost unrelenting use of homophonic texture,
a feature common in some of his earlier works.
2. 'Laetentur omnes' (fourteen voices; incomplete, with only one voice surviving:
chorus I Cl; no key-signature). Source:
Liineburg, Ratsbiicherei der Stadt Liineburg, Mus. ant. pract. K.N. 207/26, a
single manuscript leaf with music found on one side only and copied in the late
sixteenth or early seventeenth century; the work is described as 'A. 14. Voc. Giov.
Gabr. 1. Chori, Cantus Voce'.
This work is a setting of verse 12 of Psalm 5 from the Vulgate. It is s
comparison with the other works discussed in this article and comprises a nu
of brief sections in which triple-metre passages alternate with duple-met
the former are reserved for the setting of appropriate words such as 'lae
'exultabunt' and 'gloriabuntur'. Until further parts of this work come to ligh
other supporting evidence is discovered, this piece is possibly best assigned to
Gabrieli only tentatively.
3. 'Ave rex noster' (eight voices; clefs and key signature unknown for reasons stated
below).
All attempts to obtain a copy of this work have so far proved fruitless, and a
planned visit to the library in which the original source is found was thwarted by
bureaucratic delays in processing the necessary papers. The composition appears
at No. 93 of Zwickau, Ratsschulbibliothek, Mus. ms. 51. These and the following
details are taken from Reinhardt Vollhardt, Bibliographie der Musik-Werke in der
Ratsschulbibliothek zu Zwickau (Leipzig, 1896), where the work is listed as 'Gabrieli
(Giovanni): Ave rex noster, 8 voc.'. The manuscript source comprises seven
part-books in poor condition which were compiled in a haphazard manner by
356
pupils of the gymnasium at Zwickau between 1664 and 1678. Until I have an
opportunity to examine the manuscript source, the best one can say is that no work
with this title appears among Gabrieli's known works. Whether the work is indeed
by him or is a contrafactum must await examination of the manuscript.
4. 'Pero di prego' (three voices; clefs C', C', C4; key-signature one flat). Source:
Dresden, Saichsische Landesbibliothek, MS Mus. 1/H/5, a set of three
part-books of German origin which were copied between 1610 and 1625;32 the work
appears at No. 22 (new number 24), with no underlay except for its title and
bearing an attribution to 'Giovan. Gabriel'.
The piece consists of two very short repeated sections and in style is most
untypical of Gabrieli. Denis Arnold (to whom I was able to show my transcriptions
of a number of the works discussed in this article) felt that the attribution should be
treated with some caution and suggested that the work might be by Andrea
Gabrieli. It is possible, however, that it is a very early work by Giovanni; it should
be regarded as of doubtful attribution until further evidence comes to light.
The next group of new compositions are keyboard works. They are found in two
different sources, though one of them is also found in three other early
manuscripts.33 None of these sources can be proved to have had direct links with
Gabrieli or his friends, pupils or patrons. The situation confronting any editor of
his keyboard works is complicated, for many of them have been included in
modern editions and discussed in studies of the composer even though attributions
to him are lacking in the early sources; furthermore, a number have survived in the
sources with conflicting attributions. Consequently, not many keyboard works can
be assigned to Gabrieli with any degree of confidence. This situation means that
any new keyboard works in early manuscript sources with attributions to him
should be regarded cautiously; until additional evidence is discovered such works
are best treated as being of doubtful attribution. One certain indicator of Gabrieli's
authorship in a number of his bona fide keyboard works is their reference (either
musically or structurally, or both) to his instrumental ensemble compositions.
Only one of the new keyboard works listed below demonstrates such a relationship,
but the attributions of the other new pieces cannot be dismissed altogether, for
there are points of stylistic similarity between them and Gabrieli's genuine
keyboard compositions.
All but one of these new keyboard works are found in one of the largest single
volumes of keyboard music of the period: Berlin, Staatsbibliothek Preussischer
Kulturbesitz, Mus. ms. 40615. This volume is notated in German organ tablature,
and most of the pieces in it are preceded by attractive decorations in colour
surrounding the title and attribution. On folio ir the colourful border design
surrounds the name of Matthias Rottenau (presumably the original owner), and
there are some comments dated 19 April 1653 (the year is given incorrectly as
'c 1635' in The New Grove34). This source includes many unique works by a number
of composers who were contemporaries of Gabrieli. All sixteen works in it that are
32 For more details about this manuscript, see Wolfram Steude, Die Musiksammelhandschriften des 16. und 17.
Jahrhunderts in der Sachsischen Landesbibliothek zu Dresden, Wilhelmshaven, 1974, pp. 45-56.
3 It is discussed in Charteris, 'Another Keyboard Canzona by Giovanni Gabrieli?', Early Music, xv (1987)
(forthcoming).
3 See The New Grove, xvii. 727.
357
attributed to Gabrieli either here or in other sources or editions are listed below;
the new keyboard compositions ascribed to him in this source are marked with an
asterisk.35
ff. 107r-08r , Fantasia VI toni: attributed to Christian Erbach but given in recent
editions to Giovanni Gabrieli.36
ff. 15OV-152v, Toccata II toni: attributed correctly to 'GIOVAN: GABRI:'; first
published in DIT 1593.
ff. 183v-185r, *Canzon VIII toni: attributed to 'GABRIEL:'. This work is not
found elsewhere and could be by either Andrea or Giovanni Gabrieli. On grounds
of style I have included it as a doubtful piece of Giovanni's.
f. 188v-_1 9Or, *Canzon III toni: this work appears with the specific attribution
'AUTHOR GIO: GAB:'.
As the copyist believed that the next five works, on folios 190r'-194r, are by
Gabrieli, he did not bother to reproduce his name but merely referred to him
indirectly by indicating that they are by the composer of the preceding piece. None
of the works on folios 188V-194r is known to appear in other sources.
if. 190_-19,lr *Canzon I toni: attributed 'EIUSD: AUTH:'.
ff. 190V-192r, *Canzon III toni: attributed 'EIUS: AUTH:'.
ff. 191v-193r, *Canzon III toni: attributed 'EIU: AUT:'.
ff. 192v-193r, *Canzon III toni: attributed 'EIUS: AUTHO:'.
ff. 193r-194r, *Canzon III toni: attributed 'EIUS: AUT:'.
ff. 194r-195r, Canzon VII toni: misattributed to Erbach. An earlier source of this
work, Munich, Bayerische Staatsbibliothek, Mus. ms. 1581 (ff. 12v~-13r) also
attributes the work to Erbach. The source is dated c. 1620 in the recently published
catalogue of the library's music manuscripts, while The New Grove dates it c. 1630; a
date in the 1630s is a much more reasonable estimate.37 The piece also appears in
another volume of German organ tablature dating from the 1 630s, Turin,
Biblioteca Nazionale Universitaria, MS Foa 3 (ff. 24v~-26r) with an attribution to
Gabrieli that has been accepted by other scholars, not least because of the style of
the piece.
ff. 196v~-198r *Canzon II toni: misattributed to Erbach. Hitherto this work has
not been given to Gabrieli in the literature on him or on any of the other composers
to whom it is attributed in the early sources. It is found in three other early
manuscript sources, where it is variously unattributed, attributed to Claudio
Merulo, and attributed to Giovanni Gabrieli. I believe it should be given to
Gabrieli.38
ff. 208V-2 Ir, Canzon VII toni: misattributed to 'GAB: AND:' (Andrea Gabrieli).
This work appears in four other early sources, only one of which attributes it to
Giovanni Gabrieli; two of the others lack an attribution, and the third offers an
35 If some of the foliation in the list appears inconsistent this is because the music is written across the open
folios.
'6 This work also appears, unattributed, in two other early-seventeenth-century manuscripts, both in Berlin,
Deutsche Staatsbibliothek: MSS. Lynar A 1, pp. 47-49, and Lynar B 3, No. 10 [recte 9]. It is given to Gabrieli
without any documentary evidence in two modern editions: Antologia di musica antica e moderna per pianoforte, ed.
Gino Tagliapietra, Milan, 1931, ii, No. 20, and G. Gabrieli: Composizioni per organo, ed. Sandro dalla Libera, i
(Milan, 1957; reprinted 1982), 49-51. It is included as a doubtful work in Christian Erbach (ca. 1570-1635): Collected
Keyboard Compositions, ed. Clare G. Rayner ('Corpus of Early Keyboard Music', xxxvi), v (Stuttgart, 1977), 135-9.
3 See, respectively, Marie Louise Gollner, Bayerische Staatsbibliothek: Katalog der Musikhandschriften, ii:
Tabulaturen und Stimmbucher bis zur Mitte des 17. Jahrhunderts, Munich, 1979, and The New Grove, xvii. 727.
38 The reasons are discussed in Charteris, 'Another Keyboard Canzona'.
358
ornamented version attributed to Adam Steigleder.9 See also at folios 114v-1 15v in
the Vienna source discussed below.
ff. 21 0r-211 r Canzon I toni: misattributed to Erbach. This work is found in
other early source, Turin, Biblioteca Nazionale Universitaria, MS Foa 3 (ff.
23v~-25r), where it is attributed to Gabrieli; this has been accepted by other
scholars.
ff. 215V~-216r, Canzon III toni: misattributed to Erbach. There are two other
sources, both earlier than Mus. ms. 40615: the earliest source, Cracow, Biblioteka
Jagiellon'ska, Mus. ms. 40316, where the work is described as a canzona and
attributed to Gabrieli on folios 43vA44r; and Turin, Biblioteca Nazionale
Universitaria, MS Giordano 6, where the work is described as a ricercar and
unattributed on folios 2v-4r.
ff. 238v-23Tr, Canzon 11 toni: misattributed to Erbach. Again there are two othe
sources of this work, both earlier than Mus. ms. 40615: one, Cracow, Biblioteka
Jagiellonska, Mus. ms. 40316 (mid 1620s) (ff. 36vm-37v) where it is attributed to
Gabrieli and described as a ricercar; and Munich, Bayerische Staatsbibliothek,
Mus. ms. 1581 (ff. 5V6r), where it is misattributed to Erbach and described as
'Fuga'.
ff. 294Y-296 , Ricercar X toni: misattributed to Erbach; the work was first
published in RLS 1595, where it is attributed to Giovanni Gabrieli. Of the other
early manuscript sources of this work, on Turin, Biblioteca Nazionale Universi-
taria, MS Foa 3 (ff. l6v~-I9r)-gives the work correctly to Gabrieli, while the
other-Paris, Bibliotheque Nationale, Res. Vmd. ms. 27 (ff. 31`v-33v)-bears no
attribution.
The other major source of Gabrieli's keyboard works is Vienna, Minoriten-
konvent, Musikarchiv ms. XIV. 714; all of them are in the section written in staff
notation in the 1630s. The music is again copied across the open pages. Besides
well-known works by Gabrieli, the source includes one work by him that is not
known elsewhere.40
ff. 69v-70r, Canzon (a6): attributed to 'Joa: Gabriel'; a keyboard arrangement of
Canzon III (a6) in CS 1615.
ff. 70v-7 1r Canzon (a6): attributed to 'Jio: Gabriel'; a keyboard arrangement of
Canzon II (a6) in CS 1615.
ff. 70v-7 rl, Canzon (a6): attributed to 'Jio: Gabriel'; a keyboard arrange
Canzon IV (a6) in CS 1615.
f. 90v-9_ r, Toccata 8 t[oni].: attributed to 'Johan Gabriel'; a new keyboard
composition.
ff. 11 3V-1 14r, Canzon [terza]: attributed to 'Jio: Gabri'; a keyboard arrangement
of the ensemble piece with the same title in CPS 1608.
39 These sources are Paris, Bibliotheque Nationale, Res. Vmd. ms. 27, the earliest one, where it
unattributed and incomplete on ff. 30r~-31r; Turin, Biblioteca Nazionale Universitaria, MS Foa 3, a ke
volume dating from the late 1630s where it appears attributed to Giovanni Gabrieli on folios Ir4r; V
Minoritenkonvent, Musikarchiv MS XIV. 714, a keyboard volume dating from the 1630s where it is unatt
and appears on folios 1 14"- 1 15V; and an early print, Nova musices organicae tablatura ... Durch Johann Wo
(Basle, 1617), which is the one containing, at No. 75, the ornamented version, intabulated for organ. Steig
was 4perhaps responsible only for the ornamentation.
For further details concerning this manuscript source, see Friedrich Wilhelm Riedel, Das Musikarch
Minoritenkonvent zu Wien, Kassel, 1963, pp. 47-72. The identifications of the works by Gabrieli in this catalogu
mostly incorrect.
359
ff. 114v-1 15v, Canzon: unattributed; the same work as that listed above at folios
208v-2 1 or in Berlin, Staatsbibliothek Preussischer Kulturbesitz, Mus. ms. 40615.
ff. 124VLl25r Canzon [quarta]: attributed to 'Jio: Gabriel'; a keyboard arrange-
ment of the ensemble piece with the same title in CPS 1608.
The final new composition by Gabrieli is:

Symphonia (four parts labelled '1 D', '2 D', 'A' and 'B'; clefs: G2, G2, C2, F4; no
key-signature).
Bearing the title 'Symphonia composita a 4 Ab incerto autore G.G.', this work
appears in score among some manuscript folios copied about 1620 and bound with
a single part-book of Johann Thiiring, Zehen geistliche Cantiones und Motetten (Jena,
1617), in Nuremberg, Germanisches National-Museum (see MS 138035).
We have seen in some of the sources discussed above that copyists of the period
sometimes attributed works to Gabrieli using only his initials, as in the case of the
present piece. While it has features that suggest that the attribution to him is
probably correct, a note of caution ought to be voiced on the grounds that the piece
is uncharacteristically short for an instrumental ensemble composition by him.
The copyist made a number of errors in the score, which undoubtedly account for
the fact that a subsequent writer crossed out the work and wrote the words
'Sinfonia non valet' on the score.4'
I now turn to new contrafacta of Gabrieli's works that I have discovered in

early sources. There is no reason to suggest that any of them were supplied with
42 i
their new texts by Gabrieli himself-indeed a number of the sources provide

indications that other musicians or composers were responsible for adding them.
The new contrafacta are as follows:
1. 'Auxilium promisit Deus' (8vv.): a contrafactum of Gabrieli's popular madrigal
'Lieto godea' (first published in CAG 1587) found, wanting five of the voices, in
Vaxjo; Stifts- och Landsbiblioteket, MS mus. 2c-e, a source dating from the 1650s
and compiled at the gymnasium at Vaxjo; the work is attributed and found on
page 57.
2. 'Quam pulchra es anima mea' (8vv.): attributed to Gabrieli and underlaid with
its Latin text in the unique copy of the only existing part-book of Missa, beatae
virginis cantica, sacraeq; cantiones vulgo motecta appellatae . . . (Venice, 1599) by
Agostino Zineroni. While this work was known to both Kenton and Arnold, it has
not been recognized until now that it, too, is a contrafactum of 'Lieto godea'.
3. 'Ein Kindlein fein' (8vv.) This work appears underlaid with its German text in
two early-seventeenth-century manuscript sources: Regensburg, Bischofliche
Zentralbibliothek, Butsch mss. 205-10 (p. 87, where it is incomplete and
4' I am grateful to Dr. Clytus Gottwald for kindly drawing my attention to the existence of this piece before
my visit to Nuremberg to study the source at first hand.
42 In Kenton, op. cit., there are references in the notes to three additional contrafacta whose titles have not
been indicated separately in any index or thematic catalogue of Gabrieli's works: see pp. 159, 174, 176, 186. Two
of the three are indeed by Gabrieli: the madrigal 'Se cantano gli augelli' (6vv.) with a contrafactum entitled
'Blandine meine sch6ne' in Musicalische Streitkrantzelein (Nuremberg, 1612) and Triumphi di Dorothea (Leipzig,
1619), and the madrigal 'Lieto godea' (8vv.) with a contrafactum entitled 'Fr6hlich sein zu Ehren' in Erster Theil
lieblicher, welscher Madrigalien (Nuremberg, 1624). But Kenton's claim that the work entitled 'Dem newgeborenen
Kindelein' (8vv.) is a contrafactum of Gabrieli's motet 'O DomineJesu Christe' (8vv.) is untrue: the work, found
in Gdanlsk, Biblioteka Polskiej Akademii Nauk, Mus. ms. 4010, is unattributed and proves to have no relationship
whatsoever to 'O Domine Jesu Christe' or to any other work by Gabrieli.
360
attributed) and 268-70 (No. 21, again incomplete and attributed). Again, it is a
contrafactum of 'Lieto godea'. As the text itself indicates and the inscription in the
first source states, this German contrafactum was used to celebrate the Nativity of
Our Lord.
4. 'Heilig ist Gott' (8vv.). Unlike Nos. 1-3, the identity of this contrafactum is
indicated clearly in the four manuscript part-books in which it is found: Berlin,
Staatsbibliothek Preussischer Kulturbesitz, Mus. ms. 40209 (which has a single
part in three out of its four part-books, all at different folio numbers), and Mus. ms.
40257 (which has one part on folios 36r'-37r). These part-books are from an
incomplete set dating from the early seventeenth century. The work is indicated
correctly as yet another contrafactum of 'Lieto godea'.
5. 'Nos autem gloriari' (5vv.). This work appears in German organ tablature, with
an attribution to Gabrieli and with text underlay beneath the tablature stave, in
the early-seventeenth-century source Pelplin, Biblioteka Seminarium Duchow-
nego, Mus. ms. 306 (No. 378 in the thematic catalogue of the entire set of
manuscripts comprising the Pelplin tablature, Mus. mss. 304-308a) .43 It is
intended for use during various celebrations concerning the Holy Cross, as the
description 'De S. Cruce' in the manuscript indicates. It is a Latin contrafactum of
Gabrieli's madrigal 'O ricco mio thesoro', first published in DFV 1583.
6. 'Laudabo Deum Dominum' (14vv.): a Latin contrafactum of Gabrieli's
fourteen-voice Magnificat found in the copy of SSII 1615 in Kassel, Landes-
bibliothek und Muhardsche Bibliothek der Stadt Kassel (40 Mus. 77a (1-14)). It
appears in thirteen out of the fourteen part-books, though the other one does have
the word 'Laudabo' written at the beginning. The new text is added in handwriting
above the printed text. Like a number of other early prints including Gabrieli's
works (discussed above), this set of part-books was used in the seventeenth century
at the court of the landgraves of Hesse-Kassel." It seems that this contrafactum
originated at this court.
7. 'Sancti Ignatii' (12vv.). The words of this contrafactum, beginning 'Sancti
Ignatii Socii Jesu festam patris patroni', appear as a handwritten addition to the
printed text of Gabrieli's madrigal 'Sacri di Giove augei' found in the copy of CAG
1587 at A.R. 538 in Regensburg, Bischofliche Zentralbibliothek. These part-books
are bound with the set A.R. 539 and both lack Altus and Bassus books; together
they include a total of four handwritten contrafacta. They once belonged to ajesuit
society. This contrafactum and the three listed at Nos. 8-10 below can
undoubtedly be credited to a member of the society.
8. 'Virgini jubilemus' (12vv.): handwritten words added to the printed text of
Gabrieli's 'Plaudite . . . omnis terra' in the copy of SSI 1597 at A.R. 539 in
Regensburg, Bischofliche Zentralbibliothek (see No. 7, above).
9. 'Jubilate Deo' (1 5vv.): a partial contrafactum retaining the initial part of the text
of Gabrieli's 'Jubilate Deo' written into the Regensburg copy of SSII 1597 at A.R.
539 (see No. 7, above).
10. 'Matri sanctae' (16vv.): handwritten words added to the printed text of
4 For further details about these six manuscript volumes and the thematic catalogue of them see The Pelplin
Tablature, ed. Adam Sutkowski et al., 'Antiquitates musicae in Polonia', i-x (Warsaw & Graz, 1963-70).
4 The 1638 [1639] catalogue of the landgraves' library-see n. 24, above-includes a reference to this
contrafactum by name.
361
Gabrieli's 'Omnes gentes plaudite manibus' in the copy of SSI 1597 at A.R. 539 in
Regensburg (see No. 7, above).
11. 'My soule is deeply wounded' (3vv.): an English contrafactum of Gabrieli's
Italian madrigal 'Alma cortes'e bella' (first published in FM 1587) found in
Oxford, Christ Church Library, Music mss. 739-43 (No. 19), a set of part-books
dating from the early seventeenth century.
12. 'How long shall fadinge treasure' (4vv.): an English contrafactum of Gabrieli's
madrigal 'Labra amorose e care' (first published in XII 1595) found in two sets of
early-seventeenth-century part-books: Oxford, Christ Church Library, Music mss.
750-53 (ff. 3 v_32r) and 1074-7 (ff. 23vY24r).45
Finally, mention should perhaps be made of an instrumental work composed by

Adam Jarz~bski (d. 1648/9) that is not referred to in the literature on Gabrieli. It is
for a possible combination of violin, viola bastarda, theorbo, bass viol and organ.
In it Jarz~bski quotes the opening bars only of Gabrieli's six-voice motet 'Cantate
Domino', first published in the 1597 Sacrae symphoniae.Y1 The original manuscript
containing this work and others byJarz~bski (some of which also quote from other
composers' works) is now lost. According to The New Grove,47 a copy of it is found in
Poznan', Biblioteka Uniwersytecka, but this is not so: the copy is in Warsaw,
Biblioteka Narodowa, as both the Warsaw and Poznan' libraries have confirmed in
correspondence.Y8
45 Although the works at Nos. 11 and 12 were included in the list of works under Gabrieli's name in G. E. P.
Arkwright, Catalogue of Music in the Library of Christ Church Oxford (London, 1915), 46, neither has hitherto been
identified or included in any index or catalogue of his works.
`6 An edition of the work appears in Adam Jarzlbski: Concerti a 2, ii, ed. Hieronim Feicht & Zygmunt M.
Szweykowski ('Wydawnictwo dawnej muzyki polskiej', lvii), Warsaw, 1965, pp. 68-73.
4 The New Grove, ix. 560.
48 I should like to thank the staff of the numerous libraries who have contributed in many different way
research by replying to my enquiries, providing me with microfilms and extending kind courtesies to m
my visits to their institutions; I am especially grateful to the staff of the Fisher Library, University of
Above all I am extremely indebted to the Australian Research Grants Scheme, since without their ge
financial assistance none of this work could have been accomplished.
362
ABBREVIATIONS
DFV 1583 De floridi virtuosi d'Italia il primo libro de madrigali a cinque vo

CA G 1587 Concerti di Andrea, et di Gio: Gabrieli ... libro primo et secondo (Venice, 1587)
FM 1587 Fiori musicali di diversi auttori a tre voci. Libro primo (Venice, 1587)
DM 1590 Dialoghi musicali de diversi eccellentissimi autori (Venice, 1590)
MC 1590 Musica per concerti ecclesiastici, di diversi autori (Venice, 1590)
DIT 1593 II transilvano dialogo sopra il vero modo di sonar organi & istromenti da penna del R. P
Girolamo Diruta (Venice, 1593)
RLS 1595 Ricercari di Andrea Gabrieli . . . libro secondo (Venice, 1595)
XII 1595 Di XII Autori. Vaghi e dilettevoli madrigali a quatro voci (Venice, 1595)
SSI 1597 Sacrae symphoniae. Ioannis Gabrielii . . . (Venice, 1597)
FL 1601 Florida, sive cantiones . . . (Utrecht, 1601)
CPS 1608 Canzoni per sonare con ogni sorte di stromenti . .. da diversi eccellentissimi m
libro primo (Venice, 1608)
PMII 1612 Promptuarii musici, sacras harmonias sive motetas pars altera: . . . collectore
Abrahamo Schadaeo (Strasbourg, 1612)
PMIII 1613 Promptuarii musici, sacras harmonias sive motetas . . . pars tertia: . . . collectore
Abrahamo Schadaeo (Strasbourg, 1613)
CS 1615 Canzoni et sonate del Signor Giovanni Gabrieli (Venice, 1615)
RS 1615 Reliquiae sacrorum concentuum Giovan Gabrielis,Johan-Leonis Hasleri ... (Venice,
1615)
SSII 1615 Symphoniae sacrae Ioannis Gabrielii . . . Liber secundus (Venice, 1615)
363

Newly Discovered Works by Giovanni Gabrieli

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Newly Discovered Works by Giovanni Gabrieli

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Newly Discovered Works by Giovanni Gabrieli

Author(s): Richard Charteris

J Johannes Gabrieli und sein Zeitalter, Berlin, 1834.

D. Regensburg, Bischofliche Zentralbibliothek, Butsch ms. 257a. Gumpelzhaimer

The final new composition by Gabrieli is:

I now turn to new contrafacta of Gabrieli's works that I have discovered in

their new texts by Gabrieli himself-indeed a number of the sources provide

Finally, mention should perhaps be made of an instrumental work composed by

DFV 1583 De floridi virtuosi d'Italia il primo libro de madrigali a cinque vo

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