Compositional Strategies for Large-Scale Works Around 1600

Abstract

Giovanni Gabrieli’s posthumously published motets In ecclesiis and Benedictus es, Dominus (Sacrae symphoniae ... liber secundus, 1615) show obvious characteristics of self-quotation and reworking. An analysis of the works focuses on a characteristic ascending-fifths sequence which has been called “Monte Romanesca” by Robert Gjerdingen who introduced the term for the eighteenth century. In this study, the term is expanded to include music from the end of the sixteenth century for the first time. Further analysis concentrates on motivic and modal connections as well as special harmonic features such as chromatic-third relationships. Additionally, several other works of the composer are considered, showing that Gabrieli built on highly sophisticated harmonic, motivic, and formal compositional strategies in his large-scale oeuvre. Also, apparent processes of imitation in the Missa sine nomine of Gabrieli’s pupil Alessandro Tadei suggest that the younger composer used either or both of his teacher's motets as a model. A comparative analysis of all three works provides further insight into compositional methods at the “dawn of the Baroque” era and sheds new light on what must have been a special teacher-student relationship.