In Ecclesiis is Giovanni Gabrieli 's magnum opus and most famous single work. A masterpiece of polychoral techniques, it also epitomises Baroque and Renaissance styles, with its prolific use of pedal points and extended plagal cadences. Written while Gabrieli was the organist at St Mark's Basilica , Venice, the music was designed to be performed in this unique building. The individual groups of musicians and singers would have been spatially separated around the grand architecture creating a polychoral, antiphonal texture that is difficult to replicate in modern performances. Although the text can be considered sacred , it is not liturgical.
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Ryan Turner, Artistic Director. John Harbison, Principal Guest Conductor. Musician's Spotlight. About Community Connections. Current Fellows. Past Fellows. Emmanuel Music in the News. Press Releases. Mailing List Contact Us. Unlike other Italian centers of music and culture in the 16th century, private patronage of music in Venice was discourage by a system of political and military appointments that kept prominent families from exerting overwhelming influence. This non-privatization of the arts led to the establishment of the ducal chapel, San Marco Cathedral of St.
The architecture of San Marco had a profound influence of musical style. Built in the manner of eastern basilicas, with its Byzantine domes, bright gold mosaics and a spacious interior, there were at least seven areas around the altar from which music was performed. The text of this motet emphasizes redemption and healing through penance, and was more than likely first performed at a Mass of thanksgiving for the passing of the plague of It calls for three distinct choirs.
The result is a dazzling and expressive display of rich harmonic modulations and virtuosic singing and playing. Buy Tickets Contribute. Community Connections. Emmanuel Music in the News Press Releases. Buy CDs. Motet Notes Giovanni Gabrieli : In ecclesiis a 14 , C 78 from Symphoniae Sacrae II, Unlike other Italian centers of music and culture in the 16th century, private patronage of music in Venice was discourage by a system of political and military appointments that kept prominent families from exerting overwhelming influence.
In ecclesiis (Giovanni Gabrieli)
The Serenissima repubblica of Venice at the dawn of the seventeenth century was among the richest and most influential states of Europe. Her money and her pride led to splendid excesses and made her an extremely popular tourist site. Even Venice's religious life paraded her wealth: the Cathedral boasted of a golden altarpiece and troops of singers and musicians, while civic confraternities such as the Scuola Grande di San Rocco could commission artwork from Gentile Bellini and Jacopo Tintoretto. Giovanni Gabrieli served as organist for both the Cathedral of San Marco and the San Rocco confraternity; his music both partook of Venice's splendor and helped project that splendor into the coming century. One of his most forward-looking works, the voiced concertato motet In ecclesiis is also now his most famous. Gabrieli 's In ecclesiis was not published until after his death in the print Sacrae Symphoniae II , but undoubtedly served some great Venetian festival; one prominent interpreter of Gabrieli 's music has suggested its ties to confraternal ceremonies celebrating San Rocco, the plague-healer. Though often cited as a central example of Gabrieli 's polychoral style, several features of In ecclesiis mark it as decidedly unusual.
In Ecclesiis, motet for 14 voices, C. 78