Music by the Gabrielis in the Levoča and Bardejov Collections

• Authors: Kalinayová-Bartová Jana
• Languages of publication: EN

Abstracts

EN

Current research into the adoption of Andrea Gabrieli’s and Giovanni Gabrieli’s oeuvres in former Upper-Hungarian music centres (situated mainly in the Spiš and Šariš regions of present-day Slovakia) is based on examinations of the music sources that have been preserved in two extensive music collections: the Levoča Music Collection and the Bardejov Music Collection. They demonstrate the importance of the late 16th- and early 17th-century anthologies, compiled by German editors, in the dissemination of Gabrielis’ compositions — and Italian music in general — into the Spiš-Šariš regions. Anthologies had become the main source of transcriptions and further spreading of both authors’ pieces. On the other hand, in its content they were a source of limitation for further choice options. Among the known local composers, the most significant interest in Gabrielis’ works had been recognized by the Bardejov organist Zachariáš Zarewutius in his transcription of 13 units. Further transcriptions of Gabrielis’ pieces have survived in the manuscripts of unknown origin. The time of their creation and the names of intavolators are also unclear or unknown. The study therefore contains also information on the current research proceedings in these questions and hypothetical thoughts on the genesis and possible sources of these transcriptions as well as the routes of their transferring and their connections to the musical life of the Spiš-Šariš centres. Special attention is dedicated to the local version of the contrafactum of Lieto godea sedendo madrigal by Giovanni Gabrieli.

Keywords

EN

Levoča Music Collection, Bardejov Music Collection, organ tablatures,; contrafactum

• Journal: Musica Iagellonica
• Year: 2017
• Volume: 8
• Pages: 95-116

Contributors

author

Kalinayová-Bartová Jana