Gabrieli - In Ecclesiis

• Gabrieli was organist at St. Mark's, Venice

• Building of St. Mark's means that music had to be composed specially, encouraged development of polychoral textures and antiphony.

• Used more styles common to the final years of 16th C which were more characteristic of baroque
  • basso continuo
  • chromaticism
  • elaborate writing for solo voice
  • idiomatic writing for instruments
  • writing more homophonically than contrapuntally

• Date of composition uncertain but published posthumously in 1615

Scored for 2 four part choral groups - one soloists, instumental ensemble (6 players) and basso continuo realised on organ (maybe plucked instrument lute/theorbo)

• 1st choral group soloistic qualities because of florid writing

• 2nd choral group = 2 altos, tenor + bass, texture is mainly chordal

• Instrumental group = 3 cornetts, violino (viola because of range) and 2 trombones.

• 2 organs in St Mark's at this time large one had 9 stops which is small compared to other European church organs. 

• Bass line is for organ part so organist would provide suitable harmonisation - realisation in NAM is only editoral suggestion. 

• First 30 bars continuo instruments are accompaniment

Texture is varied, includes monody (melody + continuo accompaniment), polyphony, imitative counterpoint, homophony and antiphony.

• b1-5 monody
• b6-12 antiphony with initially homophonic chorus and imitation
• b13-24 monody
• b25-31 antiphony with homophonic chorus and imitation b29
• b31-39 6 part instumental ensemble begins homophonically becomes more contrapuntal with imitation
•  b39-61 alto + tenor duet, contrapuntal instrumental + continuo accompaniment
• b62-68 alto + tenor solo with instrumental + continuo
• b68-94 countertenor + baritone solo + organ continuo
• b95-101 countertenor + baritone solo + chorus + organ continuo
• b102-129 Chrous, tutti, increasingly polyphonic, 2 canons combines at b114 between chrous alto and tenor and between soloists. 

General tonality is A minor but most cadences end in major (tierce de picarde) and there is strong aeolian elements in melodic lines. 

• fleeting shifts between C and D majors

• Shift to C b14

• Shift to G b17

• Shift to E min with imperfect cadences b19-21

• passing references to G minor

• distant key of B minor

• ambiguity by unrelated chords b102

• dominant pedal in A minor

• plagal cadence at end

I, IV and V in root or first inversion occasional use of VIIb, suspensions, consonant 4ths, passing notes and sometimes secondary 7ths and dissonances. 

• use of 6/4s with no preparation of resolution b6 beat 3

• switch from major to minor after a perfect cadence b34

• augmented chord with secondary 7th b31

• juxtaposition of unrelated root position triads b102-3

• unprepared dominant 7ths b104,105,110,111, 113

• variable harmonic rhythm with fast chord changes in homophonic passages. 

• Characteristic of 16thC polyphony - hint of plainsong

• 'new' elements are use of short motifs and florid ornamentation

• Conjunct lines at opening 

• Aeolian mode

• Repetition of short motif b3-5

• sequential repetitions 

• unusual passing angularity in alto b43-44

• florid ornamentation b68-69 

• Rhythmic variety

• Dotted notes, tied notes and syncopation

Text and word setting

• Text is anonymous suitable for festival in St Mark's

• Chorus restricted to singing alleluia 

• Main part of text is sung by soloists

• Accented syllables of Latin fall on stronger beats

• Syllabic and mellismatic writing

• Word painting for 'Deus'