{"id":8503,"date":"2026-07-06T15:06:58","date_gmt":"2026-07-06T13:06:58","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=8503"},"modified":"2026-07-06T15:58:16","modified_gmt":"2026-07-06T13:58:16","slug":"mdwp017-014","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-014\/","title":{"rendered":"Andrea Gabrieli and the Venetian colorito"},"content":{"rendered":"<h3 class=\"author\"><em>S\u00e9bastien Wonner<\/em><\/h3>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        .tsquotation em {\n            font-style: italic !important;\n        }\n.tsquotation {\n line-height: 1.4 !important;   \n}\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\nfigure {\n            margin: 0;\n }<\/p>\n<p> table {\n      line-height: 1.4;\n    border-collapse: collapse;\n    width: 100%;\nfont-family: inherit;\n 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class=\"clear-fix\"><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><div class=\"toggle-content\"><p>\n<div id=\"zotpress-70f243c610fe5178a6b6163179916c76\" class=\"zp-Zotpress zp-Zotpress-Bib wp-block-group\">\n\n\t\t<span class=\"ZP_API_USER_ID ZP_ATTR\">4511395<\/span>\n\t\t<span class=\"ZP_ITEM_KEY ZP_ATTR\">{4511395:Q779TA63}<\/span>\n\t\t<span class=\"ZP_COLLECTION_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_TAG_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_AUTHOR ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_YEAR ZP_ATTR\"><\/span>\n        <span class=\"ZP_ITEMTYPE ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_INCLUSIVE ZP_ATTR\">1<\/span>\n\t\t<span class=\"ZP_STYLE 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ZP_ATTR\">%7B%22status%22%3A%22success%22%2C%22updateneeded%22%3Afalse%2C%22instance%22%3Afalse%2C%22meta%22%3A%7B%22request_last%22%3A0%2C%22request_next%22%3A0%2C%22used_cache%22%3Atrue%7D%2C%22data%22%3A%5B%7B%22key%22%3A%22Q779TA63%22%2C%22library%22%3A%7B%22id%22%3A4511395%7D%2C%22meta%22%3A%7B%22creatorSummary%22%3A%22Wonner%22%2C%22parsedDate%22%3A%222026%22%2C%22numChildren%22%3A0%7D%2C%22bib%22%3A%22%26lt%3Bdiv%20class%3D%26quot%3Bcsl-bib-body%26quot%3B%20style%3D%26quot%3Bline-height%3A%201.35%3B%20padding-left%3A%201em%3B%20text-indent%3A-1em%3B%26quot%3B%26gt%3B%5Cn%20%20%26lt%3Bdiv%20class%3D%26quot%3Bcsl-entry%26quot%3B%26gt%3BWonner%2C%20S%26%23xE9%3Bbastien.%202026.%20%26%23x201C%3BAndrea%20Gabrieli%20and%20the%20Venetian%20Colorito.%26%23x201D%3B%20In%20%26lt%3Bi%26gt%3B%26%23x2018%3BPer%20Aures%20Ad%20Animum%26%23x2019%3B.%20The%20Harpsichord%20in%20the%20Sixteenth%20Century%20II%3A%20Italy%26lt%3B%5C%2Fi%26gt%3B%2C%20edited%20by%20Augusta%20Campagne%20and%20Markus%20Grassl.%20mdwPress.%20%26lt%3Ba%20class%3D%26%23039%3Bzp-ItemURL%26%23039%3B%20href%3D%26%23039%3Bhttps%3A%5C%2F%5C%2Fdoi.org%5C%2F10.21939%5C%2Fharpsichord-italy-16c%26%23039%3B%26gt%3Bhttps%3A%5C%2F%5C%2Fdoi.org%5C%2F10.21939%5C%2Fharpsichord-italy-16c%26lt%3B%5C%2Fa%26gt%3B.%20%26lt%3Ba%20title%3D%26%23039%3BCite%20in%20RIS%20Format%26%23039%3B%20class%3D%26%23039%3Bzp-CiteRIS%26%23039%3B%20data-zp-cite%3D%26%23039%3Bapi_user_id%3D4511395%26amp%3Bitem_key%3DQ779TA63%26%23039%3B%20href%3D%26%23039%3Bjavascript%3Avoid%280%29%3B%26%23039%3B%26gt%3BCite%26lt%3B%5C%2Fa%26gt%3B%20%26lt%3B%5C%2Fdiv%26gt%3B%5Cn%26lt%3B%5C%2Fdiv%26gt%3B%22%2C%22data%22%3A%7B%22itemType%22%3A%22bookSection%22%2C%22title%22%3A%22Andrea%20Gabrieli%20and%20the%20Venetian%20colorito%22%2C%22creators%22%3A%5B%7B%22creatorType%22%3A%22author%22%2C%22firstName%22%3A%22S%5Cu00e9bastien%22%2C%22lastName%22%3A%22Wonner%22%7D%2C%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Augusta%22%2C%22lastName%22%3A%22Campagne%22%7D%2C%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Markus%22%2C%22lastName%22%3A%22Grassl%22%7D%5D%2C%22abstractNote%22%3A%22%22%2C%22bookTitle%22%3A%22%5Cu2018Per%20aures%20ad%20animum%5Cu2019.%20The%20Harpsichord%20in%20the%20Sixteenth%20Century%20II%3A%20Italy%22%2C%22date%22%3A%222026%22%2C%22originalDate%22%3A%22%22%2C%22originalPublisher%22%3A%22%22%2C%22originalPlace%22%3A%22%22%2C%22format%22%3A%22%22%2C%22ISBN%22%3A%22978-3-9505619-2-0%22%2C%22DOI%22%3A%22%22%2C%22citationKey%22%3A%22%22%2C%22url%22%3A%22https%3A%5C%2F%5C%2Fdoi.org%5C%2F10.21939%5C%2Fharpsichord-italy-16c%22%2C%22ISSN%22%3A%22%22%2C%22language%22%3A%22en%22%2C%22collections%22%3A%5B%22K7BDGWMN%22%5D%2C%22dateModified%22%3A%222026-04-14T11%3A02%3A41Z%22%7D%7D%5D%7D<\/span>\n\n\t\t\t\t<div id=\"zp-ID-8503-4511395-Q779TA63\" data-zp-author-date='Wonner-2026' data-zp-date-author='2026-Wonner' data-zp-date='2026' data-zp-year='2026' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Wonner, S\u00e9bastien. 2026. \u201cAndrea Gabrieli and the Venetian Colorito.\u201d In <i>\u2018Per Aures Ad Animum\u2019. The Harpsichord in the Sixteenth Century II: Italy<\/i>, edited by Augusta Campagne and Markus Grassl. mdwPress. <a class='zp-ItemURL' href='https:\/\/doi.org\/10.21939\/harpsichord-italy-16c'>https:\/\/doi.org\/10.21939\/harpsichord-italy-16c<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=Q779TA63' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">References<\/a><\/p>\n<\/p><\/div><\/div>\n<hr>\n<p><!-- \n\n<p style=\"text-align: right;\">[btn btnlink=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/10.1515_9783839425015-001.pdf\" btnsize=\"medium\" bgcolor=\"#b2b2b2\" txtcolor=\"#000000\" btnnewt=\"1\" nofollow=\"1\"]CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\">[\/btn]\n\n --><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_1_Le_sCquestrC_de_Venise_Sartre_titre.jpg\" alt=\"A page of French text from a literary work titled \u201cLe S\u00e9questr\u00e9 de Venise\u201d by Jean-Paul Sartre with the section heading \u201cLes Fourberies de Jacopo.\u201d The passage discusses Jacopo Tintoretto, reflecting on his enigmatic life, Venice\u2019s enduring animosity toward him, and his struggle as an artist, written in a poetic and introspective tone.\" width=\"585\" height=\"811\" class=\"alignnone size-full wp-image-8504\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_1_Le_sCquestrC_de_Venise_Sartre_titre.jpg 585w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_1_Le_sCquestrC_de_Venise_Sartre_titre-216x300.jpg 216w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_1_Le_sCquestrC_de_Venise_Sartre_titre-108x150.jpg 108w\" sizes=\"auto, (max-width: 585px) 100vw, 585px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 1:<\/b> Jean-Paul Sartre, \u2018Le s\u00e9questr\u00e9 de Venise\u2019, in: <em>Situations IV <\/em>(Paris, 1964), 291.<\/span><\/p>\n<p>In 1957, Jean-Paul Sartre wrote a long text entitled <em>The Prisoner of Venice.<\/em> The philosopher had a little-known passion for this city and one of its emblematic artists, the painter Tintoretto. Unfortunately, he did not complete the work he had hoped to devote to him. He was more reserved about Titian and Veronese and was sometimes even hard on these two members of the undisputed trio of 16th-century Venetian painting. His champion was unequivocally \u2018the most terrible brain that painting has known\u2019 as Vasari said in his <em>Lives of the Artists<\/em>: Jacopo Robusti, known as Tintoretto, or \u2018the little dyer\u2019.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_2_Tintoretto_-_Apollo_with_Concert_of_the_Muses-scaled.jpg\" alt=\"A Renaissance-style painting depicting Apollo and the Muses, featuring several nude and partially draped figures in a mythological scene. The central group includes Apollo playing a stringed instrument surrounded by Muses engaged in various artistic poses, with dynamic movement and rich chiaroscuro lighting typical of the Tintoretto school.\" width=\"2560\" height=\"1513\" class=\"alignnone size-full wp-image-8505\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_2_Tintoretto_-_Apollo_with_Concert_of_the_Muses-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_2_Tintoretto_-_Apollo_with_Concert_of_the_Muses-300x177.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_2_Tintoretto_-_Apollo_with_Concert_of_the_Muses-1024x605.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_2_Tintoretto_-_Apollo_with_Concert_of_the_Muses-150x89.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_2_Tintoretto_-_Apollo_with_Concert_of_the_Muses-768x454.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_2_Tintoretto_-_Apollo_with_Concert_of_the_Muses-1536x908.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_2_Tintoretto_-_Apollo_with_Concert_of_the_Muses-2048x1211.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_2_Tintoretto_-_Apollo_with_Concert_of_the_Muses-850x502.jpg 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_2_Tintoretto_-_Apollo_with_Concert_of_the_Muses-413x244.jpg 413w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 2:<\/b> Jacopo Tintoretto or Domenico Tintoretto, <em>Apollo and the Muses<\/em> (c.&#160;1580), Indianapolis Museum of Art, Indiana, Inv.&#160;no. 2014.82, &lt;<a href=\"https:\/\/collections.discovernewfields.org\/art\/artwork\/76671\"><span class=\"Hyperlink\">https:\/\/collections.discovernewfields.org\/art\/artwork\/76671<\/span><\/a>&gt; (accessed on 20&#160;July 2024).<\/span><\/p>\n<p>In Venice, you can\u2019t escape painting. It is everywhere, it grabs you and doesn\u2019t let you rest. If you pay attention to music, you will notice that both arts are often found in the same places: palaces, churches, <em>scuole<\/em> and elsewhere. Brushes, scissors and sound cannot ignore each other.<\/p>\n<p>Andrea Gabrieli was almost the exact contemporary of Veronese and they certainly collaborated toward the end of the musician\u2019s life. On March 3, 1585, a new performance took place: Sophocles\u2019 <em>Oedipus rex<\/em> translated into Italian by Orsatto Giustiniani. It was a remarkable event: the choruses were composed by Gabrieli and the performance inaugurated the <em>Teatro Olimpico<\/em> designed by Palladio in Vicenza. Its sumptuous perspective scenery, which still exists, was illuminated by countless oil lamps made of glass. There are also touching drawings of studies for the costumes made by Veronese himself.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a><\/span><\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_3a_Veronese_costumes_studies_for_Sophocles_Oedipus_Tyrannus_recto-scaled.jpg\" alt=\"Two sheets of pen and ink figure studies showing multiple sketched human figures in various poses, some clothed and others nude. The drawings, annotated in Italian, appear as preparatory studies for larger compositions, capturing movement and gesture in a loose, expressive Renaissance style.\" width=\"2560\" height=\"1818\" class=\"alignnone size-full wp-image-8509\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_3a_Veronese_costumes_studies_for_Sophocles_Oedipus_Tyrannus_recto-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_3a_Veronese_costumes_studies_for_Sophocles_Oedipus_Tyrannus_recto-300x213.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_3a_Veronese_costumes_studies_for_Sophocles_Oedipus_Tyrannus_recto-1024x727.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_3a_Veronese_costumes_studies_for_Sophocles_Oedipus_Tyrannus_recto-150x107.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_3a_Veronese_costumes_studies_for_Sophocles_Oedipus_Tyrannus_recto-768x545.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_3a_Veronese_costumes_studies_for_Sophocles_Oedipus_Tyrannus_recto-1536x1091.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_3a_Veronese_costumes_studies_for_Sophocles_Oedipus_Tyrannus_recto-2048x1454.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_3a_Veronese_costumes_studies_for_Sophocles_Oedipus_Tyrannus_recto-104x74.jpg 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_3a_Veronese_costumes_studies_for_Sophocles_Oedipus_Tyrannus_recto-850x604.jpg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 3a and b:<\/b> Paolo Veronese, <em>Costume Studies for Sophocles\u2019 \u2018Oedipus Tyrannus\u2019<\/em> (recto and verso) (c.&#160;1584\u201385), J.&#160;Paul Getty Museum, Los Angeles, Inv.&#160;no. 91.GG.3, &lt;<a href=\"https:\/\/www.getty.edu\/art\/collection\/object\/103R50\"><span class=\"Hyperlink\">https:\/\/www.getty.edu\/art\/collection\/object\/103R50<\/span><\/a>&gt; (accessed on 20&#160;July 2024).<\/span><\/p>\n<p>Even though it is difficult to specify the relationships among these artists, our musician lived in a world of poets, humanists and artists. Tintoretto played the lute and had links to not only Gioseffo Zarlino, chapel master of Saint Mark\u2019s, but also undoubtedly Gabrieli, one of whose madrigals appears in a painting by Tintoretto.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_4_Tintoretto_Female_concert-scaled.jpg\" alt=\"A Renaissance painting depicting a group of nude and semi-draped women gathered around a harpsichord, playing and reading music. Musical instruments, including a viol and sheet music, lie on the floor. The composition, rich in color and detail, celebrates harmony, beauty, and artistic inspiration.\" width=\"2560\" height=\"1691\" class=\"size-full wp-image-8511\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_4_Tintoretto_Female_concert-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_4_Tintoretto_Female_concert-300x198.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_4_Tintoretto_Female_concert-1024x676.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_4_Tintoretto_Female_concert-150x99.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_4_Tintoretto_Female_concert-768x507.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_4_Tintoretto_Female_concert-1536x1015.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_4_Tintoretto_Female_concert-2048x1353.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_4_Tintoretto_Female_concert-850x561.jpg 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_4_Tintoretto_Female_concert-742x490.jpg 742w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 4:<\/b> Jacopo or Domenico Tintoretto, <em>Female Concert <\/em>(after 1566), Gem\u00e4ldegalerie Alte Meister, Dresden, Inv.&#160;no. 265, &lt;<a href=\"https:\/\/www.skd.museum\/programm\/alle-macht-der-imagination-tschechische-saison-in-dresden\/boehmische-spuren-in-der-gemaeldegalerie-alte-meister\/#c32896\"><span class=\"Hyperlink\">https:\/\/www.skd.museum\/programm\/alle-macht-der-imagination-tschechische-saison-in-dresden\/boehmische-spuren-in-der-gemaeldegalerie-alte-meister\/&#173;&#173;#c32896<\/span><\/a>&gt; (acces&#173;sed on 20&#160;July 2024).<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_5_Gabrieli_Quando_lieta_canto.jpg\" alt=\"A page from a Renaissance printed music book showing staff notation and lyrics in Italian. The page features decorative initials, neatly aligned musical notes, and early typographic design, typical of 16th-century vocal music publications.\" width=\"1824\" height=\"1444\" class=\"alignnone size-full wp-image-8512\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_5_Gabrieli_Quando_lieta_canto.jpg 1824w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_5_Gabrieli_Quando_lieta_canto-300x238.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_5_Gabrieli_Quando_lieta_canto-1024x811.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_5_Gabrieli_Quando_lieta_canto-150x119.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_5_Gabrieli_Quando_lieta_canto-768x608.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_5_Gabrieli_Quando_lieta_canto-1536x1216.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_5_Gabrieli_Quando_lieta_canto-850x673.jpg 850w\" sizes=\"auto, (max-width: 1824px) 100vw, 1824px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 5:<\/b> \u2018Quando lieta ver noi\u2019, in: Andrea Gabrieli, <em>Il primo libro de madrigali a cinque voci<\/em> (Venice: Angelo Gardano, 1566), canto partbook, p.&#160;8, &lt;<span class=\"Hyperlink\">https:\/\/books.google.at\/books?id=N5h_MW-Ri7wC&amp;printsec=frontcover&amp;hl=de &#8211; v=onepage&amp;q&amp;f=false<\/span>&gt; (accessed on 20&#160;July 2024).<\/span><\/p>\n<p>Did Gabrieli appreciate the painter\u2019s fury, or did he have a stronger inclination towards Titian, the national glory? Was he sensitive to the painter\u2019s brushstrokes, sometimes faint and nervous; to the unfinished appearance for which his work was criticized, to his speed of execution, as often dismissed as sloppiness as it was hailed as a proof of genius? We may never know, but there are nevertheless some clues. Our Gabrieli, who was born in the parish of St. Jeremiah and was an organist there, is often referred to as \u2018Andrea da Cannaregio\u2019, the neighborhood where Tintoretto spent much of his life and was buried. Tintoretto\u2019s daughter, Marietta, nicknamed La Tintoretta, painted an expressive self-portrait of herself as a musician in front of a harpsichord.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_6_Tintoretta_autorittrato_madrigale.jpg\" alt=\"A Renaissance portrait of a young woman dressed in an elegant pale gown with lace details, standing beside a keyboard instrument. She holds an open music book in one hand while resting the other over the keys, gazing calmly at the viewer against a dark background.\" width=\"1760\" height=\"1932\" class=\"alignnone size-full wp-image-8513\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_6_Tintoretta_autorittrato_madrigale.jpg 1760w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_6_Tintoretta_autorittrato_madrigale-273x300.jpg 273w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_6_Tintoretta_autorittrato_madrigale-933x1024.jpg 933w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_6_Tintoretta_autorittrato_madrigale-137x150.jpg 137w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_6_Tintoretta_autorittrato_madrigale-768x843.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_6_Tintoretta_autorittrato_madrigale-1399x1536.jpg 1399w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_6_Tintoretta_autorittrato_madrigale-850x933.jpg 850w\" sizes=\"auto, (max-width: 1760px) 100vw, 1760px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 6:<\/b> Marietta Robusti, La Tintoretta, <em>Self-Portrait<\/em> (c.&#160;1578), Corridoio Vasariano, Galleria degli Uffizi, Florence, Inv.&#160;no.&#160;1890n.1898, &lt;<a href=\"https:\/\/www.uffizi.it\/opere\/autoritratto-con-madrigale-marietta-robusti\"><span class=\"Hyperlink\">https:\/\/www.uffizi.it\/opere\/autoritratto-con-&#173;madrigale-marietta-robusti<\/span><\/a>&gt; (ac&#173;ces&#173;sed on 20&#160;July 2024).<\/span><\/p>\n<p>Gabrieli was not, strictly speaking, a \u2018prisoner of Venice\u2019, but his city was in his blood. When he traveled to Munich and befriended the great Orlando di Lasso, musician at Duke of Bavaria\u2019s court, Lassus might have given Gabrieli a copy of his song, \u2018Suzanne un jour\u2019, which would become very famous across Europe. Was his keyboard version of this uplifting and moving story composed with one or more of Tintoretto\u2019s painted versions in mind? One might well imagine so \u2013 but we can also wonder if he preferred Veronese\u2019s representations of the story.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_7_Jacopo_Robusti_called_Tintoretto_-_Susanna_and_the_Elders_Vienne-scaled.jpg\" alt=\"A Renaissance painting depicting a nude woman seated outdoors, drying her foot beside a reflective pool, with a mirror, jewellery, and a maid in the background. An elderly man peeks from behind a rose-covered hedge on the left. The scene portrays the biblical story of *Susanna and the Elders*, rendered with rich colour and fine detail.\" width=\"2560\" height=\"1940\" class=\"alignnone size-full wp-image-8514\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_7_Jacopo_Robusti_called_Tintoretto_-_Susanna_and_the_Elders_Vienne-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_7_Jacopo_Robusti_called_Tintoretto_-_Susanna_and_the_Elders_Vienne-300x227.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_7_Jacopo_Robusti_called_Tintoretto_-_Susanna_and_the_Elders_Vienne-1024x776.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_7_Jacopo_Robusti_called_Tintoretto_-_Susanna_and_the_Elders_Vienne-150x114.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_7_Jacopo_Robusti_called_Tintoretto_-_Susanna_and_the_Elders_Vienne-768x582.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_7_Jacopo_Robusti_called_Tintoretto_-_Susanna_and_the_Elders_Vienne-1536x1164.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_7_Jacopo_Robusti_called_Tintoretto_-_Susanna_and_the_Elders_Vienne-2048x1552.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_7_Jacopo_Robusti_called_Tintoretto_-_Susanna_and_the_Elders_Vienne-850x644.jpg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 7:<\/b> Jacopo or Domenico Tintoretto, <em>Susanna bathing \/ Susanna and the Elders <\/em>(c.&#160;1555\/56), Kunsthistorisches Museum, Vienna, Inv.&#160;no. Gem\u00e4ldegalerie 1530, &lt;<a href=\"http:\/\/www.khm.at\/de\/object\/1564\/\"><span class=\"Hyperlink\">http:\/\/www.khm.at\/de\/object\/1564\/<\/span><\/a>&gt; (accessed on 20&#160;July 2024).<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_8_Suzanne_et_les_vieillards_Louvre_Veronese-scaled.jpeg\" alt=\"A Renaissance painting showing a partially draped woman seated beside two elderly men in rich robes, who lean toward her in an intense exchange. Behind them stands a classical statue and trees. The scene represents the biblical story of \u201cSusanna and the Elders\u201d, rendered with dramatic lighting and expressive gestures.\" width=\"2536\" height=\"2560\" class=\"alignnone size-full wp-image-8515\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_8_Suzanne_et_les_vieillards_Louvre_Veronese-scaled.jpeg 2536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_8_Suzanne_et_les_vieillards_Louvre_Veronese-297x300.jpeg 297w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_8_Suzanne_et_les_vieillards_Louvre_Veronese-1015x1024.jpeg 1015w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_8_Suzanne_et_les_vieillards_Louvre_Veronese-150x150.jpeg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_8_Suzanne_et_les_vieillards_Louvre_Veronese-768x775.jpeg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_8_Suzanne_et_les_vieillards_Louvre_Veronese-1522x1536.jpeg 1522w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_8_Suzanne_et_les_vieillards_Louvre_Veronese-2029x2048.jpeg 2029w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_8_Suzanne_et_les_vieillards_Louvre_Veronese-850x858.jpeg 850w\" sizes=\"auto, (max-width: 2536px) 100vw, 2536px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 8:<\/b> Paolo Veronese, <em>Susanna and the Elders<\/em>, Mus\u00e9e du Louvre, Paris, Inv.&#160;no. INV 137 MR 388, &lt;<a href=\"https:\/\/collections.louvre.fr\/ark:\/53355\/cl010061271\"><span class=\"Hyperlink\">https:\/\/collections.louvre.fr\/ark:\/53355\/cl010061271<\/span><\/a>&gt; (accessed on 20&#160;July 2024).<\/span><\/p>\n<p><span class=\"caption-text\"><b>Audio 2:<\/b> \u2018Canzon deta Suzanne un jour\u2019,in: Andrea Gabrieli, <em>Canzoni alla francese et ricercari ariosi<\/em> [\u2026]. <em>Libro quinto<\/em> (Venice: Antonio Gardano, 1605).<\/span><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-8503-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Audio-1_Canzon-detta-Suzanne-un-iour-a-cinque-voci-dOrlando-Lasso-Andrea-Gabriel-La-peine-de-mon-coeur_klein.wav?_=1\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Audio-1_Canzon-detta-Suzanne-un-iour-a-cinque-voci-dOrlando-Lasso-Andrea-Gabriel-La-peine-de-mon-coeur_klein.wav\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Audio-1_Canzon-detta-Suzanne-un-iour-a-cinque-voci-dOrlando-Lasso-Andrea-Gabriel-La-peine-de-mon-coeur_klein.wav<\/a><\/audio>\n<p>In my work to bring this music to life, I confess to having been preoccupied by the question of the Venetian <em>colorito.<\/em> In the great debate between the primacy of drawing (<em>disegno<\/em>) or color, Venice has always been placed in opposition to Florence, which held <em>il disegno<\/em> as the foundation of all pictorial and sculptural achievement through the voice of its greatest chronicler, Giorgio Vasari.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a><\/span><\/span> Venetian painters prepared their canvases with a brown underpainting, then brought a sense of light to the work using contrasting colors. Sometimes, the great Giorgione even painted directly onto the canvas without a preliminary drawing.<\/p>\n<p>In the mercantile city of Venice, a cosmopolitan gateway to the East, this explosion of chromatic vivacity is amplified by the play of reflections in the Lagoon. One could even go so far as to use the term <em>chiaroscuro<\/em> were it not so inextricably associated with Florence. Faced with the suppleness of musical line and with the physical gestures of an incomparable genius like Gabrieli, it seemed to me that music could not have been external to the energy that the technique of <em>colorito <\/em>brought to art. It would be absurd to think that music would be constrained to the scholastic rigor that we sometimes misleadingly associate with strict counterpoint. There is undoubtedly a dialectical relationship between musical and pictorial flexibility.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a><\/span><\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig_9_Merulo_Toccata_2_fs-scaled.jpg\" alt=\"An open page of an early printed music score titled \u201cToccata Secvonda.\u201d The pages feature elaborate calligraphic notation with dense musical passages, ornate initials, and hand-drawn staff lines, typical of late Renaissance or early Baroque Italian keyboard music manuscripts.\" width=\"2560\" height=\"1477\" class=\"alignnone size-full wp-image-8508\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig_9_Merulo_Toccata_2_fs-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig_9_Merulo_Toccata_2_fs-300x173.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig_9_Merulo_Toccata_2_fs-1024x591.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig_9_Merulo_Toccata_2_fs-150x87.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig_9_Merulo_Toccata_2_fs-768x443.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig_9_Merulo_Toccata_2_fs-1536x886.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig_9_Merulo_Toccata_2_fs-2048x1181.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig_9_Merulo_Toccata_2_fs-850x491.jpg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 9:<\/b> \u2018Toccata seconda\u2019, in: Claudio Merulo, <em>Toccate d\u2019intavolatura d\u2019organo<\/em> [\u2026] <em>libro primo<\/em> (Rome: Simone Verovio, 1598), pp.&#160;4\u20136, &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00094272\">https:\/\/mdz-nbn-resolving.de\/details:bsb00094272<\/a>&gt; (ac&#173;cessed on 20&#160;July 2024).<\/span><\/p>\n<p>The movable typeface used for the editions of Gabrieli\u2019s keyboard music conditioned the notation of ornaments, which have sometimes been considered stiff and scholastic as a result. But such a conclusion misconstrues a technical and economic constraint of music printing as a defect, seeing it as detrimental to the real implementation of the piece. And yet, we have the counterexample of Gabrieli\u2019s contemporary and colleague at San Marco, the organist Claudio Merulo, whose publications benefited from the new technology of copperplate engravings, which gave him complete freedom to write precise ornaments and diminutions. It seems obvious that these two musicians inhabited the same world and that the musical realization of their works, ornamented and softened by improvisation, are surely closer than the appearance of the finished products suggests. I can no longer believe in the old trope of Andrea Gabrieli always being second to Merulo, as though he were the \u2018boy next door\u2019 of the organists of the basilica.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_11_Gabrieli_intonazione_4_fs-scaled.jpg\" alt=\"A two-page spread of early printed keyboard music showing staves with dense, flowing notation. The heading \u201cQuarto Tuono\u201d appears at the top left. The music features characteristic arpeggiated and contrapuntal passages of late Renaissance or early Baroque style, arranged neatly across both pages.\" width=\"2560\" height=\"1291\" class=\"alignnone size-full wp-image-8516\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_11_Gabrieli_intonazione_4_fs-scaled.jpg 2560w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_11_Gabrieli_intonazione_4_fs-300x151.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_11_Gabrieli_intonazione_4_fs-1024x517.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_11_Gabrieli_intonazione_4_fs-150x76.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_11_Gabrieli_intonazione_4_fs-768x387.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_11_Gabrieli_intonazione_4_fs-1536x775.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_11_Gabrieli_intonazione_4_fs-2048x1033.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_11_Gabrieli_intonazione_4_fs-850x429.jpg 850w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 10:<\/b> \u2018[Intonazione] Quarto Tono\u2019,in: Andrea Gabrieli, <em>Intoniationi d\u2019organo <\/em>[\u2026] <em>libro primo<\/em> (Venice: Antonio Gardano, 1593), fol&#160;13<span class=\"Hochgestellt\">v<\/span>\u201315<span class=\"Hochgestellt\">r<\/span>, &lt;<a href=\"https:\/\/doi.org\/10.3931\/e-rara-102883\"><span class=\"Hyperlink\">https:\/\/doi.org\/10.3931\/e-rara-102883<\/span><\/a>&gt;(accessed on 20&#160;July 2024).<\/span><\/p>\n<p><span class=\"caption-text\"><b>Audio 2:<\/b><\/span><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-8503-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Audio-2_Intonazione-del-quarto-tono-Andrea-Gabriel-La-peine-de-mon-coeur.wav?_=2\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Audio-2_Intonazione-del-quarto-tono-Andrea-Gabriel-La-peine-de-mon-coeur.wav\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Audio-2_Intonazione-del-quarto-tono-Andrea-Gabriel-La-peine-de-mon-coeur.wav<\/a><\/audio>\n<p>Merulo was unquestionably the theorist Girolamo Diruta\u2019s favorite, even though he makes reference to the \u2018due gran campioni\u2019 of San Marco. In his <em>Transilvano<\/em>, Diruta, a former student of Merulo, codifies Merulo\u2019s teachings, but he also includes some unflattering statements about the primacy of the organ over plucked instruments like the harpsichord that took me a long time to understand, if not to accept. Why this assumed hierarchy between the organ and the \u2018strumenti da penna\u2019, quilled instruments like the harpsichord, <em>arpicordo<\/em>, and <em>spinetta<\/em>, among others? Above all, it seems to me that this is symptomatic of the equally inexcusable hierarchy between the guild of musicians (the <em>sonadori di musica<\/em>)and the guild of minstrels (the <em>sonadori da ballo<\/em>), who specialized in dance music but often lacked the ability to read or notate it. With what is surely in some bad faith, Diruta exclusively relates the harpsichord to dance music, even though the facts prove the contrary: Venetian harpsichord making flourished with the production of sumptuous instruments of unparalleled quality by luthiers such as Baffo, Trasuntino, Patavinus, Pisaurensis, etc. Of Gabrieli\u2019s six printed collections, the first and one other (lost, but copied in a later manuscript) were expressly intended for the organ and the other four simply specify that they are \u2018to be played on keyboard instruments\u2019 (\u2018per sonar sopra istromenti da tasti\u2019). Expertly constructed harpsichords have been found in palaces and homes \u2013 even in the homes of barbers, who had a widely used right to give music concerts, and to teach music.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a><\/span><\/span><\/p>\n<p><span class=\"caption-text\"><b>Audio 3:<\/b> \u2018Ricercar sopra Martin menoit di Janequin\u2019, in: Andrea Gabrieli, <em>Canzoni alla francese et ricercari ariosi<\/em> [\u2026]. <em>Libro quinto<\/em> (Venice: Antonio Gardano, 1605).<\/span><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-8503-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Audio-3_Ricercar-sopra-Martin-menoit-Andrea-Gabriel-La-peine-de-mon-coeur_klein.wav?_=3\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Audio-3_Ricercar-sopra-Martin-menoit-Andrea-Gabriel-La-peine-de-mon-coeur_klein.wav\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Audio-3_Ricercar-sopra-Martin-menoit-Andrea-Gabriel-La-peine-de-mon-coeur_klein.wav<\/a><\/audio>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_14_Veronese.Lucretia01-scaled.jpg\" alt=\"A Renaissance painting of a woman in luxurious green and gold garments, adorned with pearls and jewellery. She looks downward while holding a small object in her hand, her expression contemplative. The rich fabrics and detailed textures highlight the artist\u2019s mastery of light and colour.\" width=\"2132\" height=\"2560\" class=\"size-full wp-image-8507\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_14_Veronese.Lucretia01-scaled.jpg 2132w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_14_Veronese.Lucretia01-250x300.jpg 250w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_14_Veronese.Lucretia01-853x1024.jpg 853w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_14_Veronese.Lucretia01-125x150.jpg 125w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_14_Veronese.Lucretia01-768x922.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_14_Veronese.Lucretia01-1279x1536.jpg 1279w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_14_Veronese.Lucretia01-1705x2048.jpg 1705w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Ex_14_Veronese.Lucretia01-850x1021.jpg 850w\" sizes=\"auto, (max-width: 2132px) 100vw, 2132px\" \/><br \/>\n<span class=\"caption-text\"><span class=\"Fett\">Figure 11:<\/span> Paolo Veronese, <em>Lucretia <\/em>(c.&#160;1582\/83), Kunsthistorisches Museum, Vienna, Inv.&#160;no. Gem\u00e4ldegalerie 1561, &lt;<a href=\"http:\/\/www.khm.at\/en\/object\/389\/\"><span class=\"Hyperlink\">http:\/\/www.khm.at\/en\/object\/389\/<\/span><\/a>&gt; (accessed on 20&#160;July 2024).<\/span><\/p>\n<p>The harpsichord is an instrument that evokes closeness and an intimacy that expresses itself in a world that could not be more different from public performances on the organ. It invites listeners to a privileged place of private enjoyment, where poetic fury can be expressed most naturally: \u2018Who will tell the pain of my heart?\u2019 And to say along with Willaert, chapel master of Saint Mark\u2019s, stepping out of the basilica onto the <em>piazzetta<\/em>: \u2018Partir da voi vorrei, Tanto son dolci gli ritorni miei\u2019.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a><\/span><\/span><\/p>\n<p><span class=\"caption-text\"><b>Audio 4:<\/b> \u2018Ancor che co\u2019l partire. Madrigale a 4. di Cipriano de Rore\u2019, in: Andrea Gabrieli, <em>Il terzo libro de ricercari<\/em> (Venice: Antonio Gardano, 1596), fol.&#160;32<span class=\"Hochgestellt\">r<\/span>\u201334<span class=\"Hochgestellt\">r<\/span>, &lt;<a href=\"https:\/\/doi.org\/10.3931\/e-rara-55399\"><span class=\"Hyperlink\">https:\/\/doi.org\/10.3931\/e-rara-55399<\/span><\/a>&gt; (accessed on 20&#160;July 2024).<\/span><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-8503-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/wav\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Audio-4_Ancor-che-col-partire.-Madrigale-a-quattro-voci-di-Cipriano-de-Rore-Andrea-Gabriel-La-peine-de-mon-coeur_klein.wav?_=4\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Audio-4_Ancor-che-col-partire.-Madrigale-a-quattro-voci-di-Cipriano-de-Rore-Andrea-Gabriel-La-peine-de-mon-coeur_klein.wav\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Audio-4_Ancor-che-col-partire.-Madrigale-a-quattro-voci-di-Cipriano-de-Rore-Andrea-Gabriel-La-peine-de-mon-coeur_klein.wav<\/a><\/audio>\n<p class=\"Normal_rb\" lang=\"de-DE\" xml:lang=\"de-DE\">(Translation of the article: Philippe Canguilhem)<\/p>\n<h4>Endnotes<\/h4>\n<hr class=\"HorizontalRule-1\" \/>\n<ol>\n<li id=\"fn1\">\n<p>Cf. S\u00e9bastien Wonner, \u2018Andrea Gabrieli and the Venetian Colorito\u2019 [Liner-notes], in: <em>Andrea Gabrieli. La peine de mon c\u0153ur<\/em>, S\u00e9bastien Wonner (harpsichord), CD-recording L\u2019Encelade ECL 2102 (2023).<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>Cf. ibid.<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>Cf. ibid.<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>Cf. ibid.<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>\u2018I wish to part from you, So sweet are my returns.\u2019<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<h4 id=\"1\">References<\/h4>\n<p><\/p>\n<p>The Audio examples are also included in the CD <em>Andrea Gabrieli. La peine de mon c\u0153ur \u2013 <\/em>S\u00e9bastien Wonner, harpsichord (L\u2019Encelade 2023). Sound recording by Jean-Michel Olivares, Italian harpsichord by Matthias Griewisch. Special thanks go to St\u00e9phane Breyer, producer.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>S\u00e9bastien Wonner &nbsp; Figure 1: Jean-Paul Sartre, \u2018Le s\u00e9questr\u00e9 de Venise\u2019, in: Situations IV (Paris, 1964), 291. In 1957, Jean-Paul Sartre wrote a long text entitled The Prisoner of Venice. The philosopher had a little-known passion for this city and one of its emblematic artists, the painter Tintoretto. Unfortunately, he did not complete the work &hellip;<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[271],"tags":[],"class_list":["post-8503","post","type-post","status-publish","format-standard","hentry","category-harpsichord-in-the-sixteenth-century-2-italy"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Andrea Gabrieli and the Venetian colorito &#8211; mdwPress<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-014\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Andrea Gabrieli and the Venetian colorito &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"S\u00e9bastien Wonner &nbsp; Figure 1: Jean-Paul Sartre, \u2018Le s\u00e9questr\u00e9 de Venise\u2019, in: Situations IV (Paris, 1964), 291. In 1957, Jean-Paul Sartre wrote a long text entitled The Prisoner of Venice. The philosopher had a little-known passion for this city and one of its emblematic artists, the painter Tintoretto. 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