Music by the Gabrielis in the Levoča and Bardejov Collections
Music by the Gabrielis in the Levoča and Bardejov Collections

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

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