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.
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