Editing Jacobus Gallus (section)

== Work ==
Gallus represented the [[Counter-Reformation]] in Bohemia, mixing the polyphonic style of the High Renaissance [[Franco-Flemish School]] with the style of the [[Venetian School (music)|Venetian School]].  His output was both sacred and secular, and hugely prolific:  over 500 works have been attributed to him.  Some are for large forces, with multiple choirs of up to 24 independent parts.<ref name="Skei/Pokorn, Grove online"/><ref>Reese, pp. 736–738</ref>
[[File:Ecce quomodo Gallus tenor voice.jpg|thumb|250px|Tenor voice part of Gallus' ''[[Ecce quomodo moritur iustus]]'', published in his Opus Musicum II (1587).<ref>Jacobus Gallus. [http://www.fischer-download.de/Search.aspx?ISBNID=be05399c-12e1-4ecc-8373-5bb170e4ca01&Aufruf=UeberUrl&SucheTyp=Katalog#Ergebnisse Opus Musicum II] (Secvndvs Tomvs. Mvsici Operis, Harmoniarvm Qvatvor, Qvinqve, Sex, Octo Et Plvrivm Vocvm : Qvae Ex Sancto Catholicae Ecclesiae Vsv Ita Svnt Dispositae, vt omni tempore inseruire queant. Ad Dei Opt: Max: laudem, et Ecclesiae sanctae decus / Avthore Iacobo Hándl / Pragae, Typis Nigrinianis. Anno M.D.LXXXVII). Prague : Nigrinianis, 1587.</ref>]]
His most notable work is the four-part ''Opus musicum'' (1586–1590), a collection of 374 [[motet]]s that cover the liturgical needs of the entire ecclesiastical year. The motets were printed in the Prague printing house of [[Georgius Nigrinus]], which also published 16 of his 20 extant [[mass (liturgy)|mass]]es. The motet ''O magnum mysterium'' comes from the first volume (printed in 1586), which covers the period from the first Sunday of [[Advent]] to the [[Septuagesima]]. His motets show evidence of influence by the [[Venetian polychoral style]], with their use of the ''[[coro spezzato]]'' technique.<ref>{{cite journal |last1=Cvetko |first1=Dragotin |title=Jacobus Gallus Carniolus and His Music |journal=The Slavonic and East European Review |date=1953 |volume=31 |issue=77 |page=499 |jstor=4204465 |url=https://www.jstor.org/stable/4204465 |access-date=27 April 2022}}</ref>

His wide-ranging, eclectic style blended archaism and modernity. He rarely used the ''[[cantus firmus]]'' technique, preferring the then-new Venetian polychoral manner, yet he was equally conversant with earlier imitative techniques. Some of his [[chromaticism|chromatic]] transitions foreshadowed the breakup of [[musical mode|modality]]; his five-voice motet ''Mirabile mysterium'' contains chromaticism worthy of [[Carlo Gesualdo]]. He enjoyed [[word painting]] in the style of the [[madrigal (music)|madrigal]], yet he could write the simple ''[[Ecce quomodo moritur justus (Gallus)|Ecce quomodo moritur justus]]''<ref>Jeż 2007, p. 40</ref> later used by [[George Frideric Handel]] in his funeral anthem ''[[The ways of Zion do mourn / Funeral Anthem for Queen Caroline|The Ways of Zion Do Mourn]]''.<ref>{{Cite book |last=Burrows |first=Donald |url=https://www.worldcat.org/oclc/65287478 |title=Handel and the English Chapel Royal |date=2005 |publisher=Oxford University Press |isbn=1-4237-6532-X |location=Oxford |pages=372 |oclc=65287478}}</ref>

His secular output, about 100 short pieces, was published in the collections ''Harmoniae morales'' (Prague 1589 and 1590) and ''Moralia'' ([[Nuremberg]] 1596).  Some of these works were madrigals in Latin, an unusual language for the form (most madrigals were in Italian); others were songs in German, and others were compositions in Latin.<ref name="Skei/Pokorn, Grove online"/>

Critical editions of Gallus works have been prepared by [[Edo Škulj]] and published by the [[Slovenian Academy of Sciences and Arts|Research Centre of the Slovenian Academy of Sciences and Arts (ZRCSAZU)]].