Giovanni Gabrieli (1557-1612), nephew and pupil of Andrea, was likewise celebrated as organist, teacher, and composer. From 1575 to 1579 he was at the court in Munich. In 1585 he succeeded Merulo as first organist at St. Mark’s, a position which he held until his death. Heinrich Schuetz and Michael Prætorius were among his famous pupils. As composer he stood at the head of the Venetian school, being, like his uncle, a great master of vocal forms and showing a special preference for compositions for double and triple chorus. For organ he left preludes, a _toccata_, and several _ricercari_ and _canzoni_. A valuable and attractive work of his is the _Sonata pian e forte_ in eight independent parts (quoted in Wasielewski’s _Geschichte der Instrumentalmusik_). The two Gabrielis occupy a place of large importance in the early development of organ music and may be said to be the first real organ composers. Their _ricercari_ mark a distinct advance over the compositions of their predecessors, especially in their fugal construction. Giovanni Pierluigi da Palestrina (1526-1594), _maestro di cappella_ of St. Peter’s at Rome from 1571 until his death, and the greatest master of the unaccompanied polyphonic choral style, wrote some for the organ, including eight _ricercari_. The character of his music is quiet, serious, and dignified, contrasting favorably with the often dull and meaningless _ricercari_ of the older Netherlanders. Wasielewski’s estimate of these older compositions is: ‘The impression they produce is essentially wearisome, dry, and monotonous. They are generally of great length and they sound like troubled, uneasy successions of notes, wanting in contrast of subjects and strength of ideas; the eye is more satisfied than the ear.’[99] Luzzasco Luzzaschi (1545-1607) was organist of the Cathedral of Ferrara. Merulo conferred upon him the title of ‘first organist of Italy.’ A good organ number is his Toccata in the fourth tone. Gioseffo Guami (about 1550-1611) enjoyed an excellent reputation as organist and composer. He was organist first at Munich, then at St. Mark’s, and finally at the cathedral in Lucca, his native town. His _canzona_ ‘_La Guamina_’ (quoted by Ritter) is a valuable composition and shows him as a master of form, gifted with refreshing inventive powers.