Life[ edit ] He was born in Rome on 7 July He clearly decided to become a priest from an early age, and became associated with the Oratory of Filippo Neri around In he was employed as an organist at S Marcello, and likely became maestro di cappella at the Basilica di San Giovanni in Laterano , after Francesco Soriano , between or and In he held a similar post at Verona Cathedral, his first appointment outside of Rome; he stayed there until , when he went back to Rome; and he stayed there, aside for a few travels, until , in a variety of roles becoming a priest at last in Unfortunately he never saw Rome again; he died while traveling back home, while in Graz , Austria , and was buried there on 12 June Musical style[ edit ] Giovanni Anerio was a much more progressive composer than his brother, and in the conservative environment of Rome in the early 17th century, this was progressive indeed.
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Deutsch Famous composers can cast long shadows. The attention paid to Palestrina in the four centuries since his death has meant the neglect of a substantial group of composers who were his contemporaries, or part of the following generation.
And yet the forty or so years between and saw a huge expansion in Roman musical activity and a consequent explosion of composition by native Italians attracted to the city. Each of these composers was an individual and, while much of their music did continue to develop the style of the later Palestrina, they also began to explore the new ground opened up, for example, by the advent of the basso continuo.
This is certainly true of the Anerio brothers, Felice and Giovanni Francesco, born in the s into a Roman musical family—their father, Maurizio, was a trombone player—and the music presented here, some of it being heard for the first time since the seventeenth century, should help make listeners aware of the riches waiting to be discovered in the works of these composers.
In fact there are three settings of this text, two attributed to Felice and one to Giovanni Francesco, though none is found in sources before the nineteenth century.
What accounts for the popularity of this and a handful of similar pieces by other composers from the period? It is basically a very simple homophonic setting which relies on the effective use of suspensions as its main expressive device. He was born in Rome in about and, after a musical education, took minor orders. He died on his way back to Rome in His Missa Pro defunctis, published in , is one of an increasing number of such settings found in late sixteenth-century Rome and Spain.
The solo sections for various groupings in this and other movements are particularly effective, both in themselves and in providing overall contrast and balance. Plainsong pervades the work, both as cantus firmus and paraphrase, but often in very subtle ways. Felice Anerio, the elder of the two brothers, was born in about Service at various Roman churches followed, including spells as maestro at the Spanish Santa Maria di Monserrato and the English College, before he was appointed composer to the Papal Chapel on the death of Palestrina in This appointment was engineered by his patron, the papal nephew Cardinal Aldobrandini, and was not entirely welcomed by the members of the Papal Chapel, which at that period included a number of composers such as Giovanni Maria Nanino who would have regarded themselves as being of equal standing with Anerio.
In the early s he acted as maestro to Duke Giovanni Angelo Altemps, who maintained an important private chapel in the city, and while in his service he too, like his younger brother, began to explore the new styles of writing for small numbers of voices with basso continuo.
His very large output in this area has remained completely unedited and ignored, leading to his being somewhat unjustly regarded as more conservative than his younger brother. That said, his larger-scale sacred music remains close in style to that of the late Palestrina.
He too was ordained a priest in Most of the music by Felice presented here is for double choir, a medium of great popularity in post-Tridentine Rome; indeed Rome far outstripped Venice in the production of polychoral music in the late sixteenth and early seventeenth centuries. This music was usually accompanied by organ and other instruments, though not in the Sistine chapel, for which the Magnificat setting sung here was written. It is through-composed and loosely based on the fifth reciting tone which is quoted at intervals during the piece.
The verses are divided between the choirs, with important words and phrases being highlighted by antiphonal exchange, by the use of eight voices together, or by changes in texture from homophony to polyphony or vice versa. Vidi speciosam sets a text from the Song of Songs, a source of erotic verse which, because of its biblical pedigree, was a safe and therefore popular quarry for late sixteenth-century composers.
Ad te levavi sets Psalm whose penitential text would have made it suitable for singing in Roman oratories during Lent.
Salve regina is the Marian antiphon sung at the end of Compline or Vespers between Pentecost and Advent. It contrasts a high choir with a low one, something unusual in Roman double-choir music.
The restrained setting matches well the imploring mood of the text while Anerio relies for expression on the sharpening of thirds and the juxtaposition of major and minor harmonies, something which underlines the poignancy of the words. Und dabei waren die ca. Jahrhundert vorliegt.
Es handelt sich um eine sehr schlichte homophone Vertonung, deren Hauptausdrucksmittel geschickt eingesetzte Vorhalte sind.
Er wurde etwa in Rom geboren und trat, nachdem er eine Musikausbildung genossen hatte, einem niederen geistlichen Stand bei. Jahrhundert zunehmend auftrat. Der Choral durchzieht das gesamte Werk, sowohl als Cantus firmus als auch als Paraphrase, oft jedoch auf sehr subtile Art und Weise. Unter den Mitgliedern der Kapelle befanden sich zu der Zeit eine Reihe von Komponisten, so etwa Giovanni Maria Nanino, die sich als gleichrangig mit Anerio betrachteten.
Zu Beginn des ersten Jahrzehnts des Jahrhunderts sehr beliebt war. Ad te levavi ist eine Vertonung des Psalms bzw. Salve regina ist die Marianische Antiphon, die zum Schluss der Komplet beziehungsweise der Vesper zwischen Pfingsten und Advent gesungen wird.
Giovanni Francesco Anerio