Felice Anerio: Difference between revisions

Browse history interactively ← Previous editContent deleted Content addedVisual WikitextInline

Revision as of 04:19, 28 July 2016 editYtbr (talk \| contribs)Extended confirmed users873 editsm →External links ← Previous edit		Latest revision as of 02:59, 11 May 2024 edit undoSmasongarrison (talk \| contribs)Extended confirmed users, New page reviewers, Pending changes reviewers, Rollbackers721,983 editsm Moving from Category:17th-century male musicians to Category:17th-century Italian male musicians Diffusing per WP:DIFFUSE and/or WP:ALLINCLUDED using Cat-a-lot
(17 intermediate revisions by 12 users not shown)
Line 1:		Line 1:
			{{Short description\|Italian composer (1560–1614)}}

	]		]

	'''Felice Anerio''' (c. 1560 – 26 or 27 September 1614) was an ] composer of the late ] and early ] eras, and a member of the ] of composers. He was the older brother of another important, and somewhat more progressive composer of the same period, ].		'''Felice Anerio''' ({{circa\|1560}}{{snd}}26 or 27 September 1614) was an Italian composer of the late ] and early ] eras, and a member of the ] of composers. He was the older brother of another important, and somewhat more progressive composer of the same period, ].

	==Life==		==Life==
	Anerio was born in ] and lived his entire life there. He sang as a ] at the Julian Chapel (the ]) from 1568 until 1577 (by which time he was an ]) and then he sang at another church until 1580. Around this time, he began to compose, especially ]s; this was one of the few periods in his life during which he wrote secular music. Likely he was influenced by ], who was hugely popular at the time and who was in Rome at the same time Anerio began composing. By 1584, Anerio had been appointed '']'' at the ]; he also seems to have been the choirmaster at another society of Rome's leading musicians called the ''vertuosa Compagnia de i Musici di Roma''. These positions must have given him considerable opportunity to exercise his compositional talents, for he had already written the music, songs, madrigals, and choruses for an Italian ] ~~play~~ by this time. In 1594, he replaced ] as the official composer to the papal choir, which was the most prominent position in Rome for a composer.		Anerio was born in ] and lived his entire life there. He sang as a ] at the Julian Chapel (the ]) from 1568 until 1577 (by which time he was an ]) and then he sang at another church until 1580. Around this time, he began to compose, especially ]s; this was one of the few periods in his life during which he wrote secular music. Likely he was influenced by ], who was hugely popular at the time and who was in Rome at the same time Anerio began composing. By 1584, Anerio had been appointed '']'' at the ]; he also seems to have been the choirmaster at another society of Rome's leading musicians called the ''vertuosa Compagnia de i Musici di Roma''. These positions must have given him considerable opportunity to exercise his compositional talents, for he had already written the music, songs, madrigals, and choruses for an Italian ] by this time. In 1594, he replaced ] as the official composer to the papal choir,<ref name="EB1911">{{Cite EB1911\|wstitle=Anerio\|display=Anerio s.v. Felice\|volume=2\|page=3}}</ref> which was the most prominent position in Rome for a composer.

	In 1607 or shortly afterwards, he became a ] (a common career path for a composer in the Roman School). In conjunction with ], another composer of the Roman School, he helped to reform the ] of the ], another of the late activities of the ] in Italy.		In 1607 or shortly afterwards, he became a ] (a common career path for a composer in the Roman School). In conjunction with ], another composer of the Roman School, he helped to reform the ] of the ], another of the late activities of the ] in Italy.

	==Works==		==Works==
	Anerio was a conservative composer, who largely used the style of Palestrina as a starting point, at least after his youthful period of writing secular works, such as madrigals and ]s, was done. Nevertheless, he achieved an expressive intensity which was his own. Some influence of the Northern Italian progressive movements is evident, though muted, in his work. For instance, the use of double choirs (] works were the norm in ]): quick ] declamatory textures, quick melodic passages in the bass line (which were an influence from ]). In addition, he sometimes used quickly changing textures, alternating between full chorus and small groups of two or three voices, another progressive trait of the northern Italian schools – a trait much in evidence, for example, in the music of ].		Anerio was a conservative composer, who largely used the style of Palestrina as a starting point, at least after his youthful period of writing secular works, such as madrigals and ]s, was done. Nevertheless, he achieved an expressive intensity which was his own. Some influence of the Northern Italian progressive movements is evident, though muted, in his work. For instance, the use of double choirs (] works were the norm in ]): quick ] declamatory textures, quick melodic passages in the bass line (which were an influence from ]). In addition, he sometimes used quickly changing textures, alternating between full chorus and small groups of two or three voices, another progressive trait of the northern Italian schools – a trait much in evidence, for example, in the music of ]. In his very last works, the influence of ], the popularizer of the ], is evident, but he still remained true to the Palestrina style in his melodic and harmonic writing. Anerio wrote no known purely instrumental music.

	In his very last works, the influence of ], the popularizer of the ], is evident, but he still remained true to the Palestrina style in his melodic and harmonic writing. Anerio wrote no known purely instrumental music.

⚫	Many magnificats, hymns, motets, and other works were printed by K. Proske in his ''Musica Divina'' (1854).

	Works by Felice Anerio include:		Works by Felice Anerio include:
Line 29:		Line 27:
	* Miscellaneous other madrigals not included in the main publications		* Miscellaneous other madrigals not included in the main publications

		⚫	Many magnificats, hymns, motets, and other works were printed by ] in his ''Musica Divina'' (1854).<ref name="EB1911"/>
⚫	==References ~~and further reading~~==

⚫	* ], ''Music in the Renaissance''. New York, W.W. Norton & Co., 1954. ISBN 0-393-09530-4
		⚫	==References==
⚫	* ], ''Music in the Baroque Era''. New York, W.W. Norton & Co., 1947. ISBN 0-393-09745-5
			{{More footnotes needed\|date=June 2017}}
⚫	* Article ''Felice Anerio'', in ''The New Grove Dictionary of Music and Musicians'', ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2
			{{reflist}}

			==Further reading==
		⚫	* ], ''Music in the Renaissance''. New York, W.W. Norton & Co., 1954. {{ISBN\|0-393-09530-4}}
		⚫	* ], ''Music in the Baroque Era''. New York, W.W. Norton & Co., 1947. {{ISBN\|0-393-09745-5}}
		⚫	* Article ''Felice Anerio'', in ''The New Grove Dictionary of Music and Musicians'', ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. {{ISBN\|1-56159-174-2}}

	==External links==		==External links==
	{{commons category}}		{{commons category}}
	* {{ChoralWiki}}		* {{ChoralWiki}}
	* {{EB1911 poster\|Anerio}}
	* {{IMSLP\|id=Anerio, Felice}}		* {{IMSLP\|id=Anerio, Felice}}

Line 45:		Line 48:
	]		]
	]		]
	]		]
⚫	]
	]		]
	]		]
	]		]
	]		]
	]		]
		⚫	]

Latest revision as of 02:59, 11 May 2024

Italian composer (1560–1614)

Felice Anerio (c. 1560 – 26 or 27 September 1614) was an Italian composer of the late Renaissance and early Baroque eras, and a member of the Roman School of composers. He was the older brother of another important, and somewhat more progressive composer of the same period, Giovanni Francesco Anerio.

Life

Anerio was born in Rome and lived his entire life there. He sang as a boy soprano at the Julian Chapel (the Cappella Giulia) from 1568 until 1577 (by which time he was an alto) and then he sang at another church until 1580. Around this time, he began to compose, especially madrigals; this was one of the few periods in his life during which he wrote secular music. Likely he was influenced by Luca Marenzio, who was hugely popular at the time and who was in Rome at the same time Anerio began composing. By 1584, Anerio had been appointed maestro di cappella at the Collegio degli Inglesi; he also seems to have been the choirmaster at another society of Rome's leading musicians called the vertuosa Compagnia de i Musici di Roma. These positions must have given him considerable opportunity to exercise his compositional talents, for he had already written the music, songs, madrigals, and choruses for an Italian Passion Play by this time. In 1594, he replaced Palestrina as the official composer to the papal choir, which was the most prominent position in Rome for a composer.

In 1607 or shortly afterwards, he became a priest (a common career path for a composer in the Roman School). In conjunction with Francesco Soriano, another composer of the Roman School, he helped to reform the responsories of the Roman Gradual, another of the late activities of the Counter-Reformation in Italy.

Works

Anerio was a conservative composer, who largely used the style of Palestrina as a starting point, at least after his youthful period of writing secular works, such as madrigals and canzonettas, was done. Nevertheless, he achieved an expressive intensity which was his own. Some influence of the Northern Italian progressive movements is evident, though muted, in his work. For instance, the use of double choirs (polychoral works were the norm in Venice): quick homophonic declamatory textures, quick melodic passages in the bass line (which were an influence from monody). In addition, he sometimes used quickly changing textures, alternating between full chorus and small groups of two or three voices, another progressive trait of the northern Italian schools – a trait much in evidence, for example, in the music of Claudio Monteverdi. In his very last works, the influence of Viadana, the popularizer of the basso continuo, is evident, but he still remained true to the Palestrina style in his melodic and harmonic writing. Anerio wrote no known purely instrumental music.

Works by Felice Anerio include:

Sacred vocal

Two books of Madrigali Spirituali (both Rome, 1585)
Two books of sacred hymns (Venice, 1596 and Rome, 1596)
Holy Week Responsories (for four voices, Rome, 1606)
13 Spiritual canzonettas; 12 motets, including many for 8 voices; psalms, litany, other works, many including a basso continuo
Madrigals, choruses, solo songs for Passio de Nostro Signore in verso heroico (Viterbo, 1604)

Secular vocal

One book of canzonettas (1586)
Five books of madrigals (one of which is lost) (1587, 1590, 1598, 1602, unknown)
Miscellaneous other madrigals not included in the main publications

Many magnificats, hymns, motets, and other works were printed by Karl Proske in his Musica Divina (1854).

References

This article includes a list of general references, but it lacks sufficient corresponding inline citations. Please help to improve this article by introducing more precise citations. (June 2017) (Learn how and when to remove this message)

^ Chisholm, Hugh, ed. (1911). "Anerio s.v. Felice" . Encyclopædia Britannica. Vol. 2 (11th ed.). Cambridge University Press. p. 3.

External links

Free scores by Felice Anerio in the Choral Public Domain Library (ChoralWiki)
Free scores by Felice Anerio at the International Music Score Library Project (IMSLP)

Categories: