Knowledge (XXG)

Felice Anerio

Source đź“ť

246: 20: 158:). 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 142:, 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 ( 99:. 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 138:
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
472: 325: 170:, is evident, but he still remained true to the Palestrina style in his melodic and harmonic writing. Anerio wrote no known purely instrumental music. 447: 416: 467: 462: 267: 452: 85:, 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 390: 372: 355: 289: 104: 457: 197:
13 Spiritual canzonettas; 12 motets, including many for 8 voices; psalms, litany, other works, many including a basso continuo
442: 406: 49:
of composers. He was the older brother of another important, and somewhat more progressive composer of the same period,
260: 254: 163: 50: 271: 81:; this was one of the few periods in his life during which he wrote secular music. Likely he was influenced by 147: 107:
as the official composer to the papal choir, which was the most prominent position in Rome for a composer.
92: 95:; he also seems to have been the choirmaster at another society of Rome's leading musicians called the 437: 432: 184: 412: 127: 87: 77:) and then he sang at another church until 1580. Around this time, he began to compose, especially 402: 159: 386: 368: 351: 115: 38: 360: 154:
declamatory textures, quick melodic passages in the bass line (which were an influence from
78: 70: 167: 319: 426: 343: 314: 123: 82: 42: 100: 46: 225: 217:
Five books of madrigals (one of which is lost) (1587, 1590, 1598, 1602, unknown)
66: 114:(a common career path for a composer in the Roman School). In conjunction with 37: – 26 or 27 September 1614) was an Italian composer of the late 143: 139: 119: 151: 19: 385:, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. 329:. Vol. 2 (11th ed.). Cambridge University Press. p. 3. 155: 111: 220:
Miscellaneous other madrigals not included in the main publications
224:
Many magnificats, hymns, motets, and other works were printed by
118:, another composer of the Roman School, he helped to reform the 74: 62: 239: 318: 191:
Two books of sacred hymns (Venice, 1596 and Rome, 1596)
194:
Holy Week Responsories (for four voices, Rome, 1606)
73:) from 1568 until 1577 (by which time he was an 383:The New Grove Dictionary of Music and Musicians 65:and lived his entire life there. He sang as a 8: 367:. New York, W.W. Norton & Co., 1947. 350:. New York, W.W. Norton & Co., 1954. 162:. In his very last works, the influence of 110:In 1607 or shortly afterwards, he became a 417:International Music Score Library Project 290:Learn how and when to remove this message 202:Passio de Nostro Signore in verso heroico 309: 307: 253:This article includes a list of general 126:, another of the late activities of the 18: 303: 97:vertuosa Compagnia de i Musici di Roma 7: 200:Madrigals, choruses, solo songs for 473:17th-century Italian male musicians 103:by this time. In 1594, he replaced 259:it lacks sufficient corresponding 14: 448:Italian male classical composers 244: 173:Works by Felice Anerio include: 468:17th-century Italian composers 214:One book of canzonettas (1586) 1: 463:Italian Renaissance composers 31: 413:Free scores by Felice Anerio 407:Choral Public Domain Library 403:Free scores by Felice Anerio 16:Italian composer (1560–1614) 489: 320:"Anerio s.v. Felice"  69:at the Julian Chapel (the 45:eras, and a member of the 453:Italian Baroque composers 166:, the popularizer of the 51:Giovanni Francesco Anerio 365:Music in the Baroque Era 348:Music in the Renaissance 326:Encyclopædia Britannica 274:more precise citations. 146:works were the norm in 458:Roman school composers 93:Collegio degli Inglesi 24: 22: 185:Madrigali Spirituali 443:Composers from Rome 128:Counter-Reformation 88:maestro di cappella 61:Anerio was born in 160:Claudio Monteverdi 25: 300: 299: 292: 188:(both Rome, 1585) 116:Francesco Soriano 480: 361:Manfred Bukofzer 331: 330: 322: 311: 295: 288: 284: 281: 275: 270:this article by 261:inline citations 248: 247: 240: 36: 33: 488: 487: 483: 482: 481: 479: 478: 477: 423: 422: 399: 340: 338:Further reading 335: 334: 313: 312: 305: 296: 285: 279: 276: 266:Please help to 265: 249: 245: 238: 211: 204:(Viterbo, 1604) 179: 136: 71:Cappella Giulia 59: 34: 17: 12: 11: 5: 486: 484: 476: 475: 470: 465: 460: 455: 450: 445: 440: 435: 425: 424: 421: 420: 410: 398: 397:External links 395: 394: 393: 375: 358: 339: 336: 333: 332: 317:, ed. (1911). 315:Chisholm, Hugh 302: 301: 298: 297: 252: 250: 243: 237: 234: 222: 221: 218: 215: 210: 207: 206: 205: 198: 195: 192: 189: 178: 175: 168:basso continuo 135: 132: 58: 55: 15: 13: 10: 9: 6: 4: 3: 2: 485: 474: 471: 469: 466: 464: 461: 459: 456: 454: 451: 449: 446: 444: 441: 439: 436: 434: 431: 430: 428: 418: 414: 411: 408: 404: 401: 400: 396: 392: 391:1-56159-174-2 388: 384: 380: 379:Felice Anerio 376: 374: 373:0-393-09745-5 370: 366: 362: 359: 357: 356:0-393-09530-4 353: 349: 345: 344:Gustave Reese 342: 341: 337: 328: 327: 321: 316: 310: 308: 304: 294: 291: 283: 273: 269: 263: 262: 256: 251: 242: 241: 235: 233: 231: 230:Musica Divina 227: 219: 216: 213: 212: 209:Secular vocal 208: 203: 199: 196: 193: 190: 187: 186: 182:Two books of 181: 180: 176: 174: 171: 169: 165: 161: 157: 153: 149: 145: 141: 133: 131: 129: 125: 124:Roman Gradual 121: 117: 113: 108: 106: 102: 98: 94: 90: 89: 84: 83:Luca Marenzio 80: 76: 72: 68: 64: 56: 54: 52: 48: 44: 40: 29: 28:Felice Anerio 23:Felice Anerio 21: 409:(ChoralWiki) 382: 378: 364: 347: 324: 286: 277: 258: 229: 223: 201: 183: 177:Sacred vocal 172: 137: 120:responsories 109: 101:Passion Play 96: 86: 60: 47:Roman School 27: 26: 438:1614 deaths 433:1560 births 272:introducing 226:Karl Proske 140:canzonettas 67:boy soprano 39:Renaissance 35: 1560 427:Categories 255:references 236:References 152:homophonic 144:polychoral 130:in Italy. 105:Palestrina 41:and early 280:June 2017 150:): quick 79:madrigals 377:Article 232:(1854). 419:(IMSLP) 415:at the 405:in the 268:improve 228:in his 164:Viadana 122:of the 91:at the 43:Baroque 389:  371:  354:  257:, but 156:monody 148:Venice 112:priest 381:, in 134:Works 387:ISBN 369:ISBN 352:ISBN 75:alto 63:Rome 57:Life 429:: 363:, 346:, 323:. 306:^ 53:. 32:c. 293:) 287:( 282:) 278:( 264:. 30:(

Index


Renaissance
Baroque
Roman School
Giovanni Francesco Anerio
Rome
boy soprano
Cappella Giulia
alto
madrigals
Luca Marenzio
maestro di cappella
Collegio degli Inglesi
Passion Play
Palestrina
priest
Francesco Soriano
responsories
Roman Gradual
Counter-Reformation
canzonettas
polychoral
Venice
homophonic
monody
Claudio Monteverdi
Viadana
basso continuo
Madrigali Spirituali
Karl Proske

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

↑