403:) which became very popular in Rome shortly after Animuccia's death. Although Animuccia's contribution to liturgical musical at this time was soon eclipsed by choral works of his contemporaries Palestrina and Victoria, his music remains an important example as to one of the ways in which a composer sought to deal with the issues which arose after the Council of Trent. As well as this, his significant contribution to the early musical life of the Oratory set precedence for future developments of music written for this setting, which would eventually include the development of the
20:
327:
and
Vitellozzo Vitelli. The main issues that Cardinals Borromeo and Vitelli sought to address regarding music were ‘intelligibility’ (i.e., that Masses should be composed so words could be clearly understood) and the use of secular music in Mass settings. In 1565, the diary of the papal chapel choir
254:
The oratory having increased, by the grace of God, with the coming together of prelates and of most important gentlemen, it seemed to me fitting in this second book to increase the harmony and the combination of parts, varying the music in diverse ways, now setting it to Latin words and now to the
361:
All the Masses are freely composed plainsong paraphrases - which fulfills the requirement of the eradication of secular influences. Animuccia's presentation of an ‘intelligible’ style is only evident in the Gloria and the Credo, and even here he seems reluctant to strip all ‘artifice’ from the
370:
phrases. In his book of Masses
Animuccia is consciously trying to compose music that reconciles, as he sees it, the two polarities in this issue of composing ‘intelligible’ music: that of making the text audible, yet at the same time sounding beautiful – therefore fulfilling the music's most
357:…I have sought to adorn these divine praises of God in such a way that the music may disturb the hearing of the text as little as possible, but nevertheless in such a way that it may not be entirely devoid of artifice and may contribute in some measure to the listener’s pleasure.
177:. The Oratory began in the early 1550s as small and informal meetings for religious discussion and prayer; these meetings soon began to attract large numbers of people. In 1558, when Phillip obtained a larger room to hold the meetings in, the practice of singing of
255:
vernacular, sometimes with a greater number of voices and sometimes with fewer, with verses now of one kind and now of another, concerning myself as little as possible with imitations and complexities, in order not to obscure the understanding of the words.
193:
who strongly encouraged its use, and it is natural therefore that
Phillip would incorporate this practice into his meetings. Although the precise date is unknown, Animuccia was involved with music for these meetings from early on and remained
144:
in 1548.) Animuccia's name is also mentioned in association with
Florentine literary circles, suggesting that he was involved with cultural life in Florence. Animuccia's second book of madrigals was published in 1551 after his arrival in Rome.
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important function of drawing the listener deeper into prayer and closer to God. Other significant stylistic features of
Animuccia's composition style include variations in vocal textures and color by varying voice groupings, and instances of
344:
of the
Capella Giulia, would no doubt have been aware of this test; it is unsurprising therefore that in 1566 there is a record of him being paid "for the composition of five masses according to the requirements of the Council ." Animuccia's
202:
of the
Oratory until his death. Neri was so pleased with Animuccia that he said he had "seen soul... fly upwards towards heaven". The Oratory was able to attract many musicians who volunteered their services; this included the famous singer
394:
can be seen as antecedent to the way choral music would develop from the end of the 16th century into the 17th century. In particular his use of different voice groupings can be seen as a very early example of the polychoral technique
234:"Passions". Animuccia's Florentine influence is evident as some of his texts originate from Florence. Stylistically the two books are rather different. Animuccia's first book contains simple settings of Italian
259:
By this time, the number of people attending the
Oratory had increased significantly, and Animuccia wished to offer more complex music to "woo influential people through music into churches."
128:. Animuccia and Corteccia were the only significant composers writing madrigals in Florence at the time and both composers published books of madrigals around 1547. (Animuccia's
311:
through the influence of the Reform
Commission in Rome. He held the office until his death at Rome in 1571, succeeded by Palestrina who was his friend and probably his pupil.
238:
which are homophonic throughout, and were probably sung by amateur singers as part of
Phillip Neri's early devotional meetings. The music in Animuccia's second book of
307:; 1567). The importance of this book of Masses is due to the fact that its style of composition was directly affected by the liturgical reforms that took place at the
328:
recorded that Cardinal Vitelli requested that the choir assemble at his house for a private test of some Mass settings to see whether the words could be understood.
323:, in particular the reform of ‘abuses of the Mass’. To carry out the Council's recommendations in Rome, a Reform Commission was set up, headed up by Cardinals
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The final session of the Council of Trent closed in 1563. One of the primary concerns of the council in its latter stages was the reform of the
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157:. Early on, through his association with Florentine circles (in particular the exiled Altoviti family), Animuccia met his fellow Florentine St
113:
was also a celebrated composer. However, little is known about their training and work during this period. Giovanni's first and second book of
88:
Animuccia was born in Florence around the beginning of the 16th century. The exact date is variously given as the end of the 15th century,
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and as part of the new movements that began to flourish around the middle of the century. His music reflects these changes.
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show similarities with, and may have been modeled on, the music of his slightly older contemporary
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Chori Spezzati: Volume 1: The Development of Sacred Polychoral Music to the Time of Schütz
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who was involved in the heart of Rome's liturgical musical life. He was one of
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763:, vol. 2 (9th ed.), New York: Charles Scribner's Sons, p. 57
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for use in the Oratory in 1563 and 1570. His work formed the basis of the
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382:(1565) and a collection of hymns, motets, Masses and Magnificats (1568).
227:
875:, Vol. 55, No. 1. (University of California Press, Spring, 2002), 1-37.
320:
153:
After his arrival in Rome in 1550, Animuccia was employed by Cardinal
783:, vol. 2 (11th ed.), Cambridge University Press, p. 55
291:. Animuccia's most important composition for this period was his
185:
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18:
889:(USA: The University of North Carolina Press, Chapel Hill, 1977).
878:
Nosow, Robert, ‘The Debate on Song in the Accademia Fiorentina’,
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was published at Rome a year later. In his dedication he writes:
855:, Universal Edition 14745, (Venice: San Giorgio Maggiore, 1970).
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who lived in the same house as St. Phillip Neri for five years.
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Other works composed by Animuccia in this period include some
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Steele, John. ‘Animuccia's response to the events of 1564’,
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The stylistic features described in Animuccia's masses and
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was a popular practice in Florence following the legacy of
52:'s most important predecessors and possibly his mentor. As
853:
The Counter Reformation and the Masses of Vincenzo Ruffo
882:, Vol. 21. (Cambridge University Press, 2002), 175-221.
818:, Oxford: Oxford University Press, 2014, archived from
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from January 1555, following Palestrina's promotion by
263:
Effects of the Counter-Reformation on Animuccia's music
894:
Research chronicle: New Zealand Musicological Society
871:Monson, Craig A. ‘The Council of Trent Revisited’,
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Music in Late Renaissance & Early Baroque Italy
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Music in Late Renaissance & Early Baroque Italy
72:, he was composing music at the very center of the
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873:Journal of the American Musicological Society
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138:Madrigals and Motets for Four and Five Voices
130:
54:
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173:founded a religious congregation called the
338:
269:
132:Madrigali e Motetti a quattro e cinque voci
44:March 1571) was an Italian composer of the
632:Animuccia's response to the events of 1564
861:and Noel O’Regan. "Animuccia, Giovanni."
230:that did not descend from the polyphonic
924:Grove Music Online. Oxford Music Online
863:Grove Music Online. Oxford Music Online
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906:Dizionario di musica classica italiana
816:The Concise Oxford Dictionary of Music
76:, during the turbulent reforms of the
908:(in Italian), Rome: Gremese Editore,
838:, (London: B. T. Balsford Ltd. 1992).
7:
887:A History of the Oratorio, Volume 1,
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246:-like; he uses a greater variety of
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482:
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14:
938:Free scores by Giovanni Animuccia
222:Animuccia published two books of
973:Italian male classical composers
555:A History of the Oratorio, p. 42
50:Giovanni Pierluigi da Palestrina
798:, Encyclopædia Britannica, 2014
968:16th-century Italian composers
645:The Council of Trent Revisited
267:Animuccia was employed as the
1:
983:Italian Renaissance composers
362:music. Instead he alternates
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96:
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38:
31:
942:Choral Public Domain Library
215:, and probably the composer
900:Treglia, Patrizia (2002) ,
774:"Animuccia, Giovanni"
751:Baynes, T. S., ed. (1878),
1004:
754:"Giovanni Animuccia"
68:and the Capella Giulia at
619:A History of the Oratorio
593:A History of the Oratorio
580:A History of the Oratorio
275:of the Capella Giulia at
922:Wilson, Blake. "Lauda."
793:Encyclopædia Britannica
183:was introduced. Singing
978:Musicians from Florence
896:, Vol. 5. (1995), 6-17.
780:Encyclopædia Britannica
760:Encyclopædia Britannica
606:The Counter Reformation
349:Il primo Libra di Messe
295:Il primo Libra di Messe
205:Francesco Soto de Langa
988:Roman school composers
454:Lockwood and O’Regan,
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217:Tomás Luis de Victoria
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569:. Grove Music Online.
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305:Missarum Liber Primus
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165:Music for the oratory
74:Roman Catholic Church
22:
902:"Giovanni Animuccia"
885:Smither, Howard E.,
812:"Giovanni Animuccia"
789:"Giovanni Animuccia"
710:Animuccia's response
697:Animuccia's response
456:Animuccia, Giovanni,
380:madrigali spirituali
332:Animuccia’s response
285:Pope Julius III
277:St. Peter's Basilica
155:Guido Ascanio Sforza
121:, court composer to
84:Early life: Florence
880:Early Music History
841:Carver, Anthony F.
684:Counter Reformation
671:Counter Reformation
658:Counter Reformation
458:Grove Music Online.
191:Girolamo Savonarola
126:Cosimo I de' Medici
119:Francesco Corteccia
78:Counter-Reformation
198:maestro di capella
140:—was published at
56:maestro di capella
28:Giovanni Animuccia
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23:Giovanni Animuccia
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271:magister cantorum
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944:(ChoralWiki)
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835:
824:, retrieved
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171:Phillip Neri
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159:Phillip Neri
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129:
87:
53:
27:
26:
963:1571 deaths
958:1500 births
582:, pp. 56-57
517:CODM (2014)
107: 1520
100: 1514
93: 1500
62:Philip Neri
46:Renaissance
35: 1500
952:Categories
745:References
682:Lockwood,
669:Lockwood,
656:Lockwood,
604:Lockwood,
368:polyphonic
364:homophonic
213:Palestrina
70:St Peter's
712:. p. 9-10
617:Smither,
608:, p. 197.
591:Smither,
578:Smither,
553:Smither,
502:EB (1911)
483:EB (1878)
426:EB (2014)
232:Gregorian
228:oratorios
207:from the
115:madrigals
42: 20
738:, p. 109
734:Carter,
725:, p. 107
721:Carver,
708:Steele,
695:Steele,
686:, p. 196
643:Monson,
630:Steele,
595:, p. 57.
565:Wilson,
544:, p. 210
405:oratorio
248:textures
244:madrigal
37: –
940:in the
826:10 June
802:10 June
673:. p. 87
660:, p. 86
647:, p. 5.
621:, p. 70
540:Nosow,
321:liturgy
287:to the
281:Vatican
279:on the
175:Oratory
66:Oratory
912:
795:Online
699:. p. 7
634:, p. 6
386:Legacy
142:Venice
102:, and
60:of St
567:Lauda
411:Notes
392:laudi
301:Latin
240:laudi
236:laudi
224:laudi
186:laudi
910:ISBN
828:2015
804:2015
149:Rome
123:Duke
169:St
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