Requiem aeternam (Anerio, Felice) Work Title, Requiem aeternam. Alternative. Title Some WorldCat sources give the title of this as “Missa pro defunctis”. Felice Anerio wrote the motet, but the centrepiece of this disc is the fine requiem mass by his younger brother Giovanni Francesco Anerio. Giovanni Francesco. Giovanni Francesco Anerio spent most of his life in Rome. Of course in this Missa pro Defunctis, Anerio made widespread use of the plainchant in a variety of.

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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 anerioo listeners aware of the riches waiting to be discovered in the works of anetio composers.

The antiphon Aperite mihi portas set by Giovanni Anerio is a very short antiphon sung at the end of the in exsequiis Defuncti, the burial services at the graveyard.

Jahrhunderts sehr beliebt war. I will go in to them, and give praise to the Lord. The attention paid to Palestrina in the four centuries since his death has meant the neglect anfrio a substantial group of composers who were his contemporaries, or part of the following generation.

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 requiej Giovanni Maria Nanino who would have regarded themselves as being of equal standing with Anerio.

Libera me, Domine de morte In Absolutione: He died in on his way back to Rome in Graz, Austria. Retrieved from ” http: Felice Anerio, the elder of the two brothers, was born in about This is also an expressive setting with care taken over the words: This setting has a lot rhythmical changes, more chord fluctuations and it counts 15 bars.

Grove’s dictionary of music and musicians. The “Libera me” could reuqiem performed separated as well. Masses ; Religious works ; For 4 voices ; For unaccompanied voices ; Scores featuring the voice ; Scores featuring the soprano voice ; Scores featuring the alto voice ; Scores featuring the tenor voice ; Scores featuring the bass voice ; Latin language.

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Anerio omitted the Gradual and Tractus which since is even part of the office of the Dead. Requiem for SATB choir. Der Choral durchzieht das gesamte Werk, sowohl als Cantus firmus als auch als Paraphrase, oft jedoch auf sehr subtile Art und Weise.

Each of these composers was an individual and, while much of their music did continue to develop the style of the later Palestrina, they anerjo began to explore the new ground opened up, for example, by the advent of the basso continuo. Salve regina is the Marian antiphon sung at the end of Compline or Vespers between Pentecost and Advent. Javascript is required for this feature.

Requiem aeternam (Anerio, Felice) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music

In his works he was the most significant progressive member of the Anerii composers of his period. The site is also available in several languages.

Some WorldCat sources give the title of this as “Missa pro defunctis”. 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.

Missa Pro Defunctis (Giovanni Francesco Anerio)

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.

Salve regina ist die Marianische Antiphon, die zum Schluss der Komplet beziehungsweise der Vesper zwischen Pfingsten und Advent gesungen wird. Ad te levavi ist eine Vertonung des Psalms bzw. The movements of this Missa pro defunctis are: He was born in Rome in about and, after a musical education, took minor orders. Requiem aeternam Anerio, Felice Genre Categories Requiems ; Funeral music ; Religious works ; For mixed chorus ; Scores featuring mixed chorus ; For unaccompanied chorus ; For 4 voices ; For unaccompanied voices ; Scores featuring the voice ; Scores featuring the soprano voice ; Scores featuring aneerio alto voice ; Scores featuring the tenor voice ; Scores featuring the bass voice ; Latin language.

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Missa pro Defunctis Anerio, Giovanni Francesco Genre Categories Masses ; Religious works ; For 4 voices ; For unaccompanied voices ; Scores featuring the voice ; Scores featuring the soprano aneiro ; Scores featuring the alto voice ; Scores featuring the tenor voice ; Scores featuring the bass voice ; Latin language. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Retrieved from ” http: Open to me the gates of justice: Contents 1 Performances 1. Requiem aeternam Kyrie Christe Kyrie Sequentia: He became a priest in It contrasts a high choir with a low one, something unusual in Roman double-choir music.

Missa Pro Defunctis (Giovanni Francesco Anerio) – ChoralWiki

Anerio published a book with masses The text of the Antiphon is among others found in Monza, Chapter Library cod. If we search in the literature some different theories are there at what moment this short Antiphon was implemented in the Office of the Dead.

Unidentified Publishern. 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. Anerio’s church music illustrates the transition from a Palestrinian idiom as in the fine requiem mass to the concertato manner pioneered by Viadana.

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. Hesbert, Corpus Antiphonalium Officii. Missa pro defunctis cum sequentia et respons. This movement, describing the Last Judgement, is the centrepiece of the work and Anerio takes every opportunity to match his music to the words: Giovanni Francesco Anerio spent most of his life in Rome.