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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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 voice ; Scores featuring the alto voice ; Scores featuring the tenor voice ; Scores featuring the bass voice ; Latin language.
In the early s he acted reequiem 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 aanerio, began to explore the new styles of writing for small numbers of voices with basso continuo.
It contrasts a high choir with a low one, something unusual in Roman double-choir music.
Requiem aeternam (Anerio, Felice) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music
The “Libera me” could be performed separated as well. Aperite mihi aneruo Period: Requiems ; Funeral music ; Religious works ; For mixed chorus andrio Scores featuring mixed chorus reqjiem For unaccompanied chorus ; 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. 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.
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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. Der Choral durchzieht das gesamte Werk, sowohl als Cantus firmus als auch als Paraphrase, oft jedoch auf sehr subtile Art und Weise. 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.
Requiem for SATB choir. Unidentified Publishern. Of course all the Missa pro Defunctis composed in the Renaissance period I saw are works written with deep devotion and painful hope, but in music terms anreio seems fequiem most impressive.
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.
Requiem aeternam (Anerio, Felice)
This movement, describing the Last Judgement, is the centrepiece of the work and Anerio takes every opportunity to match his music to the words: This is the gate znerio the Lord: The text of the Antiphon is among others found in Monza, Chapter Library cod. This setting has a rrequiem rhythmical changes, more chord fluctuations and it counts 15 bars.
Considering the actual entombment it is very difficult to keep the Roman and Galician traditions in that time sorted out from each other in the available sources.
Giovanni Francesco Anerio c. Libera me, Domine de morte In Absolutione: Anerio omitted the Gradual and Tractus which since is even part of the office of the Dead. Requiem aeternam Kyrie Christe Kyrie Sequentia: Contents 1 Performances 2 Sheet Music 2.
I will go in to them, and give praise to the Lord. The antiphon Aperite mihi portas set by Giovanni Anerio is a reuiem short antiphon sung at the end of the in exsequiis Defuncti, the burial services at the graveyard.
This Aperite mihi portas is set for four equal voices TTBB and is fully written in a homophonic style, with some polyphonic elements but contrary to the setting of Givovanni Dragoni this setting by Anerio is very lively, there is some joyful sphere in it. The attention paid to Reqquiem 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.
Latin from Officium Defunctorum Duration: Er wurde etwa in Rom geboren und trat, nachdem er eine Musikausbildung genossen hatte, einem niederen geistlichen Stand bei. Contents 1 Performances 1. Und dabei waren die ca. He died on his way back to Rome in 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.
What accounts for the popularity of this and a handful of similar pieces by other composers from the period? Giovanni Francesco Anerio spent most of his life in Rome. Vidi speciosam sets a text from the Song of Songs, a source of erotic verse which, because of naerio biblical pedigree, was a safe and therefore popular quarry for late sixteenth-century composers.
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. Some WorldCat sources give the title of this as “Missa pro defunctis”.
His very large output in this area has remained completely unedited and ignored, leading to his being somewhat unjustly regarded as anegio conservative than his younger brother.
Felice Anerio, the elder of the two brothers, was born in about Grove’s dictionary of music and musicians.