Anerio, Giovanni Francesco (EN)

Anerio Giovanni Francesco, *7 July 1569 Rome, buried 12 June 1630 Graz, brother of Felice, Italian composer and organist. He spent his childhood in the family city. He sang as a soprano in Collegio Inglese, probably already in 1579. From at least July 1583, he was a student of a Collegio Germanico founded by Jesuits, and, at the same time, he was associated with Congregazione dell’Oratorio, founded by Filippo Neri. Anerio is said to have been miraculously healed by him in 1585 from a serious disease. He joined the choir of the Confraternity of Oratorians on 16 July 1598. From an early age, he was studying to become a priest, was tonsured on 17 December 1583, and later got subsequent priestly orders (ostiarius on 22 December 1584, lector on 20 December 1586, deacon before 16 November 1602). He became a priest at last in 1616 and said his First Mass on 7 August the same year at Il Gesù Church. From 1586, he was outside of Rome for a few years. After returning in 1595, he was at the service of Cardinal Antonio Maria Galla, and, at the same time, during Lent, he was an organist at the Oratorio del Santissimo Crocifisso located next to the church of San Marcello al Corso. In 1599, he was employed by Maximilian Caffarelli, and in the following years, he was maestro di capella at the Basilica di San Giovanni in Laterano (between 1600 and 1605), Church of the Santo Spirito in Sassia (from ca. 1606 to 1608), and Verona Cathedral (officially from November 1608, actually from 3 July 1609). In Verona, he was also appointed maestro di musica at the Accademia Filarmonica in 1610. He returned to Rome in 1611 and became a music prefect at Seminario Romano. He was a maestro di capella at Madonna dei Monti church in 1613–20. It is not known what he did in 1621–1623. In June 1624, probably during his trip to the Polish Republic, he was in Treviso. He took the position of maestro di capella to King Sigismund III of Poland in Warsaw and held it until the end of his life. At the same time, in 1625, he took over the parish in Brok, but he was dismissed from this position in July 1629. He died during his trip back to Italy.

He was a very prolific composer; during his life (mainly in Rome), he published over 20 collections with both sacred and secular pieces. Many works were printed in anthologies of that time. Almost all of Anerio’s compositions from Poland got lost. From the Polish period, there is, among others Missa “Pulchra es” for 8 voices, preserved in a manuscript belonging to The Royal Rorantists at Wawel, and perhaps also Missa Constantia for 12 voices and basso continuo (dedicated to Queen Constance, wife of King Sigismund III).

Anerio is one of the most representative composers of the Roman school; however, he develops and goes beyond the principles of polyphony; he combines them with basso continuo principles. In terms of quantity, religious music is predominant, especially in small forms like motets and concerts. Anerio uses monodic style here. Melodics of his 1-voice pieces is close to melodics of sacred concerts by Viadana; it is more independent but not yet recitative. Teatro armonico spirituale, composed for Congregazione dell Oratorio of F. Neri is of decisive importance for the development of dramatic lauda and dialogo as forms cooperating in the formation of the oratorio; the novelty here is the use of instruments doubling the vocal parts in the tutti fragments (e.g. Combattimento con voci & instromenti in Dialogo della conversione di S. Paolo).

Anerio’s connections with Palestrina are visible not only in adopting and developing Palestrina’s style (Missa In te Domine speravi for 6 voices) and in basing some of his compositions on the master’s work (Missa Surge illuminare based on a motet by Palestrina with the same title), but also in the arrangement of Palestrina’s Missa Papae Marcelli for 4-voice ensemble. This arrangement was very popular throughout the whole 17^th century (1619–89, at least 7 editions). Anerio’s work is stylistically diverse; on the one hand, he creates strictly canonical structures (e.g. Missa Paulina Burghesia), referring to the style of the Flemish schools, while on the other hand – using extensively developed parlando passages, imitative effects and sound painting – he uses the language of expression contemporary to him (e.g. Missa la Battaglia). Anerio’s madrigal work is considered to be stylistically close to the works of L. Marenzio. Anerio was one of the first to compose a vocal-instrumental pastorela for Christmas. His instrumental works are of marginal importance.

Literature: F.X. Haberl G.F. Anerio: Darstellung seines Lebensganges und Schaffens auf Grund bibliographischer Documente, “Kirchenmusikalisches Jahrbuch” 1, 1886; R. Casimiri Maurizio, Felice e G.F. Anerio. Nuovi documenti biografici, “Rivista Musicale Italiana” 27, 1920; G. Liberali G.F. Anerio. Un suo fugace soggiorno a Treviso e le esecuzioni corali-strumentali al. monastero di S. Teonisto dal 1559 al. 1667, “Note d’archivio per la storia musicale” 17, 1940; H. Federhofer Ein Beitrag zur Biographie von G.F. Anerio, “Die Musikforschung” 2, 1949; H. Federhofer Nochmals zur Biographie von G.F. Anerio, “Die Musikforschung” 6, 1953; F. Haberl Felice und G.F. Anerio, “Musica sacra” 74, 1954; A.De Angelis I fratelli Anerio, “Santa Cecilia” 5, 1956; H.E. Smither The Latin Dramatic Dialogue and the Nascent Oratorio, “Journal of the American Musicological Society” 20, 1967; W.C. Hobbs G. F. Anerio’s “Teatro armonico spirituale di madrigali”: a Contribution to the Early History of the Oratorio, dissertation Tulane University, 1971; N.Z. Williams The Masses of G.F. Anerio: A Historical and Analytical Study with a Supplementary Critical Edition, dissertation The University of North Carolina, 1971; Z.M. Szweykowski Kilka uwag o twórczości mszalnej G.F. Aneria związanej z Polską, “Muzyka” 1972 no. 4; J. Armstrong The “Antiphonae, seu Sacrae Cantiones” (1613) of Francesco Anerio. A Liturgical Study, «Analecta Musicologica»  14, Laaber 1974; G. Dixon G.F. Anerio (1567–1630) and the Roman School, “The Musical Times” 121, 1980; G. Dixon Liturgical Music in Rome (1605–1645), 2 volumes, dissertation University of Durham, 1981; T. F. Kennedy Jesuits and music: the European tradition 1547–1622, dissertation University of California, Santa Barbara, 1982; P. Ludwig Studien zum Motettenschaffen der Schüler Palestrinas, «Kölner Beiträge zur Musikforschung» 143, Regensburg 1986; A. Morelli Il tempio armonico: musica nell’Oratorio dei Filippini in Roma, «Analecta Musicologica» 27, Laaber 1991; A. and Z. Szweykowski Włosi w kapeli królewskiej polskich Wazów, Kraków 1997; A. Patalas Utwory ‘concertato’ w twórczości G.F. Aneria, in: Affetti musicologici: Księga pamiątkowa z afektem ofiarowana profesorowi Zygmuntowi Marianowi Szweykowskiemu w 70. rocznicę urodzin/Book of essays in honour of professor Zygmunt Marian Szweykowski in his 70^th birthday, ed. P. Poźniak, Kraków 1999; B. Przybyszewska-Jarmińska Muzyka i finanse: Nieznane źródła do dziejów życia muzycznego na dworze królewskim polskich Wazów. I, “Muzyka” 1999 no. 1; B. Przybyszewska-Jarmińska Muzycy z Cappella Giulia i z innych rzymskich zespołów muzycznych w Rzeczpospolitej czasów Wazów, “Muzyka” 2004 no. 1; P. Wilk Sonaty da chiesa Aldebranda Subissatiego, skrzypka Jana Kazimierza, “Muzyka” 2007 no. 1; in English as: The „sonate da chiesa” by Aldebrando Subissati: The court violinist to Jan Kazimierz, King of Poland, “Musica Iagellonica” 4, 2007; D.V. Filippi Selva armonica: La musica spirituale a Roma tra Cinque e Seicento, Turnhout 2008; A. Patalas W kościele, w komnacie i w teatrze. Marco Scacchi. Życie, muzyka, teoria, Kraków 2010; D.V. Filippi Rome, Madrid, Warsaw: Polychorality and sonic creativity in the music of Tomás Luis De Victoria and G.F. Anerio, in: La musica policorale in Italia e nell’Europa centro-orientale fra Cinque e Seicento/Polychoral music in Italy and in Central-Eastern Europe at the turn of the seventeenth centuries, ed. A. Patalas, M. Toffetti, Venice 2012; F. Bigotti Le composizioni strumentali „sacre” di G.F. Anerio, Gregorio Allegri, Giovanni Battista Organista e di anonimo nella biblioteca Altemps, in: Atti del Congresso internazionale di musica sacra in occasione del centenario di fondazione del PIMS vol. 2, ed. A. Addamiano et al., Vatican 2013; F. Mastroianni Ritrovata la data di nascita di G.F. Anerio, in: Tra musica e storia. Saggi di varia umanità in ricordo di Saverio Franchi, ed. G. Rostirolla, E. Zomparelli, Rome 2017; B. Przybyszewska-Jarmińska The beginnings of the small-scale sacred concerto in the Commonwealth of Poland and Lithuania, “Musicologica istropolitana” 13, 2017; A. Patalas The polychoral Masses of G.F. Anerio: Parody technique, in: Studies on the reception of Italian music in central-eastern Europe in the 16^th and 17^th century, ed. M. Toffetti, Kraków 2018; J. Kurtzman Motets, Vespers antiphons and the performance of the post-Tridentine liturgy in Italy, in: Mapping the motet in the post-Tridentine era, ed. E. Rodríguez-García, Abingdon 2019; B. Przybyszewska-Jarmińska To be a musician or a priest? The dilemmas of immigrants in the Polish royal music chapel during the seventeenth century, in: Glazba, migracije i europska kultura: Svečani zbornik za Vjeru Katalinić/Music, migration and European culture: Essays in honor of Vjera Katalinić, ed. I. Cavallini, J. Guzy-Pasiak, H. White, Zagreb 2020.

Literatura: F.X. Haberl G.F. Anerio: Darstellung seines Lebensganges und Schaffens auf Grund bibliographischer Documente, „Kirchenmusikalisches Jahrbuch” 1, 1886;  R. Casimiri Maurizio, Felice e G.F. Anerio. Nuovi documenti biografici, „Rivista Musicale Italiana” 27, 1920; G. Liberali G.F. Anerio. Un suo fugace soggiorno a Treviso e le esecuzioni corali-strumentali al. monastero di S. Teonisto dal 1559 al. 1667, „Note d’archivio per la storia musicale” 17, 1940; H. Federhofer Ein Beitrag zur Biographie von G.F. Anerio, „Die Musikforschung” 2, 1949; H. Federhofer Nochmals zur Biographie von G.F. Anerio, „Die Musikforschung” 6, 1953; F. Haberl Felice und G.F. Anerio, „Musica sacra” 74, 1954; A.De Angelis I fratelli Anerio, „Santa Cecilia” 5, 1956; H.E. Smither The Latin Dramatic Dialogue and the Nascent Oratorio, „Journal of the American Musicological Society” 20, 1967; W.C. Hobbs G. F. Anerio’s „Teatro armonico spirituale di madrigali”: a Contribution to the Early History of the Oratorio, dysertacja Tulane University, 1971; N.Z. Williams The Masses of G.F. Anerio: A Historical and Analytical Study with a Supplementary Critical Edition, dysertacja The University of North Carolina, 1971; Z.M. Szweykowski Kilka uwag o twórczości mszalnej G.F. Aneria związanej z Polską, „Muzyka” 1972 nr 4; J. Armstrong The ,Antiphonae, seu Sacrae Cantiones” (1613) of Francesco Anerio. A Liturgical Study, «Analecta Musicologica»  14, Laaber 1974; G. Dixon G.F. Anerio (1567–1630) and the Roman School, „The Musical Times” 121, 1980; G. Dixon Liturgical Music in Rome (1605–1645), 2 t., dysertacja University of Durham, 1981; T. F. Kennedy Jesuits and music: the European tradition 1547–1622, dysertacja University of California, Santa Barbara, 1982; P. Ludwig Studien zum Motettenschaffen der Schüler Palestrinas, «Kölner Beiträge zur Musikforschung» 143, Ratyzbona 1986; A. Morelli Il tempio armonico: musica nell’Oratorio dei Filippini in Roma, «Analecta Musicologica» 27, Laaber 1991; A. i Z. Szweykowscy Włosi w kapeli królewskiej polskich Wazów, Kraków 1997; A. Patalas Utwory ‘concertato’ w twórczości G.F. Aneria, w: Affetti musicologici: Księga pamiątkowa z afektem ofiarowana profesorowi Zygmuntowi Marianowi Szweykowskiemu w 70. rocznicę urodzin/Book of essays in honour of professor Zygmunt Marian Szweykowski in his 70th birthday, red. P. Poźniak, Kraków 1999; B. Przybyszewska-Jarmińska Muzyka i finanse: Nieznane źródła do dziejów życia muzycznego na dworze królewskim polskich Wazów. I, „Muzyka” 1999 nr 1; B. Przybyszewska-Jarmińska Muzycy z Cappella Giulia i z innych rzymskich zespołów muzycznych w Rzeczpospolitej czasów Wazów, „Muzyka” 2004 nr 1; P. Wilk Sonaty da chiesa Aldebranda Subissatiego, skrzypka Jana Kazimierza, „Muzyka” 2007 nr 1; w j. ang jako: The „sonate da chiesa” by Aldebrando Subissati: The court violinist to Jan Kazimierz, King of Poland, „Musica Iagellonica” 4, 2007; D.V. Filippi Selva armonica: La musica spirituale a Roma tra Cinque e Seicento, Turnhout 2008; A. Patalas W kościele, w komnacie i w teatrze. Marco Scacchi. Życie, muzyka, teoria, Kraków 2010; D.V. Filippi Rome, Madrid, Warsaw: Polychorality and sonic creativity in the music of Tomás Luis De Victoria and G.F. Anerio, w: La musica policorale in Italia e nell’Europa centro-orientale fra Cinque e Seicento/Polychoral music in Italy and in Central-Eastern Europe at the turn of the seventeenth centuries, red. A. Patalas, M. Toffetti, Wenecja 2012; F. Bigotti Le composizioni strumentali „sacre” di G.F. Anerio, Gregorio Allegri, Giovanni Battista Organista e di anonimo nella biblioteca Altemps, w: Atti del Congresso internazionale di musica sacra in occasione del centenario di fondazione del PIMS t. 2, red. A. Addamiano i in., Watykan 2013; F. Mastroianni Ritrovata la data di nascita di G.F. Anerio, w: Tra musica e storia. Saggi di varia umanità in ricordo di Saverio Franchi, red. G. Rostirolla, E. Zomparelli, Rzym 2017; B. Przybyszewska-Jarmińska The beginnings of the small-scale sacred concerto in the Commonwealth of Poland and Lithuania, „Musicologica istropolitana” 13, 2017; A. Patalas The polychoral Masses of G.F. Anerio: Parody technique, w: Studies on the reception of Italian music in central-eastern Europe in the 16th and 17th century, red. M. Toffetti, Kraków 2018; J. Kurtzman Motets, Vespers antiphons and the performance of the post-Tridentine liturgy in Italy, w: Mapping the motet in the post-Tridentine era, red. E. Rodríguez-García, Abingdon 2019; B. Przybyszewska-Jarmińska To be a musician or a priest? The dilemmas of immigrants in the Polish royal music chapel during the seventeenth century, w: Glazba, migracije i europska kultura: Svečani zbornik za Vjeru Katalinić/Music, migration and European culture: Essays in honor of Vjera Katalinić, red. I. Cavallini, J. Guzy-Pasiak, H. White, Zagreb 2020.