ANERIO REQUIEM PDF
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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Anerio (F): Requiem – CDH – Hyperion Records – MP3 and Lossless downloads
Giovanni Francesco Anerio c. Grove’s dictionary of music and musicians. Giovanni Francesco Anerio spent most of his life in Rome. He became a priest in In requuem held post as maestro di musica in Verona.
He died in on his way back to Rome in Graz, Austria. In his works he was the most significant progressive member of the Roman composers of his period. If you compare his below mentioned setting of Aperite mihi portas with that by Giovanni Dragoni c. Aperite mihi portas Period: Late Renaissance Musical form: Latin from Officium Defunctorum Duration: 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.
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. 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.
Nevertheless the antiphon Aperite mihi portas, was a fixed value in the former last burial services which was however sung according to the one source at the gate of the graveyard, according to other whereas the priest prays standing before the grave and according to a third one during the entombment itself.
Anerio Requiem CDH [RH]: Classical CD Reviews- May MusicWeb-International
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.
This setting has a lot rhythmical changes, more chord fluctuations and it counts 15 bars.
It ends in a hopeful G-major hoping or stating the justified shall enter the gate of the Lord. The text of the Antiphon is among others found in Monza, Chapter Library cod. Source M of R.
Hesbert, Corpus Antiphonalium Officii. Open to me the gates of justice: I will reqyiem in to them, and give praise to the Lord. This is the gate of the Lord: Missa pro defunctis Period: Late Renaissance Composed in: Requiem for SATB choir. Anerio’s church music illustrates the transition from a Palestrinian idiom as in the fine requiem mass to the concertato manner pioneered by Viadana.
Anerio published a book with masses Missa pro defunctis cum sequentia et respons. The “Libera me” could be performed separated as well.
The anetio of this Missa pro defunctis are: Requiem aeternam Kyrie Christe Kyrie Sequentia: Libera me, Domine de morte In Absolutione: Of course in this Missa pro Defunctis, Anerio made widespread use of the plainchant in a variety of forms.
Contrary to his Flemish colleagues only sizable proportions are written in homophonic style or even chordal style Second part of the Introit, reqjiem of the Sequence, parts of the Offertory, Sanctus, Benedictus, Agnus Dei and parts of the Libera me.
A smaller part is written in a modest polyphonically way. Most of the movements are written for four voices SATB.
Missa Pro Defunctis (Giovanni Francesco Anerio)
The Sequence is written for alternating use. The strophe with the odd numbers will be performed uni sono with the Plainchant. Wnerio omitted the Gradual and Tractus which since is even part of the office of the Dead. 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 they seems unbeatable most impressive.