Books › Cyclopedia of music and musicians, 1888 › scan 78
Scan 78
Cyclopedia of music and musicians, 1888
6 lines. Read by computer on 11 September 2026. No printed page number was found. See the scan on archive.org.
1ANFOSSI
3gali a cinque, sei voci, ed una a otto voci, ib., 1608; La recreazione armonica, madrigali a una, due voci, Venice, Gardane, 1611; Teatro armonico spirituale di madrigali a cinque, sei, sette e otto voci, composti dal rev. D. Francesco Anerio romano, e fatti imprimere da Oraz. Griffi, cant. pont. in Roma, per Giovanni Battista Robletti, in 1619 (this work contains, among other things, the Conversione di S. Paolo, and Il figluol prodigo); Dialogo pastorale a tre voci con l'intavolatura di cembalo e del liuto in rame, Rome, Verovio, 1600. Some motets of Francesco Anerio are contained in the Constantini collection, referred to in the preceding article, and a sonnet, "Destati Apollo," in the Petrozzi collection. Some one-voice motets are in Giovanni Domenico Puliaschi's Gemma musicale, Rome, 1618. Anerio's arrangement of Palestrina's "Messa di Papa Marcello" for four voices was first published in Rome in 1600. Several editions of a collection containing this arrangement, together with two other masses by Palestrina and one by Anerio were published in Rome in 1626, 1639, 1689.—Ambros, iv. 74; Grove, i. 67.
5ANFOSSI, PASQUALE, born at Naples about 1736, died in Rome in February, 1797. Dramatic composer, pupil of the Conservatorio della Pietà, Naples, where he first studied the violin, but soon abandoned it for composition, in which he became a favourite pupil of Piccinni, who procured him an engagement in 1771 at the Teatro delle Damme, Rome. Having failed with his first opera, 1769, in Venice, where he had become maestro di cappella at the Conservatorio del Ospedaletto, and with his next effort in Rome, he finally obtained a brilliant success there in 1773 with his Incognita perseguitata, and thenceforth was Piccinni's rival. But as early as 1776 he experienced the fickleness of the public, and left Rome in disgust, to write for the principal theatres of Italy. In 1780 he went to Paris, where several of his operas, translated, had been successfully given in 1778 and 1779, but left a year after for London, called there as conductor of the Italian opera. In 1783 he brought out operas in Berlin and Prague, returned in 1784 to Italy, and in 1787 to Rome, where he won new triumphs, but, tired of the stage, applied for the position of maestro di cappella at S. Giovanni in Laterano, which he obtained in 1791. His reputation was equal to that of the greatest masters of his time, his comic operas especially being considered models in style and in technical structure. He introduced into the opera the elaborate finale, which, in his Avaro, and in Isabella e Rodrigo, were of such mastery as to serve even Mozart as examples. His instrumentation was rich and varied. Works—Operas: Cajo Mario, given at Venice, 1769; La clemenza di Tito, Rome, 1769; I visionari, ib., Teatro delle Damme, 1771; Il barone di Rocca, ib., 1772; L'incognita perseguitata, Demofoonte, ib., 1773; Antigono, Venice, 1773; Lucio Silla, ib., 1774; La finta giardiniera, Rome, Teatro delle Damme, 1774; Il geloso in cimento, La contadina in Corte, L'avaro, ib., 1775; Isabella e Rodrigo, o la costanza in amore, La pescatrice fedele, Olimpiade, ib., 1776; Lo sposo disperato, ib., 1778; Il curioso indiscreto, Cleopatra, Milan, 1778; Il matrimonio per inganno, Paris, Théâtre de l'Académie Royale, 1779; La forza delle donne, Milan, 1780; I vecchi burlati, London, 1781; I viaggiatori felici, Armida, ib., 1782; Gli amanti canuti, Dresden, 1784; Il trionfo d'Ariana, Prague, 1784; Il cavaliere per amore, Berlin, 1784; Chi cerca trova, opera buffa, Florence, 1784; La vedova scaltra, Castel-Nuovo, 1785; Didone abbandonata, Naples, 1785; L'imbroglio delle tre spose,
The computer misreads some letters and numbers. Where a name matters to you, read the scan.