Scan 104
Grove's Dictionary Of Music And Musicians Vol I A. To E., 1904
20 lines. Read by computer on 11 September 2026. Printed page 86. See the scan on archive.org.
1Lady of Mercy at Barcelona. His sacred compositions were good and numerous; a 'Nunc Dimittis' and a 'Salve Regina,' printed in Eslava's collection of Spanish church music, Lira Sacro-Hispana, are his only published works. His treatise on Harmony and Counterpoint was translated into French (Paris, 1848).
3M. C. C.
5ANDROT, ALBERT AUGUSTE, was born at Paris in 1781, and admitted into the Conservatoire in his fifteenth year. In 1799 he obtained a prize for his exercises in harmony, and four years afterwards, having gained the Prix de Rome for his 'Alcyone,' he was sent to that city to study under Guglielmi. During the first year of his residence in Rome he made such progress that his master commissioned him to write a requiem and another sacred composition. The latter, performed during Passion Week, excited so much admiration, that he was engaged to compose an opera for the autumn. He had scarcely completed the last scene when nature sank under the arduous labour, and the composer died on August 19, 1804. In the following October a De Profundis of his composition was performed in his memory at the church of San Lorenzo in Lucinia.
7A short notice of this composer is to be found in the Dict. of Musicians (1827). C. H. P.
9ANERIO, FELICE, an Italian composer of the Roman school, was born about 1560, and, after being in the Papal choir as a boy soprano from 1575 to 1579, and completing his studies under G. M. Nanini, was made Maestro at the English College. He afterwards took service with Cardinal Aldobrandini, and upon the death of Palestrina was named 'Compositore' to the Papal Chapel, on April 3, 1594, a post which he retained till 1602. The date 1630, given by Riemann for his death, is apparently conjectural. His printed compositions include the following: three books of 'Sacred Madrigals' for five voices (Gardano, Rome 1585); three books of 'Madrigals' for five, six, and three voices respectively (1587, 1590, 1598); two books of Hymns, Canticles, and Motetti (1596 and 1602); 'Responsoria' for the Holy Week (1606); Litanies, Canzonetti for four voices (1586), and Motetti. His unpublished works are preserved in the collections of S. Maria in Vallicella, the Vatican Basilica, and the Pontifical Chapel, as well as in the Hofbibliothek, Vienna, the Royal Library at Berlin, and elsewhere. In the library of the Abbé Santini also, there was a considerable number of Anerio's Masses, with Psalms and other pieces. A Mass and twelve motets (one for eight voices) by him are given in Proske's Musica Divina. E. H. P.
11ANERIO, GIOVANNI FRANCESCO, a younger brother of the preceding, born at Rome about 1567. His first professional engagement was as Maestro di Cappella to Sigismund III., King of Poland, about 1609. He served in the same capacity in the cathedral of Verona in 1611, but soon after that went to Rome to fill the post of musical instructor at the Seminario Romano, and was, from 1613 to 1620 Maestro di Cappella at the church of the Madonna de' Monti. He was ordained priest in 1616, and seems to have died in or after 1620. He was one of the first Italians who made use of the quaver and its subdivisions. His printed works form a catalogue too long for insertion here. See Eitner's Quellen-Lexikon, Vogel's Bibl. weltl. Vocalmus. Italiens. Suffice it to say that they consist of all the usual forms of sacred music, and that they were published (as his brother's were) by Soldi, Gardano, Robletti, etc. Giovanni Anerio had a fancy for decking the frontispieces of his volumes with fantastic titles, such as Ghirlanda di sacre Rose (1619), Teatro armonico spirituale (1619), Selva armonica, Diporti musicali (1617), and the like. He was one of the adapters of Palestrina's mass 'Papae Marcelli,' for four voices. (See PALESTRINA.) There were scores of several of his masses in the collection of the Abbé Santini. A Te Deum in Proske's Musica Divina, ascribed to the elder brother, is really by Giovanni Francesco Anerio. A requiem of his for four voices was published by Pustet of Regensburg.
13E. H. P.
15ANET, BAPTISTE, a French violinist, pupil of Corelli. After studying for four years under that great master at Rome, he appears to have returned to Paris about 1700, and to have met with the greatest success. There can be little doubt that by his example the principles of the great Italian school of violin-playing were first introduced into France. Probably owing to the jealousy of his French colleagues Anet soon left Paris again, and is said to have spent the rest of his life as conductor of the private band of a nobleman in Poland. He published three sets of sonatas for the violin, the first book of which appeared in Paris in 1724.
17P. D.
19ANFOSSI, PASQUALE, an operatic composer of the 18th century. Born at Naples in or about 1736. He first studied the violin, but deserted that instrument for composition, and took lessons in harmony from Piccinni, who was then in the zenith of his fame. His first opera was 'La donna fedele' (Naples, 1758); his next, 'Caio Mario,' given in Venice in 1769, and 'I Visionari,' Rome, 1771, were failures; but his third, 'L'Incognita perseguitata,' 1773, made his fortune. Its success was partly owing to the ill-feeling of a musical clique in Rome towards Piccinni, whom they hoped to depreciate by the exaltation of a rival. Anfossi lent himself to their intrigues, and treated his old master and benefactor with great ingratitude. In his own turn he experienced the fickleness of the Roman public of that day, and quitting, first the capital, and afterwards Italy, brought out a long string of operas in Paris, London, Prague, and Berlin, with varying success. He returned to Italy in
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