Scan 133
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1ANET
3soprano from 1575–79, 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, Apr. 3, 1594, a post which he retained till 1602. His printed compositions include the following:
53 books of 'Sacred Madrigals' for 5 v. (Gardano, Rome 1588); 3 books of 'Madrigals' for 5, 6 and 3 v. (1587, 1590, 1598); two books of Hymns, Canticles and Motetti (1598 and 1602); 'Responsoria' for Holy Week (1606); Litanies, Canzonetti for 4 v. (1586), and Motetti.
7His unpublished works are preserved in the collections of S. Maria in Vallicella, the Vatican Basilica and the Pontifical Chapel, as well as in the Hofbibliothek, Vienna, the State Library, 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 12 motets (one for 8 voices) by him are given in Proske's Musica divina.
9(2) GIOVANNI FRANCESCO (b. Rome, c. 1567; d. circa 1620) was 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 1613–20, maestro di cappella at the church of the Madonna de' Monti. He was ordained priest in 1616. 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 Q.-L.; 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 4 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 4 voices was published by Pustet of Regensburg.
11ANET, (1) JEAN-BAPTISTE (b. circa 1661; d. Lunéville, Lorraine, Aug. 14, 1755), was considered in France as the first violinist of his time; his renown was great at the beginning of the 18th century. Not much is known of his childhood and youth, except that he travelled in Germany; and in Italy, where he studied three or four years with Corelli at Rome. He belonged afterwards to the band of the Duke of Orleans and to the Chapel Royal. His débuts at the Concert Spirituel in 1725 were striking, his manner of playing unaccompanied preludes attracting much attention. Foreigners, like Quantz and Marpurg, speak of him with praise. Although very successful in Paris, he left about 1736 and retired to the court of the ex-King of Poland, Stanislas Leczinski, at Lunéville, Lorraine. His works, principally 'Premier Livre de sonates à violon seul et la basse continue' (1724), 'Sonates à violon seul et basse continue' (1729), bear the influence of Corelli; his 2 Suites de pièces à deux musettes, op. 2, and his 2nd and 3rd (Euvre de musettes (1726, 1730, 1734), with their picturesque titles, are characteristic of the French pastoral taste in vogue towards 1730.
13(2) Another violinist of the same Christian and surname (b. circa 1651; d. Apr. 26, 1710), violin teacher at Paris in 1692, died leaving no works. Their relationship remains obscure.
15BIBL.—LIONEL DE LA LAURENCIE, L'Ecole française de violon de Lully à Viotti, vol. I., Paris, 1922.
17ANFOSSI, PASQUALE (b. Taggia, near Naples, Apr. 25, 17271; d. Rome, Feb. 1797), an operatic composer. 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 1784, and to Rome itself in 1787. Tiring of the stage, he sought for and obtained the post of maestro at the Lateran, and held it from 1792 till his death.
19He composed no less than 46 operas and 7 oratorios, besides 4 masses and certain pieces of church music, some of which are in the collection of the Lateran while others were in that of the Abbé Santini. Mozart composed airs for insertion in Anfossi's operas 'Il curioso indiscreto' and 'Le gelosie fortunate.'
21ANGECOURT, PERRIN D', a troubadour of the 13th century at the court of Charles of Anjou, brother of St. Louis. He accompanied Charles on his journey to Provence, where the latter married the daughter of Berengar. Fifty-three of his chansons, words and music, are still in existence (Eitner; Félis).
23ANGÉ DE LASSUS, LUCIEN (b. Paris, Jan
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