Album insights
Famous composers can cast long shadows. The attention given to Palestrina in the four centuries following his death has led to the neglect of a significant group of composers from his time and the subsequent era. Often lumped together as the "Roman School," these composers, though distinctly individual artists, are mistakenly assumed to have continued in the conservative style of Palestrina's masses. The years from 1580 to 1620 in Rome were a flourishing period of musical life, attracting Italian-born composers who rapidly created compositions. Among them were the Anerio brothers, Felice and Giovanni Francesco, born into a musical Roman family in the 1560s. Their works showcased on this recording, some heard for the first time since the 17th century, reveal the untapped riches awaiting rediscovery in the compositions of these overlooked artists.
These composers often face the “Pachelbel Canon Syndrome,” where they are associated primarily with a single piece. Similarly, many may recognize Anerio’s “Christus factus est” without distinguishing between the brothers or acknowledging their separate identities. Despite multiple settings of this text, the version presented here remains popular for its simplicity and clever use of suspensions. This homophonic arrangement, with its tonal clarity and poignant suspensions, possibly explains its enduring appeal. Notably, elements therein also resonate with Allegri's famous "Miserere."
Giovanni Francesco Anerio, perhaps the more renowned of the brothers, is celebrated for his masses, such as the Missa La battaglia and the Missa Pro defunctis. Born around 1567 in Rome, he was ordained a priest in 1616 during his tenure at Santa Maria dei Monti. His compositions, including the Missa Pro defunctis, reflect a unique style, blending polyphony with chant seamlessly. Meanwhile, Felice Anerio, the elder brother, known for his vast doppelchörig works, enjoyed a distinguished career in Rome's musical landscape, marked by experiments with new techniques, such as for less voices and Basso continuo, yet maintaining a stylistic similarity to Palestrina.
Felice Anerio's works, predominantly doppelchörig, emerged as a prevalent style in Rome post the Council of Trent. His composition “Vidi speciosam,” a setting of the Song of Songs, epitomizes his expression and intricate craftsmanship, closely resembling Victoria’s style. Additionally, “Ad te levavi,” based on Psalm 122, exemplifies his nuanced musical interpretation, reflecting the repentant essence of the text. The Christmas hymn “Christe redemptor omnium” showcases Anerio's traditional polyphonic style, while the Marian Antiphon “Salve regina” underscores his mastery with its poignant contrasts and restrained emotional depth.
In essence, the Anerio brothers’ musical legacy, brimming with depth and artistry, beckons modern audiences to rediscover their enduring contributions to the musical tapestry of their time.