Giovanni Animuccia
Encyclopedia
Giovanni Animuccia was an Italian
composer of the Renaissance
and was involved in the heart of Rome’s liturgical musical life, and one of Giovanni Pierluigi da Palestrina
's most important contemporaries. As the first maestro di capella of St Philip Neri
's Oratory
and magister cantorum of the Capella Giulia, he was composing music at the very centre of the Roman Catholic Church, during the turbulent reforms of the Counter-Reformation
and as part of the new movements that began to flourish around the middle of the century. His music reflects these changes.
s show similarities with, and may have been modelled on, the music of his slightly older contemporary Francesco Corteccia
(court composer to Duke Cosimo I de' Medici). Animuccia and Corteccia were the only significant composers writing madrigals in Florence at the time and both composers published books of madrigals in 1547. Animuccia’s name is also mentioned in association with Florentine literary circles, suggesting that he was involved with cultural life in Florence. Animuccia's Second Book of Madrigals was published in 1551 after his arrival in Rome in 1550.
. The Oratory began in the early 1550s as small and informal meetings for religious discussion and prayer; these meetings soon began to attract large numbers of people. In 1558, when Phillip obtained a larger room to hold the meetings in, the practice of singing of laude spirituali
was introduced. Singing laude
was a popular practice in Florence following the legacy of Girolamo Savonarola
who strongly encouraged its use, and it is natural therefore that Phillip would incorporate this practice into his meetings. Animuccia was involved early on with music for these meetings (the precise date is unknown) and remained maestro di Capella of the Oratory until his death. The Oratory was able to attract many musicians who gave their services for free; this included the famous singer from the Capella Sistina
Francesco Soto de Langa, and composers Palestrina
and (probably) Victoria
- who (for five years) lived in the same house as St. Phillip Neri.
Animuccia published two books of laude for use in the Oratory in 1563 and 1570. Animuccia’s Florentine influence is evident as some of his texts originate from Florence. Stylistically the two books are rather different. Animuccia’s first book contains simple settings of Italian laude which are homophonic throughout, and – as part of Phillip Neri’s early devotional meetings – were probably sung by amateur singers. The music in Animuccia’s second book of laude is much more madrigalistic
; he uses a greater variety of textures
, sonorities
and languages (Italian and Latin). His reasons for the change in style are stated in his dedication:
By this time the number of people attending the Oratory had increased significantly and Animuccia wished to offer more complex music in order to ‘woo influential people through music into churches.’
. Palestrina, who was Animuccia’s predecessor at the Capella Giulia, had been promoted by Pope Julius III
to the Capella Sistina
. Animuccia’s most important composition for this period was his Missarum Liber Primus (1567). The importance of this book of Masses is due to the fact that its style of composition was directly affected by the liturgical reforms that took place at the Council of Trent
through the influence of the Reform Commission in Rome (see below).
, in particular the reform of ‘abuses of the Mass’. In order for the Council's recommendations to be carried out in Rome, a Reform Commission was set up, headed up by Cardinals Carlo Borromeo
and Vitellozzo Vitelli. The main issues regarding music that Cardinals Borromeo and Vitelli sought to address were ‘intelligibility’ (i.e. that Masses should be composed in such a way that the words could be clearly understood by the listener) and the use of secular music in Mass settings. In 1565 it is recorded in the diary of the papal chapel choir that Cardinal Vitelli requested the choir to be assembled at his house and held a private test of some Mass settings in order to see ‘whether the words could be understood’.
All the Masses are freely composed plainsong paraphrases - which fulfills the requirement of the eradication of secular influences. It is interesting to note that Animuccia’s presentation of an ‘intelligible’ style is only evident in the Gloria and the Credo, and even here he seems reluctant to strip all ‘artifice’ from the music. Instead he alternates homophonic
phrases with polyphonic
phrases. In his book of Masses Animuccia is consciously trying to compose music that reconciles, as he sees it, the two polarities in this issue of composing ‘intelligible’ music: that of making the text audible, yet at the same time sounding beautiful – therefore fulfilling the music’s most important function of drawing the listener deeper into prayer and closer to God. Other significant stylistic features of Animuccia’s composition style include variations in vocal textures and colour by varying voice groupings, and instances of word painting
.
Other works composed by Animuccia in this period include some madrigali spirituali (1565) and a collection of hymns, motets, Masses and Magnificats (1568).
.
Italy
Italy , officially the Italian Republic languages]] under the European Charter for Regional or Minority Languages. In each of these, Italy's official name is as follows:;;;;;;;;), is a unitary parliamentary republic in South-Central Europe. To the north it borders France, Switzerland, Austria and...
composer of the Renaissance
Renaissance music
Renaissance music is European music written during the Renaissance. Defining the beginning of the musical era is difficult, given that its defining characteristics were adopted only gradually; musicologists have placed its beginnings from as early as 1300 to as late as the 1470s.Literally meaning...
and was involved in the heart of Rome’s liturgical musical life, and one of Giovanni Pierluigi da Palestrina
Giovanni Pierluigi da Palestrina
Giovanni Pierluigi da Palestrina was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition...
's most important contemporaries. As the first maestro di capella of St Philip Neri
Philip Neri
Saint Philip Romolo Neri , also known as Apostle of Rome, was an Italian priest, noted for founding a society of secular priests called the "Congregation of the Oratory".-Early life:...
's Oratory
Oratory of Saint Philip Neri
The Oratory of Saint Philip Neri is a congregation of Catholic priests and lay-brothers who live together in a community bound together by no formal vows but only with the bond of charity. They are commonly referred to as Oratorians...
and magister cantorum of the Capella Giulia, he was composing music at the very centre of the Roman Catholic Church, during the turbulent reforms of the Counter-Reformation
Counter-Reformation
The Counter-Reformation was the period of Catholic revival beginning with the Council of Trent and ending at the close of the Thirty Years' War, 1648 as a response to the Protestant Reformation.The Counter-Reformation was a comprehensive effort, composed of four major elements:#Ecclesiastical or...
and as part of the new movements that began to flourish around the middle of the century. His music reflects these changes.
Early life: Florence
Animuccia was born in Florence, where, despite his prominence as a composer in Rome (where he died) he spent the first thirty years of his life. However, little is known about his training and work during this period. His first and second book of madrigalMadrigal (music)
A madrigal is a secular vocal music composition, usually a partsong, of the Renaissance and early Baroque eras. Traditionally, polyphonic madrigals are unaccompanied; the number of voices varies from two to eight, and most frequently from three to six....
s show similarities with, and may have been modelled on, the music of his slightly older contemporary Francesco Corteccia
Francesco Corteccia
Francesco Corteccia was an Italian composer, organist, and teacher of the Renaissance. Not only was he one of the best known of the early composers of madrigals, and an important native Italian composer during a period of domination by composers from the Low Countries, but he was the most...
(court composer to Duke Cosimo I de' Medici). Animuccia and Corteccia were the only significant composers writing madrigals in Florence at the time and both composers published books of madrigals in 1547. Animuccia’s name is also mentioned in association with Florentine literary circles, suggesting that he was involved with cultural life in Florence. Animuccia's Second Book of Madrigals was published in 1551 after his arrival in Rome in 1550.
Rome
After his arrival in Rome, Animuccia was employed by Cardinal Guido Ascanio Sforza. Early on, through his association with Florentine circles (in particular the exiled Altoviti family), Animuccia met his fellow Florentine St Phillip Neri.Music for the Oratory
St Phillip Neri founded a religious congregation called the OratoryOratory of Saint Philip Neri
The Oratory of Saint Philip Neri is a congregation of Catholic priests and lay-brothers who live together in a community bound together by no formal vows but only with the bond of charity. They are commonly referred to as Oratorians...
. The Oratory began in the early 1550s as small and informal meetings for religious discussion and prayer; these meetings soon began to attract large numbers of people. In 1558, when Phillip obtained a larger room to hold the meetings in, the practice of singing of laude spirituali
Laude
The lauda or lauda spirituale was the most important form of vernacular sacred song in Italy in the late medieval era and Renaissance. Laude remained popular into the nineteenth century....
was introduced. Singing laude
Laude
The lauda or lauda spirituale was the most important form of vernacular sacred song in Italy in the late medieval era and Renaissance. Laude remained popular into the nineteenth century....
was a popular practice in Florence following the legacy of Girolamo Savonarola
Girolamo Savonarola
Girolamo Savonarola was an Italian Dominican friar, Scholastic, and an influential contributor to the politics of Florence from 1494 until his execution in 1498. He was known for his book burning, destruction of what he considered immoral art, and what he thought the Renaissance—which began in his...
who strongly encouraged its use, and it is natural therefore that Phillip would incorporate this practice into his meetings. Animuccia was involved early on with music for these meetings (the precise date is unknown) and remained maestro di Capella of the Oratory until his death. The Oratory was able to attract many musicians who gave their services for free; this included the famous singer from the Capella Sistina
Sistine Chapel
Sistine Chapel is the best-known chapel in the Apostolic Palace, the official residence of the Pope in Vatican City. It is famous for its architecture and its decoration that was frescoed throughout by Renaissance artists including Michelangelo, Sandro Botticelli, Pietro Perugino, Pinturicchio...
Francesco Soto de Langa, and composers Palestrina
Giovanni Pierluigi da Palestrina
Giovanni Pierluigi da Palestrina was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition...
and (probably) Victoria
Tomás Luis de Victoria
Tomás Luis de Victoria, sometimes Italianised as da Vittoria , was the most famous composer of the 16th century in Spain, and one of the most important composers of the Counter-Reformation, along with Giovanni da Palestrina and Orlando di Lasso. Victoria was not only a composer, but also an...
- who (for five years) lived in the same house as St. Phillip Neri.
Animuccia published two books of laude for use in the Oratory in 1563 and 1570. Animuccia’s Florentine influence is evident as some of his texts originate from Florence. Stylistically the two books are rather different. Animuccia’s first book contains simple settings of Italian laude which are homophonic throughout, and – as part of Phillip Neri’s early devotional meetings – were probably sung by amateur singers. The music in Animuccia’s second book of laude is much more madrigalistic
Madrigal (music)
A madrigal is a secular vocal music composition, usually a partsong, of the Renaissance and early Baroque eras. Traditionally, polyphonic madrigals are unaccompanied; the number of voices varies from two to eight, and most frequently from three to six....
; he uses a greater variety of textures
Texture (music)
In music, texture is the way the melodic, rhythmic, and harmonic materials are combined in a composition , thus determining the overall quality of sound of a piece...
, sonorities
Sonority
Sonority may refer to:*sound*sonority hierarchy, a ranking of speech sounds by amplitude*In music theory, a chord, particularly when speaking of non-traditional harmonies...
and languages (Italian and Latin). His reasons for the change in style are stated in his dedication:
The oratory having increased, by the grace of God, with the coming together of prelates and of most important gentlemen, it seemed to me fitting in this second book to increase the harmony and the combination of parts, varying the music in diverse ways, now setting it to Latin words and now to the vernacular, sometimes with a greater number of voices and sometimes with fewer, with verses now of one kind and now of another, concerning myself as little as possible with imitations and complexities, in order not to obscure the understanding of the words.
By this time the number of people attending the Oratory had increased significantly and Animuccia wished to offer more complex music in order to ‘woo influential people through music into churches.’
The Effects of the Counter-Reformation on Animuccia's Music
At the same time as writing music for the Oratory, Animuccia was employed (from January 1555) as the magister cantorum of the Capella Giulia at St. Peter's BasilicaSt. Peter's Basilica
The Papal Basilica of Saint Peter , officially known in Italian as ' and commonly known as Saint Peter's Basilica, is a Late Renaissance church located within the Vatican City. Saint Peter's Basilica has the largest interior of any Christian church in the world...
. Palestrina, who was Animuccia’s predecessor at the Capella Giulia, had been promoted by Pope Julius III
Pope Julius III
Pope Julius III , born Giovanni Maria Ciocchi del Monte, was Pope from 7 February 1550 to 1555....
to the Capella Sistina
Sistine Chapel
Sistine Chapel is the best-known chapel in the Apostolic Palace, the official residence of the Pope in Vatican City. It is famous for its architecture and its decoration that was frescoed throughout by Renaissance artists including Michelangelo, Sandro Botticelli, Pietro Perugino, Pinturicchio...
. Animuccia’s most important composition for this period was his Missarum Liber Primus (1567). The importance of this book of Masses is due to the fact that its style of composition was directly affected by the liturgical reforms that took place at the Council of Trent
Council of Trent
The Council of Trent was the 16th-century Ecumenical Council of the Roman Catholic Church. It is considered to be one of the Church's most important councils. It convened in Trent between December 13, 1545, and December 4, 1563 in twenty-five sessions for three periods...
through the influence of the Reform Commission in Rome (see below).
The Council of Trent and the Reform Commission
The final session of the Council of Trent closed in 1563. One of the primary concerns of the council in its latter stages was the reform of the liturgyLiturgy
Liturgy is either the customary public worship done by a specific religious group, according to its particular traditions or a more precise term that distinguishes between those religious groups who believe their ritual requires the "people" to do the "work" of responding to the priest, and those...
, in particular the reform of ‘abuses of the Mass’. In order for the Council's recommendations to be carried out in Rome, a Reform Commission was set up, headed up by Cardinals Carlo Borromeo
Charles Borromeo
Charles Borromeo was the cardinal archbishop of the Catholic Archdiocese of Milan from 1564 to 1584. He was a leading figure during the Counter-Reformation and was responsible for significant reforms in the Catholic Church, including the founding of seminaries for the education of priests...
and Vitellozzo Vitelli. The main issues regarding music that Cardinals Borromeo and Vitelli sought to address were ‘intelligibility’ (i.e. that Masses should be composed in such a way that the words could be clearly understood by the listener) and the use of secular music in Mass settings. In 1565 it is recorded in the diary of the papal chapel choir that Cardinal Vitelli requested the choir to be assembled at his house and held a private test of some Mass settings in order to see ‘whether the words could be understood’.
Animuccia’s Response
Animuccia, as magister cantorum of the Capella Giulia, would no doubt have been aware of this test; it is unsurprising therefore that in 1566 there is a record of him being paid ‘for the composition of five masses [written] according to the requirements of the Council [of Trent].’ Animuccia’s Missarum Liber Primus was published a year later. In his dedication he writes:
…I have sought to adorn these divine praises of God in such a way that the music may disturb the hearing of the text as little as possible, but nevertheless in such a way that it may not be entirely devoid of artifice and may contribute in some measure to the listener’s pleasure.
All the Masses are freely composed plainsong paraphrases - which fulfills the requirement of the eradication of secular influences. It is interesting to note that Animuccia’s presentation of an ‘intelligible’ style is only evident in the Gloria and the Credo, and even here he seems reluctant to strip all ‘artifice’ from the music. Instead he alternates homophonic
Homophony
In music, homophony is a texture in which two or more parts move together in harmony, the relationship between them creating chords. This is distinct from polyphony, in which parts move with rhythmic independence, and monophony, in which all parts move in parallel rhythm and pitch. A homophonic...
phrases with polyphonic
Polyphony
In music, polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice or music with one dominant melodic voice accompanied by chords ....
phrases. In his book of Masses Animuccia is consciously trying to compose music that reconciles, as he sees it, the two polarities in this issue of composing ‘intelligible’ music: that of making the text audible, yet at the same time sounding beautiful – therefore fulfilling the music’s most important function of drawing the listener deeper into prayer and closer to God. Other significant stylistic features of Animuccia’s composition style include variations in vocal textures and colour by varying voice groupings, and instances of word painting
Word painting
Word painting is the musical technique of writing music that reflects the literal meaning of a song. For example, ascending scales would accompany lyrics about going up; slow, dark music would accompany lyrics about death.Tone painting of words goes at least as far back as Gregorian chant...
.
Other works composed by Animuccia in this period include some madrigali spirituali (1565) and a collection of hymns, motets, Masses and Magnificats (1568).
Animuccia’s Legacy
The stylistic features described in Animuccia’s Masses and laude can be seen as antecedent to the way choral music would develop from the end of the 16th century into the 17th century. In particular his use of different voice groupings can be seen as a very early example of the polychoral technique (chori spezzati) which became very popular in Rome shortly after Animuccia’s death. Although Animuccia’s contribution to liturgical musical at this time was soon eclipsed by choral works of his contemporaries Palestrina and Victoria, his music remains an important example as to one of the ways in which a composer sought to deal with the issues which arose after the Council of Trent. As well as this, his significant contribution to the early musical life of the Oratory set precedence for future developments of music written for this setting, which would eventually include the development of the oratorioOratorio
An oratorio is a large musical composition including an orchestra, a choir, and soloists. Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias...
.