ANERIO  , the name of two See also:

• BROTHERS, RICHARD (1757-1824)

brothers, musical composers, very See also:

• GREAT

great See also:

• ROMAN

Roman masters of 16th-See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century polyphony . Felice, the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born about 156o, studied under G . M . Nanino and succeeded See also:

• PALESTRINA, GIOVANNI PIERLUIGI DA (1526-1594)

Palestrina in 1594 as composer to the papal See also:

• CHAPEL

chapel . Several masses and motets of his are printed in Proske's Musica Divina and other See also:

• MODERN

modern anthologies, and it is hardly too much to say that they are for the most See also:

• PART

part worthy of Palestrina himself . The date of his See also:

• DEATH

death is conjecturally given as 1630 . His See also:

• BROTHER

brother, Giovanni See also:

• FRANCESCO
• FRANCESCO, 210

Francesco, was born about 1567, and seems to have died about 162o . The occasional attribution of some of his numerous compositions to his elder brother is a pardonable See also:

• MISTAKE (i.e. take amiss)

mistake, if we may See also:

• JUDGE (Lat. judex, Fr. juge)

judge by the See also:

• WORKS

works that have been reprinted . But the statement, which continues to be repeated in See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard works of reference, that " he was one of the first of Italians to use the quaver and its subdivisions " is incomprehensible . Quavers were See also:

• COMMON

common See also:

• PROPERTY

property in all musical countries quite See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early in the 16th century, and' semiquavers appear in a See also:

• MADRIGAL (Ital. madrigale)

madrigal of Palestrina published in 1574 . The two brothers are probably the latest composers who handled 16th-century See also:

• MUSIC

music as their See also:

• MOTHER

mother-See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language; suffering neither from the temotation to indulge even in such mild neologisms as they might have learnt from the elder brother's See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master, Nanino, nor from the See also:

• NECESSITY (Lat. necessitas)

necessity of preserving their purity of See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style by a mortified negative See also:

• ASCETICISM

asceticism . They wrote pure polyphony because they understood it and loved it, and hence their See also:

• WORK

work lives, as neither the progressive work of their own See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day nor the reactionary work of their imitators could live .

The I2-part Stabat Mater in the seventh See also:

• VOLUME

volume of Palestrina's See also:

• COMPLETE

complete works has been by some authorities ascribed to Felice Anerio .