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ANIMUCCIA, GIOVANNI

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Originally appearing in Volume V02, Page 55 of the 1911 Encyclopedia Britannica.
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ANIMUCCIA, GIOVANNI , See also:Italian musical composer, was See also:born at See also:Florence in the last years of the 15th See also:century. At the See also:request of St Filippo See also:Neri he composed a number of Laudi, or See also:hymns of praise, to be sung after See also:sermon See also:time, which have given him an accidental prominence in musical See also:history, since their per-formance in St Filippo's See also:Oratory eventually gave rise (on the disruption of 16th century See also:schools of See also:composition) to those See also:early forms of "See also:oratorio " that are not traceable to the Gregorian-polyphonic " Passions." St Filippo admired Animuccia so warmly that he declared he had seen the soul of his friend See also:fly upwards towards See also:heaven. In 1555 Animuccia was appointed See also:maestro di See also:capella at St See also:Peter's, an See also:office which he held until his See also:death in 1571. He was succeeded by See also:Palestrina, who had been his friend and probably his See also:pupil. The See also:manuscript of many of Animuccia's compositions is still preserved in the Vatican Library. His See also:chief published See also:works were Madrigals e Motetti a quattro e cinque voci (Ven. 1548) and Il primo Libro di Messe (Rom. 1567). From the latter Padre See also:Martini has taken two specimens for his Saggio di Contrapunto. A See also:mass from the Primo Libro di Messe on the See also:canto See also:fermo of the hymn Conditor See also:alme siderunt is published in See also:modern notation in the Anthologie See also:des maitres religieux primitifs of the Chanteurs de See also:Saint See also:Gervais. It is See also:solemn and See also:noble in conception, and would be a See also:great See also:work but for a roughness which is more careless than archaic.

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