was born there April 22, 1835, and was pupil at the Conservatorio of Milan from 1847 to 53. A pianist of great distinction, remarkable for his soft and delicate touch, pure taste, and power of expression, as well as for great execution. He was well known in London, where he appeared at the Crystal Palace (Dec. 13, 56), the Musical Union (April 27, 58), the New Philharmonic (May 9, 59), and elsewhere. His health was never strong, and he died at Nice 1860 [App. p.523 "Mar 13"]. His compositions were unimportant. His brother Carlo was also born at Mirandola, and brought up at the Conservatorio of Milan, where he is now (1875) professor of the piano. He too was favourably known in London, though since 1871 his health has confined him to Italy and the south of France.
ANDREONI was an Italian singer engaged for the season of 1741 in London. He seems to have had an artificial low soprano or contralto voice, for his name appears to the song 'Let Hymen oft appear' in Handel's 'Allegro,' to which the composer has added in his MS. the words 'un tono più basso in sopno,' meaning that it must be transposed for him. The song was probably sung by him in Italian, as a translation, beginning 'Se l'Imeneo fra noi verrà,' is added, as also to the song 'And ever against eating cares' ('E contro all' aspre cure'), which is given to the same singer. He had arrived too recently to be able to learn the language in time for the performance. He sang the contralto man's part in Handel's 'Imeneo' the same year, and in 'Deidamia,' that master's last opera. He does not seein to have gone with him, however, to Ireland; nor to have sung again in London. His subsequent history is not known.
ANDREVI, Francesco, born near Lerida in Catalonia of Italian parents in 1785, died at Barcelona in 1844; was successively the director of music in the cathedrals of Valencia, Seville, Bourdeaux (1832 to 1842) where he fled during the civil war, and in the church of Our Lady of Mercy at Barcelona. His sacred compositions were good and numerous, but a 'Nunc Dimittis' and a 'Salve Regina,' printed in Eslava's collection of Spanish church music, 'Lira Sacro-Hispana,' are his only published works. His treatise on Harmony and Counterpoint was translated into French (Paris, 1848).
ANERIO, Felice, an Italian composer of the Roman school, was born about 1560, and, after 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, on April 3, 1594. The date of his death is unknown. His printed compositions include the following: three books of 'Sacred Madrigals' for five voices (Gardano, Rome 1585); three books of 'Madrigals'; two books of sacred Concerti'; two books of Hymns, Canticles, and Motetti; ' Responsori' for the Holy Week; Litanies, Canzoni, and Motetti. His unpublished works are preserved in the collections of S. Maria in Vallicella, of the Vatican Basilica, and of the Pontifical Chapel. In the library of the Abbè Santini also, there was a considerable number of Anerio's Masses, with Psalms and other pieces. A Mass, a Te Deum, and 12 motets (one for 8 voices) by him, are given in Proske's 'Musica divina.'
ANERIO, Giovanni Francesco, a younger brother of the preceding, born at Rome about 1567. His first professional engagement was as Maestro di Cappella to Sigismund III, King of Poland. He afterwards served in the same capacity in the cathedral of Verona. Thence he came to Rome to fill the post of musical instructor at the Seminario Romano, and was afterwards Maestro di Cappella at the church of the Madonna de' Monti. Lastly, in 1600, he was made Maestro at the Lateran, where he remained until 1613. He then disappears. 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. 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,' 'Teatro armonico spirituale,' 'Selva armonica,' 'Diporti musicale,' and the like. He was one of the adapters of Palestrina's mass 'Papæ Marcelli.' (See Palestrina). There were scores of several of his masses in the collection of the Abbè Santini. A requiem of his for 4 voices has been recently published by Pustet of Regensburg.
ANET, Baptiste, a French violinist, pupil of Corelli. After studying for four years under that great master at Rome, he appears to have returned to Paris about 1700, and to have met with the greatest success. There can be little doubt that by his example the principles of the great Italian school of violin-playing were first introduced into France. Probably owing to the jealousy of his French colleagues Anet soon left Paris again, and is said to have spent the rest of his life as conductor of the private band of a nobleman in Poland.
He published three sets of sonatas for the violin.
ANFOSSI, Pasquale, an operatic composer of the 18th century. Born at Naples in or about 1729 [App. p.523 "1736"]. 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 two first operas, 'Caio Mario' and 'I Visionari,' the first brought out in Venice, the second in Rome, were failures; but his third, 'L'Incognita persequitata,' 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
