Felice Anerio, born in Rome, Italy, in 1560, was a prominent Italian composer of the late Renaissance. As a representative of the Roman School, Anerio contributed significantly to the development of sacred music during the Counter-Reformation.
Trained at the papal chapel, he held esteemed positions in Rome, including that of maestro di cappella at the Basilica of St. Peter’s. Anerio’s compositions, often in the Palestrinian style, showcase his skillful polyphony, expressive harmonies, and a deep commitment to the liturgical traditions of the Catholic Church.
His contributions to the repertoire of motets and sacred choral music have left an enduring impact on the rich tapestry of Renaissance polyphony.
Anerio’s “Christus Factus Est,” composed in the late 16th century, is a motet that reflects the composer’s adeptness in the art of choral polyphony.
The contextual significance of this composition lies in its association with the Holy Week liturgy, particularly Maundy Thursday, where it traditionally serves as an antiphon for the gradual stripping of the altar. Drawing inspiration from the biblical text “Christus factus est pro nobis obediens usque ad mortem” (Christ became obedient for us unto death), Anerio’s setting is characterized by its intricate counterpoint and expressive harmonic language. The motet captures the solemnity and poignancy of Christ’s sacrifice, aligning with the Counter-Reformation emphasis on emotional engagement through sacred music.
Some have claimed that the work is in fact by Baldassare Sartori, composed in 1705 – when we have more we’ll update this page!
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