By Mary E. Frandsen
Presently after assuming the Saxon throne in 1656, Lutheran Elector Johann Georg II (r. 1656-80) changed the elder Kapellmeister Heinrich Schütz with more youthful Italian Catholic composers. doubtless in a single day, sacred tune within the newest Italian variety, first by means of Vincenzo Albrici (1631-90/96) and later by way of Giuseppe Peranda (ca. 1625-75) supplanted the extra conventional Schützian sacred concerto and Spruchmotette, effecting a metamorphosis in musical and religious existence either in the partitions of the Dresden court docket and past.
Drawing on broad learn in fundamental resource fabrics, Frandsen explores the elector's "Italianization" of the Hofkapelle with castrati and different Italian virtuosi, and examines the bigger confessional clash that gripped the town of Dresden and its implications for the Catholic-leaning elector's musical schedule. She then examines the Latin texts set through Albrici and Peranda, a physique of works ruled by way of expressions of mystical devotion normal of the repertoire then heard in Italy. even if, drawing upon contemporary reviews of the phenomenon of "new piety" in seventeenth-century Lutheranism, Frandsen locates those texts squarely in the realm of latest Lutheran spirituality, and demonstrates their congruity with devotional fabrics utilized by Lutherans because the mid-sixteenth century. In her dialogue of the sacred concertos of Albrici and Peranda, she takes the idea that of musica pathetica as some extent of departure, and in addition explores the formal and stylistic relationships among the Roman motet and the hot sacred concerto in Dresden. ultimately, with the aid of liturgies recorded in courtroom diaries, she reintegrates this track into its unique functionality setting, and demonstrates how tightly the works of those Italians have been woven into the Gospel-determined thematic cloth of the companies celebrated through the church yr.
A attention-grabbing account of the uneasy alliance of 2 confessions on the favourite seventeenth-century court docket of Dresden, this booklet offers clean insights right into a missed yet influential repertoire. Frandsen's study could be of curiosity to students and scholars drawn to Baroque song, the highbrow and cultural historical past of eu courts, the background of liturgy and church heritage, and the Early sleek period in general.
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