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Overview"Shortly after assuming the Saxon throne in 1656, Lutheran Elector Johann Georg II (r. 1656-80) replaced the elder Kapellmeister Heinrich Schütz with younger Italian Catholic composers. Seemingly overnight, sacred music in the most modern Italian style, first by Vincenzo Albrici (1631-90/96) and later by Giuseppe Peranda (ca. 1625-75) supplanted the more traditional Schützian sacred concerto and Spruchmotette, effecting a change in musical and spiritual life both within the walls of the Dresden court and beyond. Drawing on extensive research in primary source materials, Frandsen explores the elector's ""Italianization"" of the Hofkapelle with castrati and other Italian virtuosi, and examines the larger confessional conflict that gripped the city of Dresden and its implications for the Catholic-leaning elector's musical agenda. She then examines the Latin texts set by Albrici and Peranda, a body of works dominated by expressions of mystical devotion typical of the repertoire then heard in Italy. However, drawing upon recent studies of the phenomenon of ""new piety"" in seventeenth-century Lutheranism, Frandsen locates these texts squarely within the realm of contemporary Lutheran spirituality, and demonstrates their congruity with devotional materials used by Lutherans since the mid-sixteenth century. In her discussion of the sacred concertos of Albrici and Peranda, she takes the concept of musica pathetica as a point of departure, and also explores the formal and stylistic relationships between the Roman motet and the new sacred concerto in Dresden. Finally, with the help of liturgies recorded in court diaries, she reintegrates this music into its original performance environment, and demonstrates how tightly the works of these Italians were woven into the Gospel-determined thematic fabric of the services celebrated during the church year. A fascinating account of the uneasy alliance of two confessions at the prominent seventeenth-century court of Dresden, this book provides fresh insights into a neglected but influential repertoire. Frandsen's research will be of interest to scholars and students interested in Baroque music, the intellectual and cultural history of European courts, the history of liturgy and church history, and the Early Modern era in general." Full Product DetailsAuthor: Mary Frandsen (Associate Professor of Music, Associate Professor of Music, University of Notre Dame)Publisher: Oxford University Press Inc Imprint: Oxford University Press Inc Dimensions: Width: 23.90cm , Height: 4.10cm , Length: 15.50cm Weight: 0.893kg ISBN: 9780195178319ISBN 10: 0195178319 Pages: 528 Publication Date: 25 May 2006 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: To order  Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us. Table of ContentsAbbreviations List of Musical Examples Prologue: The Forgotten Mäzen Johann Georg II 1. The Advent of the Italiens, 1651-56 2. The Itatienate Hofkapelle of Johann Georg II, 1656-80 3. Johann Georg II and the Problem of Catholocism 4. Piety, Penitance, and Praise: The Dresden Textual Repetoire 5. Roma trapianata: The New Sacred Concerto in Dresden 6. Musica pathetica: Style and Affect in the Dresden Concerto 7. Johann Georg's Vision for Worship 8. Musik im Gottesdienst: The Liturgical Year at the Dresden Court Epilogue: Johann Georg II Remembered Appendix I: Source Documents Appendix II: Sacred Vocal Works of the Principle Dresden Court Composers Bibliography of Primary Sources Bibliography of Secondary Sources IndexReviewsA thorough and fascinating study of liturgical practice, confessional identity, and music's overriding powers in the heartland of 17th-century Lutheranism. This book will be important reading for students of liturgy, princely politics, and music in early modern Europe. --Robert L. Kendrick, University of Chicago Frandsen carefully examines the entire milieu at the court of Johann Georg II--confessional, personal, political, economic, and liturgical--in which the Italian composers Albrici and Peranda worked, bringing vast theological and devotional resources to bear on her analysis of the composers' texts and their confessional implications. Equally sophisticated is her study of the style and organization of the music itself. Prof. Frandsen unfolds this intriguing story in an engaging narrative, filled with detail and analysis, that reads exceptionally well. --Jeffrey Kurtzman, Professor of Music, Washington University, St. Louis A splendid book, of interest to scholars of music, liturgy, Lutheranism and 17th-century history. From her command of a marvelous body of archival material, and astute musical and textual analysis of motets and sacred concertos, Mary Frandsen demonstrates that Elector Johann Georg II, by employing Italian Catholic musicians, brought significant changes to traditional Lutheran devotion. Frandsen's study is an original and penetrating discussion of this little-known ruler, his penchant for Italian musicians, and the resulting implications for both music and theology. --Anne Schnoebelen, Mullen Professor Emerita of Music, Rice University A thorough and fascinating study of liturgical practice, confessional identity, and music's overriding powers in the heartland of 17th-century Lutheranism. This book will be important reading for students of liturgy, princely politics, and music in early modern Europe. --Robert L. Kendrick, University of Chicago Frandsen carefully examines the entire milieu at the court of Johann Georg II--confessional, personal, political, economic, and liturgical--in which the Italian composers Albrici and Peranda worked, bringing vast theological and devotional resources to bear on her analysis of the composers' texts and their confessional implications. Equally sophisticated is her study of the style and organization of the music itself. Prof. Frandsen unfolds this intriguing story in an engaging narrative, filled with detail and analysis, that reads exceptionally well. --Jeffrey Kurtzman, Professor of Music, Washington University, St. Louis A splendid book, of interest to scholars of music, liturgy, Lutheranism and 17th-century history. From her command of a marvelous body of archival material, and astute musical and textual analysis of motets and sacred concertos, Mary Frandsen demonstrates that Elector Johann Georg II, by employing Italian Catholic musicians, brought significant changes to traditional Lutheran devotion. Frandsen's study is an original and penetrating discussion of this little-known ruler, his penchant for Italian musicians, and the resulting implications for both music and theology. --Anne Schnoebelen, Mullen Professor Emerita of Music, Rice University Mary Frandsen's remarkable book is a landmark study in the history of 17th-century German court music culture. Peter Wollny, Early Music Mary Frandsen's remarkable book is a landmark study in the history of 17th century German court music culture. One would hope that it will lead to many follow up studies on this neglected half-century. Peter Wollny, Early Music Author InformationMary Frandsen is a member of the music faculty at the University of Notre Dame. She currently serves as Chair of the American Heinrich Schütz Society and is a member of the Governing Board of the Society for Seventeenth-Century Music. Tab Content 6Author Website:Countries AvailableAll regions |
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