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Crossing Confessional BoundariesThe Patronage of Italian Sacred Music in Seventeenth-Century Dresden$
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Mary Frandsen

Print publication date: 2006

Print ISBN-13: 9780195178319

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780195178319.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 17 May 2021

The Advent of the Italians, 1651–56

The Advent of the Italians, 1651–56

(p.6) 1 The Advent of the Italians, 1651–56
Crossing Confessional Boundaries

Mary E. Frandsen

Oxford University Press

Despite his oft-bemoaned status as a cash-strapped monarch-in-waiting, at some point in 1650 Prince Johann Georg decided to take the radical step of enhancing his own musical ensemble with Italians. His decision represents a fundamental change in his approach, for until this time the prince had either collaborated or consulted with Schütz in his various efforts to influence personnel decisions in his father's ensemble. By the fall of 1656, the recruitment and appointment of Italian musicians had solidified into a well-established practice. At the time of his father's death in 1656, the prince's ensemble not only exceeded the Hofkapelle in size, but also differed quite radically from that ensemble in its ethnic and confessional composition.

Keywords:   Johann Georg II, sacred music, Italian musicians, Hofkapelle

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