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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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The Italianate Hofkapelle of Johann Georg II, 1656–80

The Italianate Hofkapelle of Johann Georg II, 1656–80

(p.32) 2 The Italianate Hofkapelle of Johann Georg II, 1656–80
Crossing Confessional Boundaries

Mary E. Frandsen

Oxford University Press

Throughout his reign, Johann Georg remained steadfast in his dedication to the cause of modern Italian sacred music. Despite the crushing burden of debt bequeathed to him by his father and a treasury perpetually characterized by a dearth of funds, he managed to maintain a musical ensemble that nearly matched those of Vienna and Munich in size, and which was similarly dominated by Italian musicians. The remarkable stability of the size of the Italianate component in the Hofkapelle throughout his reign testifies to the fact that, although his recruitment policies and procedures cannot easily be reconstructed today, Johann Georg was able to develop a successful (if somewhat unsystematic) strategy for attracting Italian musicians to Dresden. As a result, his court stood with those of Vienna, Munich, Innsbruck, and Warsaw as a major haven for Italian musicians in northern Europe.

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

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