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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: 23 April 2021

Piety, Penitence, and Praise: The Dresden Textual Repertoire

Piety, Penitence, and Praise: The Dresden Textual Repertoire

(p.101) 4 Piety, Penitence, and Praise: The Dresden Textual Repertoire
Crossing Confessional Boundaries

Mary E. Frandsen

Oxford University Press

The previous discussion of Johann Georg's strongly suspected leanings toward Rome leads quite naturally into an examination of the texts of the musical repertoire presented in the court chapel under his watch, for the musical settings of the sacred concertos and motets that he established as part of his liturgies offered the greatest potential for the introduction of Catholic dogma into the Lutheran Gottesdienst. Most of the extra-liturgical compositions of Johann Georg's Catholic Kapellmeisters involved free (nonscriptural, nonliturgical) Latin texts that displayed striking differences from the texts of the Spruchmotetten and scripture-based sacred concertos composed by Schütz and other Lutheran composers of his generation. Instead, these texts were now very similar in style and content to those regularly performed during Masses in Italy. Yet the introduction of these texts did not result in a musical repertoire that stood in contravention of Lutheran doctrine. On the contrary: the vast majority of the texts set by these Catholics posed no challenges to that doctrine, and, perhaps more important, were fully consonant with the body of devotional literature developed by and for Lutherans from the middle of the previous century. Thus, regardless of their origins, many of the ideas expressed in these texts can be located securely within seventeenth-century Lutheran thought.

Keywords:   musical repertoire, Catholicism, Lutheran thought, Johan Georg II

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