Motetten am Hof Maximilians II. (1527–1576)
In the present volume sacred motets composed by members of the chapel of the Archduke and later Emperor Maximilian II – among them Jacobus Vaet, Philippe de Monte and Jacob Regnart – are documented and analysed for the first time. The chapel and its repertoire cultivated at the court not only served...
Saved in:
| Hovedforfatter: | |
|---|---|
| Format: | Online |
| Sprog: | tysk |
| Udgivet: |
Hollitzer
2022
|
| Fag: |
à FOS 2012
> GEISTESWISSENSCHAFTEN (6)
> Kunstwissenschaften (604)
> Kunstwissenschaften (6040)
> Kirchenmusik (604017)
à FOS 2012
> GEISTESWISSENSCHAFTEN (6)
> Kunstwissenschaften (604)
> Kunstwissenschaften (6040)
> Musikgeschichte (604022)
à FOS 2012
> GEISTESWISSENSCHAFTEN (6)
> Kunstwissenschaften (604)
> Kunstwissenschaften (6040)
> Musikwissenschaft (604024)
à FOS 2012
> GEISTESWISSENSCHAFTEN (6)
> Andere Geisteswissenschaften (605)
> Andere Geisteswissenschaften (6050)
> Kulturgeschichte (605002)
à FOS 2012
> GEISTESWISSENSCHAFTEN (6)
> Philosophie, Ethik, Religion (603)
> Sonstige Religion, Religionswissenschaften (6039)
> Religionsgeschichte (603908)
|
| Online adgang: | OCN: 1367234676 |
| Tags: |
Ingen Tags, Vær først til at tagge denne postø!
|
| Summary: | In the present volume sacred motets composed by members of the chapel of the Archduke and later Emperor Maximilian II – among them Jacobus Vaet, Philippe de Monte and Jacob Regnart – are documented and analysed for the first time. The chapel and its repertoire cultivated at the court not only served as a means for the representation of the court but also needed to comply with the emperor’s personal artistic and religious wishes. Maximilian II officially confessed to the Roman-Catholic church but personally sympathised with the Reformation. Therefore, the analysis of the texts and music addresses also the question of how the gap between the Roman-Catholic ceremony at court and the emperor’s personal faith is reflected in motets. |
|---|