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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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Roma trapiantata: The New Sacred Concerto in Dresden

Roma trapiantata: The New Sacred Concerto in Dresden

Chapter:
(p.172) 5 Roma trapiantata: The New Sacred Concerto in Dresden
Source:
Crossing Confessional Boundaries
Author(s):

Mary E. Frandsen

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195178319.003.0005

Albrici and Peranda, during their tenure in the Saxon Residenzstadt, took the repertoire of the Dresden court musical ensemble in a distinctly new musical direction. Calling upon their training and experience as students and church musicians in Rome, they effected the complete “Italianization,” or even “Romanization,” of the chapel repertoire. As a result, when viewed solely through the lens of the court musical ethos as defined by the works of Schütz, the corpus of concertos by Peranda and Albrici represents a discontinuity, and marks a sharp and sudden break with time-honored practices. But when these same works are regarded as the transplanted continuation of the Italian motet tradition, they reveal many continuities with the innovative repertoire composed in Italy, particularly in the papal city, during the previous two decades.

Keywords:   Albrici, Peranda, Italian musicians, church musicians, Dresden court, court musical

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