Full Product Details
Author: Mary Frandsen (Associate Professor of Music, Associate Professor of Music, University of Notre Dame)
Publisher: Oxford University Press Inc
Imprint: Oxford University Press Inc
Dimensions:
Width: 23.40cm
, Height: 3.10cm
, Length: 15.50cm
Weight: 0.743kg
ISBN: 9780199862498
ISBN 10: 0199862494
Pages: 530
Publication Date: 01 March 2012
Audience:
Professional and scholarly
,
Professional & Vocational
Format: Paperback
Publisher's Status: Active
Availability: To order
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Reviews
A thorough and fascinating study of liturgical practice, confessional identity, and music's overriding powers in the heartland of 17th-century Lutheranism. This book will be important reading for students of liturgy, princely politics, and music in early modern Europe. --Robert L. Kendrick, University of Chicago Frandsen carefully examines the entire milieu at the court of Johann Georg II--confessional, personal, political, economic, and liturgical--in which the Italian composers Albrici and Peranda worked, bringing vast theological and devotional resources to bear on her analysis of the composers' texts and their confessional implications. Equally sophisticated is her study of the style and organization of the music itself. Prof. Frandsen unfolds this intriguing story in an engaging narrative, filled with detail and analysis, that reads exceptionally well. --Jeffrey Kurtzman, Professor of Music, Washington University, St. Louis A splendid book, of interest to scholars of music, liturgy, Lutheranism and 17th-century history. From her command of a marvelous body of archival material, and astute musical and textual analysis of motets and sacred concertos, Mary Frandsen demonstrates that Elector Johann Georg II, by employing Italian Catholic musicians, brought significant changes to traditional Lutheran devotion. Frandsen's study is an original and penetrating discussion of this little-known ruler, his penchant for Italian musicians, and the resulting implications for both music and theology. --Anne Schnoebelen, Mullen Professor Emerita of Music, Rice University
A thorough and fascinating study of liturgical practice, confessional identity, and music's overriding powers in the heartland of 17th-century Lutheranism. This book will be important reading for students of liturgy, princely politics, and music in early modern Europe. --Robert L. Kendrick, University of Chicago Frandsen carefully examines the entire milieu at the court of Johann Georg II--confessional, personal, political, economic, and liturgical--in which the Italian composers Albrici and Peranda worked, bringing vast theological and devotional resources to bear on her analysis of the composers' texts and their confessional implications. Equally sophisticated is her study of the style and organization of the music itself. Prof. Frandsen unfolds this intriguing story in an engaging narrative, filled with detail and analysis, that reads exceptionally well. --Jeffrey Kurtzman, Professor of Music, Washington University, St. Louis A splendid book, of interest to scholars of music, liturgy, Lutheranism and 17th-century history. From her command of a marvelous body of archival material, and astute musical and textual analysis of motets and sacred concertos, Mary Frandsen demonstrates that Elector Johann Georg II, by employing Italian Catholic musicians, brought significant changes to traditional Lutheran devotion. Frandsen's study is an original and penetrating discussion of this little-known ruler, his penchant for Italian musicians, and the resulting implications for both music and theology. --Anne Schnoebelen, Mullen Professor Emerita of Music, Rice University A thorough and fascinating study of liturgical practice, confessional identity, and music's overriding powers in the heartland of 17th-century Lutheranism. This book will be important reading for students of liturgy, princely politics, and music in early modern Europe. --Robert L. Kendrick, University of Chicago Frandsen carefully examines the entire milieu at the court of Johann Georg II--confessional, personal, political, economic, and liturgical--in which the Italian composers Albrici and Peranda worked, bringing vast theological and devotional resources to bear on her analysis of the composers' texts and their confessional implications. Equally sophisticated is her study of the style and organization of the music itself. Prof. Frandsen unfolds this intriguing story in an engaging narrative, filled with detail and analysis, that reads exceptionally well. --Jeffrey Kurtzman, Professor of Music, Washington University, St. Louis A splendid book, of interest to scholars of music, liturgy, Lutheranism and 17th-century history. From her command of a marvelous body of archival material, and astute musical and textual analysis of motets and sacred concertos, Mary Frandsen demonstrates that Elector Johann Georg II, by employing Italian Catholic musicians, brought significant changes to traditional Lutheran devotion. Frandsen's study is an original and penetrating discussion of this little-known ruler, his penchant for Italian musicians, and the resulting implications for both music and theology. --Anne Schnoebelen, Mullen Professor Emerita of Music, Rice University
<br> A thorough and fascinating study of liturgical practice, confessional identity, and music's overriding powers in the heartland of 17th-century Lutheranism. This book will be important reading for students of liturgy, princely politics, and music in early modern Europe. --Robert L. Kendrick, University of Chicago<p><br> Frandsen carefully examines the entire milieu at the court of Johann Georg II--confessional, personal, political, economic, and liturgical--in which the Italian composers Albrici and Peranda worked, bringing vast theological and devotional resources to bear on her analysis of the composers' texts and their confessional implications. Equally sophisticated is her study of the style and organization of the music itself. Prof. Frandsen unfolds this intriguing story in an engaging narrative, filled with detail and analysis, that reads exceptionally well. --Jeffrey Kurtzman, Professor of Music, Washington University, St. Louis<p><br> A splendid book, of interest to scholars of music, liturgy, Lutheranism and 17th-century history. From her command of a marvelous body of archival material, and astute musical and textual analysis of motets and sacred concertos, Mary Frandsen demonstrates that Elector Johann Georg II, by employing Italian Catholic musicians, brought significant changes to traditional Lutheran devotion. Frandsen's study is an original and penetrating discussion of this little-known ruler, his penchant for Italian musicians, and the resulting implications for both music and theology. --Anne Schnoebelen, Mullen Professor Emerita of Music, Rice University<p><br>
A thorough and fascinating study of liturgical practice, confessional identity, and music's overriding powers in the heartland of 17th-century Lutheranism. This book will be important reading for students of liturgy, princely politics, and music in early modern Europe. * Robert L. Kendrick, University of Chicago *
<br> A thorough and fascinating study of liturgical practice, confessional identity, and music's overriding powers in the heartland of 17th-century Lutheranism. This book will be important reading for students of liturgy, princely politics, and music in early modern Europe. --Robert L. Kendrick, University of Chicago<p><br> Frandsen carefully examines the entire milieu at the court of Johann Georg II--confessional, personal, political, economic, and liturgical--in which the Italian composers Albrici and Peranda worked, bringing vast theological and devotional resources to bear on her analysis of the composers' texts and their confessional implications. Equally sophisticated is her study of the style and organization of the music itself. Prof. Frandsen unfolds this intriguing story in an engaging narrative, filled with detail and analysis, that reads exceptionally well. --Jeffrey Kurtzman, Professor of Music, Washington University, St. Louis<p><br> A splendid book, of interest to schola
Author Information
Mary Frandsen is a member of the music faculty at the University of Notre Dame. She currently serves as Chair of the American Heinrich Schütz Society and is a member of the Governing Board of the Society for Seventeenth-Century Music.
