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Schütz-Jahrbuch
- Bandzählung
- 26.2004
- Erscheinungsdatum
- 2004
- Sprache
- Deutsch
- Signatur
- MZ. 8. 414-26.2004
- Vorlage
- SLUB Dresden
- Digitalisat
- SLUB Dresden
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- Freier Zugang - Rechte vorbehalten 1.0
- URN
- urn:nbn:de:bsz:14-db-id487678745-200400002
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- http://digital.slub-dresden.de/id487678745-20040000
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- oai:de:slub-dresden:db:id-487678745-20040000
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- Titel
- "Schütz and the young Italians at the Dresden court" revisited: Roman influences in "O bone Jesu, fili Mariae virginis" (SWV 471)
- Autor
- Frandsen, Mary E.
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„Schütz and the young Italians at the Dresden court“ revisited: Roman influences in „O bone Jesu, fili Mariae virginis“ (SWV 471)* C. -VUM . Mary E. Frandsen For Wolfram Steude S chütz’s connections with Italy and the Italian musical scene are well-known aspects of his biography. His formative study with Gabrieli produced a book of Italian madrigals, and led to the composition of his grand Psalmen Davids, which reflect his fascination with — and mastery of - Venedan polychorality. During his return visit to Venice in 1628—1629, his en- counter with the new small-scale motet of Grandi resulted in the publication of his own set of masterful essays in the genre, the Symphoniae sacrae prima pars of 1629. Equally well known is Schütz’s admiration for the superb technical abilities of Italian musicians, as attested by his hiring of the composer and violinist Carlo Farina and the Mantuan violinist Francesco Castel li, his unsuccessful attempt, in which he was supported by Prince Johann Georg, to bring Agostino Fontana to the court as vice-Kapellmeister and instructor in the Italian „manier“ of singing, and his willingness to have Bontempi substitute for him in the chapel in 1651 1 . As Schütz so clearly followed Italian musical developments with great interest throughout his life- time, it would be surprising to find that he had shown no interest in the new, Roman-influ- enced approach to the sacred concerto cultivated in Dresden by his Italian successors. Yet to date there has been no evidence that the musical developmfcnts introduced in Dresden by the Roman-schooled Vincenzo Albrici (1631-1690/96) and Marco Giuseppe Peranda (ca. 1625— 1675) resonated in Schütz’s later works. Certainly some works from his later period, such as the Gospel Passions and the Schwanengesang, the set of double-choir motets on Psalm 119, do not betrav anv such interest on his part. The text of a lesser-known composition, however, his O bone Jesu, fili Mariae virginis (SWV 471), displays a number of characteristics far more typical of the works of Albrici and Peranda than of those of the pensioned „Oberhofkapell meister“, and thus presents an opportunity for a speculative exploration of the question of Roman musical influence upon the elder composer. This composition, which remained un- published in the seventeenth Century, survives only in a manuscript set of parts in the Düben collection in Uppsala, where it is undated 2 ; in 1964, Bruno Grusnick proposed a copying date * The title is intended to recall that of a recent article by Wolfram Steude, „vndt ohngeschickt werde, in die junge Welt vnd Neueste Manir der Music mich ein^urichten. “ Heinrich Schüt^ und die jungen Italiener am Dresdner Hof, in: SJb 21 (1999), pp. 63—76. The author dedicates this article to Prof. Dr. Steude in deep gratitude for the friendly scholarly help and advice he has extended to her over many years, and in recognidon of his en- during interest in these fascinadng „young Italians“. 1 On the formet, see the present author’s Allies in the Cause of Italian Music: Schüt$ Prince Johann Georg II and Musical Politics in Dresden, in: JRMA 125 (2000), pp. 1—40. On the latter, see Schütz’s letter to Johann Georg I of 14 January 1651 (Schütz GBr, p. 215). In 1653, of course, when Prince Johann Georg pro posed that Schütz’s Hofkapelle altemate in the chapel with the prince’s ensemble under Bontempi, Schütz took great umbrage, and protested to various court officials (Schütz GBr, pp. 237—245). 2 S-Uu VMHS 34:5. The parts are in Düben’s hand. The source manuscript may have found its way to Stockholm together with works of Albrici and Peranda, which Düben was actively collecting in the 1660s.
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