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[null,"1.","Record Nr.",null,"UNINA9910634055903321"]
[null,null,"Autore",null,"Pfohl Jonas"]
[null,null,"Titolo",null,"Motetten am Hof Maximilians II. (1527-1576) : Komponieren im Zeitalter der Konfessionalisierung / / Jonas Pfohl"]
[null,null,"Pubbl/distr/stampa",null,"Wien : , : Hollitzer Verlag, , [2022]"]
[{"$nulls":4},"©2022"]
[null,null,"ISBN",null,"9783990129999"]
[null,null,"Edizione",null,"[First edition.]"]
[null,null,"Descrizione fisica",null,"1 online resource (536 pages) : illustrations"]
[null,null,"Disciplina",null,"782.26"]
[null,null,"Soggetti",null,"Motets - History and criticism"]
[null,null,"Lingua di pubblicazione",null,"Tedesco"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Sommario/riassunto","Dieser Band verzeichnet und erschließt erstmals das von Mitgliedern der Hofkapelle des Erzherzogs und späteren Kaisers Maximilian II. - unter ihnen Jacobus Vaet, Philippe de Monte und Jacob Regnart - komponierte geisteliche Motettenrepertoire. Die Musikpflege einer Hofkapelle dieser Zeit diente nicht nur der höfischen Repräsentation, sondern musste auch den künstlerischen und religiösen Vorlieben eines Herrschers genügen. Da Maximilian II. trotz seines öffentlichen Bekenntnisses zum Vatikan Sympathien für die Reformation hegte, gehen die umfangreichen Analysen der Texte und Kompositionen auch der Frage nach, wie sich diese Diskrepanz zwischen romtreuem Hofzeremoniell und dem persönlichen Glauben des Herrschers im Motettenschaffen seiner Hofmusiker widerspiegelt."]
[{"$nulls":4},"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."]