Orlando di Lasso's imitation magnificats for Counter Reformation Munich
After the Mass Ordinary, the Magnificat was the liturgical text most frequently set by Renaissance composers, and Orlando di Lasso's 101 polyphonic settings form the largest and most varied repertory of Magnificats in the history of European music. In the first detailed investigation of this re...
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| Format: | UnknownFormat |
| Sprache: | eng |
| Veröffentlicht: |
Princeton, NJ
Princeton Univ. Press
1994
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| Schlagworte: |
Lasso, Orlando di <1532-1594> / Magnificat
> Lasso, Orlando di <1532-1594>
> Lasso, Orlando di
> Magnificat
> Geschichte 1500-1600
> Musique d'église - Allemagne - Munich - 16e siècle
> Church music
> Magnificat (Music)
> History and criticism
> Magnificat-Vertonung
> Musik
> Parodiemagnifikat
> Deutschland
> Hochschulschrift
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Tag hinzufügen | Zusammenfassung: | After the Mass Ordinary, the Magnificat was the liturgical text most frequently set by Renaissance composers, and Orlando di Lasso's 101 polyphonic settings form the largest and most varied repertory of Magnificats in the history of European music. In the first detailed investigation of this repertory, David Crook focuses on the forty parody or imitation Magnificats, which Lasso based on preexistent motets, madrigals, and chansons written by numerous composers, including Josquin and Rore By examining these Magnificats in their social, historical, and liturgical contexts and in terms of composition theory, Crook opens a new window on the breadth and subtlety of an important composer often harshly judged on his use of preexistent music Crook places Lasso amidst the Counter-Reformation reforms at the Bavarian court where he composed the Magnificats, and where there emerged a fanatical Marian cult that favored this genre |
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| Beschreibung: | Teilw. zugl.: Princeton Univ., Diss., 1991 u.d.T.: Crook, David W.: Orlando di Lasso's Magnificats ad imitationem |
| Beschreibung: | XII, 295 S. Notenbeisp. |
| ISBN: | 0691036144 0-691-03614-4 |