This article interrogates sacred repertoire produced in late seventeenth-century Salzburg as a reflection of a local Catholic piety that centered on sacrifice, especially the ultimate sacrifice of martyrdom. As an individual principality that was subject to both the Papal court in Rome and the Holy Roman Emperor, Salzburg provides a meaningful case study in the heterogeneous regional post-Tridentine Catholic practices that musicologists and historians alike have only begun to explore. Compositions by Andreas Hofer (1629–84) and Heinrich Biber (1644–1704) present a prime example of sacred music’s ability to manifest a region’s distinct piety. Supported by their patron Prince-Archbishop Maximilian Gandolph von Kuenburg (r. 1668–87), Hofer and Biber left behind musical evidence of this exceptional Catholicism in the feasts they elaborated with substantial concerted compositions as well as the distinct texts they set, which do not align with prescribed liturgies and likely reflect persistent local practices that resonated with the prince-archbishop’s Counter-Reformation agenda. Printed liturgical books and emblems celebrating Maximilian Gandolph further support the claim that throughout the seventeenth century liturgical practice and sacred music in Salzburg maintained a local flavor that concentrated on themes of sacrifice and martyrdom.
Music for Martyrs: Sacred Music and the Particular Piety of Late Seventeenth-Century Salzburg
Kimberly Beck Hieb is an assistant professor of music history at West Texas A&M University. Her research, which takes up questions of religious and political representation in early modern music, has been supported by a Fulbright research fellowship, the Austrian Exchange Agency, a Eugene K. Wolf travel grant from the AMS, and multiple WTAMU Foundation Faculty Development Grants. Her edition of Andreas Hofer's Ver sacrum seu Flores musici (Salzburg 1677) was published by A-R Editions in 2021.
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Kimberly Beck Hieb; Music for Martyrs: Sacred Music and the Particular Piety of Late Seventeenth-Century Salzburg. Journal of Musicology 1 October 2021; 38 (4): 436–478. doi: https://doi.org/10.1525/jm.2021.38.4.436
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