Pro defunctis: Lassos frühe Toten- und Memorialkompositionen zwischen Individualisierung und Generalisierung

Although the Office and Mass for the Dead are celebrated with specific intentions, the liturgical formularies consistently adopt the generic plural. This has a decisive impact on the tradition of the genre of the polyphonic Requiem, to which Orlando di Lasso made his first contribution only in his m...

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Bibliographic Details
Main Author: Leitmeir, C
Other Authors: Müller, MC
Format: Book section
Language:German
Published: EOS Verlag 2024
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author Leitmeir, C
author2 Müller, MC
author_facet Müller, MC
Leitmeir, C
author_sort Leitmeir, C
collection OXFORD
description Although the Office and Mass for the Dead are celebrated with specific intentions, the liturgical formularies consistently adopt the generic plural. This has a decisive impact on the tradition of the genre of the polyphonic Requiem, to which Orlando di Lasso made his first contribution only in his mid-forties. By contrast, settings of individual texts from the Office of the Dead already feature prominently in Lasso’s earliest publications of the years 1556–7, the transitional phase between his formative years in Italy and the permanent appointment at the ducal court of Munich. While these commemorative works are designed for universal applicability, the non-sacred motets of these early publications promote the memoria of specific individuals. Viewed against the backdrop of the musical tradition, we can see how Lasso navigated between the opposing poles of sacred de-individualised and profane individualized memorial cultures.
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spelling oxford-uuid:a518fe1c-f565-47f0-a4dd-310423bf73eb2025-01-02T14:07:15ZPro defunctis: Lassos frühe Toten- und Memorialkompositionen zwischen Individualisierung und GeneralisierungBook sectionhttp://purl.org/coar/resource_type/c_1843uuid:a518fe1c-f565-47f0-a4dd-310423bf73ebGermanSymplectic ElementsEOS Verlag2024Leitmeir, CMüller, MCWeiß, DJAlthough the Office and Mass for the Dead are celebrated with specific intentions, the liturgical formularies consistently adopt the generic plural. This has a decisive impact on the tradition of the genre of the polyphonic Requiem, to which Orlando di Lasso made his first contribution only in his mid-forties. By contrast, settings of individual texts from the Office of the Dead already feature prominently in Lasso’s earliest publications of the years 1556–7, the transitional phase between his formative years in Italy and the permanent appointment at the ducal court of Munich. While these commemorative works are designed for universal applicability, the non-sacred motets of these early publications promote the memoria of specific individuals. Viewed against the backdrop of the musical tradition, we can see how Lasso navigated between the opposing poles of sacred de-individualised and profane individualized memorial cultures.
spellingShingle Leitmeir, C
Pro defunctis: Lassos frühe Toten- und Memorialkompositionen zwischen Individualisierung und Generalisierung
title Pro defunctis: Lassos frühe Toten- und Memorialkompositionen zwischen Individualisierung und Generalisierung
title_full Pro defunctis: Lassos frühe Toten- und Memorialkompositionen zwischen Individualisierung und Generalisierung
title_fullStr Pro defunctis: Lassos frühe Toten- und Memorialkompositionen zwischen Individualisierung und Generalisierung
title_full_unstemmed Pro defunctis: Lassos frühe Toten- und Memorialkompositionen zwischen Individualisierung und Generalisierung
title_short Pro defunctis: Lassos frühe Toten- und Memorialkompositionen zwischen Individualisierung und Generalisierung
title_sort pro defunctis lassos fruhe toten und memorialkompositionen zwischen individualisierung und generalisierung
work_keys_str_mv AT leitmeirc prodefunctislassosfruhetotenundmemorialkompositionenzwischenindividualisierungundgeneralisierung