Hofer: Ver sacrum seu flores musici (Salzburg, 1677), Part 2
Series: Baroque Era Publisher: A-R Editions
This volume is part of the set Hofer: Ver sacrum seu flores musici (Salzburg, 1677)
Ver sacrum seu flores musici (Salzburg, 1677), Part 2
Edited by Kimberly Beck Hieb
B217 Hofer: Ver sacrum seu flores musici (Salzburg, 1677), Part 2
978-1-9872-0621-0 Full Score (2021) 9x12, xii + 276 pp.
Andreas Hofer’s Ver sacrum seu flores musici is the first printed collection of paraliturgical music for the archiepiscopal court of Salzburg published in a modern edition, an important reparative to the overemphasis on the court’s instrumental virtuosos, Heinrich Biber and Georg Muffat. The eighteen pieces of the collection are ordered liturgically, with each composition assigned to a specific feast day. Hofer’s texts are a unique collection of centonized scripture, poetry, and prose, which, through creative manipulation of instrumentation, texture, and style, the composer musically dramatizes for the celebration of each feast. Referred to in the note to the reader as works “for the offertory” (despite the absence of any prescribed liturgical texts), these pieces demonstrate the malleable nature of the musical genre in the early modern period.
Ver sacrum seu flores musici (Nos. 10–18)
10. Caeli cives, Ascension
11. O suavis aura, Pentecost
12. Panis candidissime, Corpus Christi
13. Audite insulae, St. John the Baptist
14. Egredimini, Feast of the BVM
15. Estote fortes, Apostles
16. Quam splendida, One Martyr
17. Ad sereni caeli, One Confessor
18. Ad festum virginis, Virgin and Martyr
Kimberly Beck Hieb is Assistant Professor of Music History at West Texas A&M University in Canyon, Texas. Her research, which addresses questions of religious and political representation in early modern music, has been supported in part by a Fulbright Research Fellowship, the Austrian Exchange Service, and a Eugene K. Wolf Travel Grant from the American Musicological Society. Her current book project examines sources of sacred music produced in Salzburg between 1650 and 1700 as representations of the political and diplomatic platforms of the ruling prince-archbishops.