Music for Martyrs

Abstract

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.