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Show CEAPTER X n T$ GERMAN MOTET FROM HEINRICH SCHUTZ TO J. S. BACH n As composer of a all of his German but to tent, the is who only Schutz motets, Heinr1cb contemporar1eo Among towers above the numerous compe extent narrowly limited lessr composers, an whose vision one spann,4 the far reaches of proclaimed suh universality, sk"lld intelligence, he art, and ,- of mastery technique, tbat migh.y personal! tie! master of the as a of contemporary style of view. sacred There adapt for nothing own place him by the side He investigated composition; and music, may was of are . all of 16250 ,rov1ded however, in most compOSitions, he word acquainted every trend with every with every importance which point of he failed to 1s the Cantiones use The first motet work of Heinrich '§acrae of Palestrina, Lasso, Giovanni Gabrieli, first rank. musical was his like we The ro r with e as e s Schtz ty f'our-spar t pieces in thoroqghba$, which , is With few sxcept.Lons to which th t.h i s volume dispensable, t-hey , general-bass only lends are a a capella stylish , appearanc90 But even This if this bespeaks the demands is a n of SchutzYs capella music, there is a publishero coniderable difference between it and the older Flemish motets, or even the |
