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New page: '''Heinrich Schütz''' (1585-1672), German composer, bridges the gap between the polyphonic schools in various regions that found their greatest expression in the unaccompanied cho...
'''Heinrich Schütz''' (1585-1672), [[German]] [[composer]], bridges the gap between the polyphonic schools in various regions that found their greatest expression in the unaccompanied choral music of [[Palestrina]], [[Lassus]], [[William Byrd|Byrd]] and their contemporaries, and the later accompanied contrapuntal excellence of [[Bach]] and [[Handel]]. He is considered to be the first [[German]] composer of international renown.
He was a choirboy in his local church choir, began to study law, before being persuaded to become a pupil of [[Giovanni Gabrieli]] in [[Venice]]. By 1615 he was Kapellmeister at the Elector’s court at [[Dresden]], a post that he would hold intermittently between periods in [[Italy]] as study and the turmoil of the [[Thirty Years War]] dictated.
He wrote all forms of music of the day, mostly sacred; however there are some secular compositions, including the first German [[opera]], ''“Dafne”'' in 1627; now lost. His three [[Passion (music)|Passion]] settings are particularly fine, as are his [[psalm]]s.
He was at home in developing the vernacular liturgical idiom of his [[Protestant]] homeland and in the evolving musical forms in Italy as expressed by [[Claudio Monteverdi]] under whom he studied.
[[Category: Composers]]
{{DEFAULTSORT: Schutz, Heinrich}}
He was a choirboy in his local church choir, began to study law, before being persuaded to become a pupil of [[Giovanni Gabrieli]] in [[Venice]]. By 1615 he was Kapellmeister at the Elector’s court at [[Dresden]], a post that he would hold intermittently between periods in [[Italy]] as study and the turmoil of the [[Thirty Years War]] dictated.
He wrote all forms of music of the day, mostly sacred; however there are some secular compositions, including the first German [[opera]], ''“Dafne”'' in 1627; now lost. His three [[Passion (music)|Passion]] settings are particularly fine, as are his [[psalm]]s.
He was at home in developing the vernacular liturgical idiom of his [[Protestant]] homeland and in the evolving musical forms in Italy as expressed by [[Claudio Monteverdi]] under whom he studied.
[[Category: Composers]]
{{DEFAULTSORT: Schutz, Heinrich}}