Heinrich Schütz's final set of Symphoniae Sacrae was composed in 1650, as Germany was emerging from the chaos of the Thirty Years' War. With the exception of the magnificent Saul, Saul, was verfolgst du mich?, SWV 415, these pieces for five to eight vocal parts with instrumental ensemble are less well known than the composer's earlier sacred masterpieces, which merged the magnificence of the Venetian polychoral style with the direct, devotional impulses of German Protestant music; Schütz's music does not sound much like ...
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Heinrich Schütz's final set of Symphoniae Sacrae was composed in 1650, as Germany was emerging from the chaos of the Thirty Years' War. With the exception of the magnificent Saul, Saul, was verfolgst du mich?, SWV 415, these pieces for five to eight vocal parts with instrumental ensemble are less well known than the composer's earlier sacred masterpieces, which merged the magnificence of the Venetian polychoral style with the direct, devotional impulses of German Protestant music; Schütz's music does not sound much like Bach's, but he nevertheless looms in works like these as perhaps Bach's most important ancestor. This performance by the Cantus Cölln and Concerto Palatino brass ensemble, directed by German early Baroque specialist Konrad Junghänel, goes maximal in one way and minimal in another. One reason performers have steered away from these pieces is that, in addition to all the other interpretive challenges Schütz poses, they exist in two different versions, with a set of optional added parts....
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Add this copy of Symphoniae Sacre III to cart. $14.47, good condition, Sold by Seattle Goodwill rated 4.0 out of 5 stars, ships from Seattle, WA, UNITED STATES, published 2005 by Harmonia Mundi.
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