{"id":85653,"date":"2020-12-30T17:41:27","date_gmt":"2020-12-30T15:41:27","guid":{"rendered":"https:\/\/wp.929.org.il\/?p=85653"},"modified":"2020-12-30T17:41:27","modified_gmt":"2020-12-30T15:41:27","slug":"gem-of-the-german-baroque","status":"publish","type":"post","link":"https:\/\/wp.929.org.il\/en\/gem-of-the-german-baroque\/","title":{"rendered":"Gem Of The German Baroque"},"content":{"rendered":"
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Heinrich Sch\u00fctz (1585-1672), Attendite, popule meus (\u201cGive ear, my people, to my teaching\u201d)<\/span><\/p>\n

When was the last time you heard a composition for four trombones and vocalist? It\u2019s not a very common classical combination, but the German composer Heinrich Sch\u00fctz got the idea from the Cathedral of St. Marco in Venice, from the <\/span>maestro di cappella <\/span><\/i>there, Giovanni Gabrieli, under whom he studied in his youth.\u00a0<\/span><\/p>\n

As mentioned in previous posts, Heinrich Sch\u00fctz brought the innovations of the Venetian Baroque to Germany, including a new form of motet. No longer works that are written exclusively for an a cappella choir, with or without backup instrumentation, but rather, pieces where the instruments take a leading role in the musical development of the work, and conduct a dialogue with the soloist or the vocalists. Sch\u00fctz gathered these compositions in groups, and Psalm 78, \u201cAttendite, popule meus,\u201d is part of the \u201cNew Symphonies,\u201d that were published in 1629.<\/span><\/p>\n

The vocal style is festive and declamatory, as befits the opening of a historical and theological speech, one of the most lavish in the book of Psalms. The composer makes do with the first three verses in the psalm, and arranges each one in a different fashion. The first verse, which calls the attention of the listener, is performed with only the organ and the cello, and it is a univocal declamation. The brass join in for the second verse \u201cI will expound a theme,\u201d and provide a background of chords, occasionally embellished with the rapid and surprising movement of different instruments. Verse 3, \u201cthings we have heard and known,\u201d is expressed as a dialogue between the bass vocalist and one of the trombones, who competes successfully with every vocal acrobatic move that the vocalist can produce. Finally, in the end, all the trombones unite, and together with the vocalist engage in fugue-like imitations, for the verse \u201cthat our fathers have told us.\u201d<\/span><\/p>\n

At the beginning, and between verses 2-3, there is an instrumental section called a \u201csymphony,\u201d similar to a motet, but without words. This is essentially the archetype of the Baroque fugue and concerto, with which we are familiar from the later Baroque creations of Vivaldi and Bach. So in this work we are witnessing the gradual transition that the Baroque represents from vocal music to instrumental music.\u00a0<\/span><\/p>\n

TBONEBRASS plays “Attendite, popule meus” composed by Heinrich Sch\u00fctz in 1629.\u00a0\u00a0
\n<\/span>Concert on the IPV Symposium in Rostock, Germany, 2015<\/span><\/p>\n

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