Evolutionary postures of the baroque musical discourse. Between stile antico and stile moderno in Symphonia sacra op. 11, no. 25 by Heinrich Schütz
Evolutionary postures of the baroque musical discourse. Between stile antico and stile moderno in Symphonia sacra op. 11, no. 25 by Heinrich Schütz

Summary/Abstract: The present study represents a historical and structuralist foray into the work of Heinrich Schütz published under the title of Symphoniae Sacrae, with emphasis on the work published in the second volume, op. 11, no. 25. German composer, but also trained in Italy, assimilated the compositional innovations of his contemporaries and integrated them into his own compositions. Living in the German space dominated by Protestantism, he was fully aware of the role of music in the religious context, that of supporting and emphasizing the biblical text. The chance to study in Italy with Giovanni Gabrieli and Claudio Monteverdi broadened his perspective on compositional techniques, joining the antico style of the motet and madrigal of the Franco-Flemish school, the simplified writing of the Lutheran chorale and the expressive richness of the modern style of the Venetian concertato and Florentine dramatic monodies.

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