Heinrich Schütz

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Schütz, Heinrich


(latinized name, Henricus Sagittarius). Born Oct. 14,1585, in Köstritz, Thuringia; died Nov. 6,1672, in Dresden. German composer, Kapellmeister, and teacher.

In 1599, Schütz became a chorister in the chapel of the landgrave of Hesse-Cassel. From 1609 to 1612 he studied composition in Venice under G. Gabrieli. Schütz was the founder of many genres of German music and played an important role in stimulating musical life in Germany. He wrote numerous religious works—including passions, oratorios, cantatas, and the German Magnificat —that paved the way for many of the innovations of J. S. Bach and G. F. Handel. Schütz drew on the achievements of Italian choral, instrumental, and stage music, as well as the traditions of German religious and folk music.

Schütz was the composer of the first German opera, Daphne (1627), and the first German ballet, Orpheus and Eurydice (1638); neither of these works has been preserved.


Andreev, A. “O Genrikhe Shiuttse i teorii doklassicheskoi muzyki.” Sovetskaia muzyka, 1972, no. 11.
References in periodicals archive ?
Together with Cappella Sagittariana Dresden two CDs have been released featuring the works of Heinrich Schutz and his contemporaries.
Before conducting he was a member of the Monteverdi Choir of London and Heinrich Schutz Choir.
Heinrich Schutz, the Electoral Saxon Kapellmeister in Dresden, in the dedication of his Kleine geistliche Konzerte (1639) lamented the woeful state of music and the arts "as if suffocated under military arms and trampled in the mud" (A Heinrich Schutz Reader: Letters and Documents in Translation, ed.
The featured works are the Christmas Story by Heinrich Schutz and the Lutheran Mass for Christmas by Michael Praetorius (December 19).
Memorial will be sandwiched between Two Motets, by Heinrich Schutz, and Gabriel Faure's famous Requiem - British, German and French composers united in a spirit of reconciliation.
In spite of its exhaustive nature, Johnston avoids any claim of comprehensiveness and stresses the choice of the indefinite article in his title, A (not The) Heinrich Schutz Reader.
For the most part, however, most of the reconstruction of central Dresden--the Hotel de Saxe where the Schumann's played, the house of Heinrich Schutz, to name just two musically significant locations in the core--all came after German reunification.
The programme - music by German composers Heinrich Schutz and Michael Praetorius - may look unfamiliar, but the choir's artistic director Christopher Monks promises some well known Christmassy melodies.
Since returning to Britain she has gained a Birmingham University masters degree in performance practice of music by the early Dresden composer Heinrich Schutz.
In his brief chapter on Das Treff en in Telgte, Weyer attempts to explain why the musician Heinrich Schutz must be seen as one of the narrative's main characters.
The book consists of seven central chapters, each devoted to a key player in the unfolding tradition of Lutheran church music: Johann Walter, Georg Rhau, Hans Leo Hassler, Michael Praetorius, Johann Hermann Schein, Samuel Scheidt, and Heinrich Schutz.
Italian influence had always been marked in the music of Germany from the sixteenth century onward, as is evidenced in the compositions of Michael Praetorius and Heinrich Schutz (who visited Italy twice), and the presence of Italians in German courts, such as Dresden, that had five or six Italians in its capella, including Antonio Scandello, capellmeister between 1568 and 1580.