Sprachauslegung und Instrumentalität in der Musik von Schütz. Mit einem Exkurs zur „Figurenlehre“

Abstract

Considers what artistic means Schütz used for interpreting language as he set it to music. The doctrine of musical figures (Figurenlehre) is not an appropriate starting point. In the matter of Schütz's text setting what is instead of more essential significance is the new musical syntax that arose in the Venetian musical environment. This syntax should be considered a genuinely instrumental one. It appears that the instrumental framework in Schütz's music is the prerequisite for the exposition and representation of the text. Concluding remarks concern the path from Schütz to Bach.