Trompeterchor und Sprachvertonung bei Heinrich Schütz

Abstract

Schütz’s setting of Psalm CXXXVI (SWV 45) calls for a trumpet ensemble which, however, is only written out on a single part. Nevertheless, the full trumpet choir can be reconstructed from other sources. It makes use of an archaic bourdon technique. Purely instrumental music of this sort, when included in a vocal composition, has consequences for the musical form. Schütz combined the antiphonal technique of psalm recitation with the sectional divisions of a trumpet sonata. The trumpets also influence the rhythm of the text and the handling of language. Schütz’s setting of Psalm CXXXVI, albeit a special case, suggests a general rule for Opus 2 with its large capella settings; namely, how instrumental music can be used to consolidate fluent speech.