Schütz, Monteverdi und die "Vollkommenheit der Musik" : 'Es steh Gott auf' aus den 'Symphoniae sacrae II' (1647)

Abstract

To jedge from the quite extraordinary 'symphonia sacra' Es steh Gott auf (c. 1632-1643), which is based on two compositions by Monteverdi, the relation between Schütz and Monteverdi can be grasped more accurately with the category 'aemulatio' than with the collective term 'parody'. A comparison of Schütz's psalm setting and Monteverdi's originals (no value judgements are implied) reveals that the Schütz piece is by far the more complicated. Graphically overcomposed, it seems to have been conceived virtually as a casebook example of ('compleat') modern music and in opposition to the war-induced downfall of this music. Other remarkable aspects of Schütz's piece are its variation technique, motivic development and formal design. 'Es steh Gott auf' merits a place in future histories of 'alla battaglia' music and the variation. (Autor)