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Heinrich Schütz (1585–1672): Choral Composer Extraordinaire

Here, despite the use of imitation, we become aware g–C). Such imitative repetition of the same material is
that this is imitation of a fundamentally diff erent type a device often encountered in the Cantiones and in other
and function. The plunging sixteenth notes sound like collections (notably, the “Psalms of David”). This type
a violent shudder; they scream secunda prattica, captur- of pre-tonal thinking suggests that the music grows
ing the sense of the text, “I am the blow of your pain.” by moving away from and returning to a tonal center.

The first four entries all descend from e to g in a manic The other indisputable takeaway from this example is
stretto, followed by a fifth entry in the soprano starting that Schütz’s process is inherently “madrigalistic.” The

on b, the forbidden dominant of the mode. But the real three iterations of “Cruciatus tui labor” each prove a

essence of the piece appears in the progression that musical portrayal of the crucified Jesus, each one more
closes this brief excerpt—Schütz’s signature augment- dissonant than its predecessor.
ed sixth chord (a–c –f natural) plus a wrenching 4–3 Another wonderful example of musical pictorial-
suspension in the alto. While imitation is everywhere ism occurs in the eleventh motet, Ego dormio, et cor meum
present, it is not the type found in Renaissance motets; vigilat (“I sleep but my heart keeps watch”). Beginning
after the canonic stretto of the opening, the succeed- in m. 14, Schütz sets the text “aperi mihi” (“open to
ing imitative phrase openings do all sorts of things that me”) by employing imitation that literally “opens up”
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boggle the mind—inversion, entries on the members by having voices enter in close stretto (Figure 4 on
of an A minor triad (mm. 12–13). All of this culminates page 22).
in the searing dissonances of the text, “I caused the Here, the four voices enter on successive quarter
wounds of your passion, the labor of your crucifi xion” notes, a pattern that continues through three sequential
(Figure 3 on page 21). repetitions. Another device, favored by such madrigal
composers as Luca Marenzio and Claudio Montever-
di, is the simultaneous appearance of two diff erent

Cantate Domino (SWV 81), the only one of themes (setting different texts). Beginning in m. 18, the
the forty motets set completely in triple bass and soprano repeat this imitative sequence, while
the alto and tenor set the words soror mea, columba mea,
meter, is by far the most often performed immaculata mea (“my sister, my dove, my immaculate
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motet from this collection. one”). Finally, the prima pars of Schütz’s setting of

Ps. 6 (Domine ne in furore tuo arguas me) exemplifies a com-
position that is inconceivable without the presence of
continuo (Figure 5 on page 23).
Here, consonant duets in thirds overlap to produce Beginning in m. 10, Schütz sets the text Miserere mei
brief, exquisite dissonances, again featuring that signa- (“Have mercy on me”) twice in successive statements
ture augmented 6th chord. The entire passage, which by the soprano and alto. Both phrases involve the de-
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starts a measure earlier than the example and is miss- scent of a diminished octave (f –f and g –g ), an in-
ing the concluding five measures, is a varied repeat of terval impossible to sing without the sustained continuo

the same melodies that cycle through the circle of fi fths beneath. Another madrigalism appears in m. 18, where
from A to C (the reciting tone of e hypophrygian). 25 the alto and bass both sing “infi rmus sum” (“I am weak”);
This example reveals yet another, diff erent type of im- Schütz portrays the word “weak” by writing a simulta-
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itation. The imitation is between pairs of voices that neous cross relation (f [A]–f [B]). Again, the presence
outline the second inversion of a triad. This texture of a continuo part that doubles these pitches is essential
(and its musical predecessors) repeats three times: on to a successful performance.
the triads of a minor, d minor, and g minor. Schütz Cantate Domino (SWV 81), the only one of the forty
repeats the same material three times to generate a for- motets set completely in triple meter, is by far the most
mal design based on the circle of fifths, working back- often performed motet from this collection. Other

wards from the third iteration ending on C (thus, a–d recommendations would include any of the fi rst ten

20 CHORAL JOURNAL October 2022 Volume 63 Number 3