The piece is from the Kleine Geistliche Konzert Vol. II. It is a very easy to grasp example of Early Baroque style. The accompaniment functions as a stable ostinato drawing from a figured bass, making it a clear example of monody. The performer, Andreas Scholl, decorates the melodic line with ornamentations only when necessary. The phrases serve to bring out the lyrics, in each little nuance, rather than gigantic sweeping motions characteristic of the High Renaissance style before it. One can excuse the occasional melismatic passages as far as stylistic purity is concerned. The rhythm is generally very metrical and easy to follow, until the last sections, when melodic embellishments prepare for the end of the piece.
On first hearing, it is easy to see how this took steps forward and ushered in the Baroque period. Phrases are easily decipherable, rather than the Palestrina-esque sense of endless continuity. Most importantly, it easy when looking at a score, to see that tonality is essential to the emotional construction. The tonality is particularly apparent at the last phrase of the piece, which progresses I-V-vi-V. Six chords always get me. The final cadence however leaves me a bit perplexed, since it resolves on g, but feels like a I in b-flat...
Heinrich Schutz (1585-1672)
No comments:
Post a Comment