VI. German Baroque Music (17th Century)

The rise of the Italians as the leading composers in Europe induced the more important German musicians to go to Italy for their training. Heinrich Schütz (died 1672) was the most accomplished German exponent of the new style, especially in the field of vocal church music. The organ variations of the last great Netherlander Jan Pieterszoon Sweelinck influenced the harpsichord and organ music of Samuel Scheidt (died1654), whilst Johann Jakob Froberger (died 1667) was more inclined towards the Italian Frescobaldi. A peculiarly German form of monody arose in secular and religious solo song: dance music was elaborated into "suites' of several movements, above all by Johann Hermann Schein ). The religious vocal concerto developed further into the church cantata, based on specially written texts as well as on Biblical excerpts and chorales.

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VIA: Heinrich Schütz |  VIB: Clavier, Organ and Lute in the German Baroque | VIC: The Ensemble Suite in the German Baroque  |  VID: The Lied | VIE: The Sonata in the German Baroque |  VIF: Spiritual Concerto and Church Cantata | 
VIG: Catholic Church Music in 17th Century Germany | Return to the Research Periods