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Musical landscape in Northern Germany in the early seventeenth century: musica poetica and its application in the settings of Komm, Heiliger Geist, Herre Gott by Heinrich Schütz, Johann Hermann S...

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Musical landscape in Northern Germany in the early seventeenth century: musica poetica and its application in the settings of Komm, Heiliger Geist, Herre Gott by Heinrich Schütz, Johann Hermann S...

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MUSICAL LANDSCAPE IN NORTHERN GERMANY IN THE EARLY SEVENTEENTH
CENTURY:
MUSICA POETICA AND ITS APPLICATION IN THE SETTINGS OF
KOMM, HEILIGER GEIST, HERRE GOTT
BY HEINRICH SCHÜTZ, JOHANN HERMANN SCHEIN AND SAMUEL SCHEIDT

By

Yejee Choi

A Dissertation Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF MUSIC ARTS

August 2016

Copyright 2016 Yejee Choi
ii

To my family

iii

ACKNOWLEDGEMENT

First and foremost, I would like to express my utmost thanks to my family for their never-ending
love and sacrifice. Their insights, wisdom, patience, and support have been a persistent
encouragement to me all throughout this journey. My heartfelt thanks Dr. Adam Gilbert, Director
of the Early Music Program at the University of Southern California, for his enormous
dedication and guidance that he had provided me for this craft. The depth of his scholarship and
stimulating teaching have been inspirational throughout the process. My deep gratitude to my
professors and mentors at the USC Choral Department, Dr. Jo-Michael Scheibe, Dr. Nick
Strimple, Dr. Cristian Grases, and Dr. Tram Sparks, for their unwavering support and belief in
me. To my devoted teachers & mentors, Pr. Kathy Salzman Romey and Dr. Jong-Won Park for
their consistent love and faith in me. Their scholarship, musicianship, and devotion to education
left a lasting impact on me. I am eternally grateful for them. My sincere gratitude to the
following individuals: Mr. Ki-Chan Kim, Dr. Edward Morton, Ms. Neena Srivatsava, Dr.
Audrey Chung, Mr. Bill Klint, Ms. Faith Chen, Ms. Eileen Meng Lu, Ms. Tracy Ward, Dr.
Timothy & Jane Steinmetz, Mrs. Rosemary Johnson. To all my friends and colleagues for their
tremendous support and unending love.

iv

TABLE OF CONTENTS

DEDICATION ii

ACKNOWLEDGEMENT iii

LIST OF EXAMPLES v

ABSTRACT ix

CHAPTER I. MUSICAL LANDSCAPE IN THE EARLY SEVENTEENTH CENTURY
PROTESTANT GERMANY 1
The War 1
Music Industry 2
Music Printing 3
Music Trade 7
Musical Participants 10
Italian Influence 18

CHAPTER II. MUSICA POETICA 23
Music & Text: Viva vox evangelii 25
Music & Rhetoric 29
Music & Science 35
Treatises of Musica Poetica 41
Joachim Burmeister (1564-1629) 41
Johannes Nucius (ca. 1556-1620) 44
Joachim Thuringus (b. late 16th century) 45
Christoph Bernhard (1628-1692) 46

CHAPTER III. AN APPLICATION OF MUSICA POETICA: EXAMINATION OF THE
CHORALE SETTINGS, KOMM, HEILIGER GEIST, HERRE GOTT, BY SCHEIN, SCHEIDT,
AND SCHÜTZ 49
Komm, Heiliger Geist, Herre Gott by Johann Hermann Schein 49
Johann Hermann Schein (1586-1630) 49
Analysis 52
Komm, Heiliger Geist, Herre Gott by Samuel Scheidt 67
Samuel Scheidt (1587-1654) 67
Analysis 69
Komm, Heiliger Geist, Herre Gott, SWV 417, by Heinrich Schütz 87
Heinrich Schützz (1585-1672) 87
Analysis 91
v

CHAPTER IV. CONCLUSION 115

BIBLIOGRAPHY 116

APPENDIX 1: LIST OF GERMAN TREATISES ON MUSICA POETICA 119
APPENDIX 2: BURMEISTER’S LIST OF MUSICAL-RHETORICAL FIGURES 120
APPENDIX 3: NUCIUS’S LIST OF MUSICAL-RHETORICAL FIGURES 125
APPENDIX 4: THURINGUS’S LIST OF MUSICAL-RHETORICAL FIGURES 127
APPENDIX 5: BERNHARD’S LIST OF MUSICAL-RHETORICAL FIGURES 130
APPENDIX 6: LIST OF RHETORICAL FIGURES BY QUINTILIAN & SUSENBROTUS
133
APPENDIX 7: OVERVIEW OF KOMM, HEILIGER GIEST, HERR GOTT, SWV 417 BY
SCHÜTZ 138

vi

LIST OF EXAMPLES

Example 3.1. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 1-6
Example 3.2. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 7-9
Example 3.3. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 7-9
Example 3.4. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 15-17
Example 3.5. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 24-27
Example 3.6. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 38-40
Example 3.7. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 1-7
Example 3.8. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 10-11
Example 3.9. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, m. 14
Example 3.10. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 9-15
Example 3.11. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 36-38
Example 3.12. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 17-24
Example 3.13. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 52-56
Example 3.14. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 46-50
Example 3.15. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 40-44
Example 3.16. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 40-44
Example 3.17. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 27-34
Example 3.18. Johann Hermann Schein, Komm, Heiliger Geist, Herre Gott, mm. 58-68
Example 3.19. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 27-35
Example 3.20. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 3-5
vii
Example 3.21. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 11-14
Example 3.22. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 17-19
Example 3.23. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 36-39
Example 3.24. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, m. 28
Example 3.25. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 11-17
Example 3.26. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 19-23
Example 3.27. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 8-11
Example 3.28. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 24-27
Example 3.29. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 33-36
Example 3.30. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 39-42
Example 3.31. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 1-2
Example 3.32. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 7-8
Example 3.33. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 16-17
Example 3.34. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 24-27
Example 3.35. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 41-42
Example 3.36. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, m. 8
Example 3.37. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, m. 27
Example 3.38. Samuel Scheidt, Komm, Heiliger Geist, Herre Gott, mm. 43-53
Example 3.39. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, “Geist” motif
Example 3.40. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 9-11
Example 3.41. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, m. 1
Example 3.42. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 26-27
Example 3.43. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 71-72
viii
Example 3.44. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 118-120
Example 3.45. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 17-28
Example 3.46. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 28-38
Example 3.47. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 37-51
Example 3.48. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 124-141
Example 3.49. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 146-161
Example 3.50. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 162-189
Example 3.51. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 252-277
Example 3.52. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 67-88
Example 3.53. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 113-123
Example 3.54. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 206-217
Example 3.55. Heinrich Schütz, Komm, Heiliger Geist, Herre Gott, mm. 217 -235

ix

ABSTRACT

Heinrich Schütz (1585 - 1672), Johann Hermann Schein (1586 - 1630) and Samuel Scheidt
(1587 - 1654) are among the most influential German composers of the Early Baroque era. It is
noteworthy that they were “all born between 1585 and 1587, worked in close geographical
proximity and knew each other.”
A careful examination of the historical background during the lives of these composers is
essential to understand their philosophy and music. As late as 1600, religious strife between
Catholics and Protestants were still underway and finally culminated in the Thirty Years War.
Schütz, Schein, and Scheidt were in their late twenties and early thirties when the war first broke
out in Bohemia in 1618. Surprisingly, the music industry in Northern German lands remained
active during the first decade of the war although it eventually saw a drastic decline during the
second half of the event.
During this period, Protestant Germany witnessed the rigorous development of the musica
poetica tradition. Influenced by the medieval music theory, Martin Luther’s theology,
Renaissance humanistic thought and the seventeenth century German rationalism, musica
poetica sought to adopt the rhetorical terminology and methodology into musical composition
and analysis. While rhetoric had a great influence in shaping the compositional trend in the
contemporary Italy, France, and England, it was only in Protestant German countries where
composers and theorists ardently “desired to identify and define those expressive musical devices
which deviated from conventional compositional norms with rhetorical terminology.” Another
characteristic which was distinctly German was the widespread Lutheran chorale. Both the
x
discipline of musica poetica and homage to Lutheran chorale are deeply entrenched in the
compositions of Schütz, Schein and Scheidt.
The study commences with an overview of the musical landscape in the early seventeenth
century Protestant Germany. Chapter I discusses the war, music industries, musical participants,
and the Italian influence. Chapter II investigates the influence of text, rhetoric, and science on the
development of musica poetica tradition. The chapter further explores the four treatises of
musica poetica that were widely circulated during the life of Schütz, Schein, and Scheidt.
Chapter III examines the settings of the Lutheran chorale tune, Komm, Heiliger Geist, Herre
Gott, by Schütz, Schein, and Scheidt, as means to understanding the discipline of musica poetica
applied in the actual works. A brief biography of each composer is provided, followed by an in-
depth examination of their compositions. Appendices, including the list of treatises on muisca
poetica, the lists of musical-rhetorical figures identified by the four German music theorists in
the early seventeenth century, the list of rhetorical figures by Quintilian & Susenbrotus, and the
structural diagrams of each piece, help to provide a broader context within which to understand
the music presented in the study.

1

Chapter I
Musical Landscape in the Early Seventeenth Century
Protestant Germany

The War
During their lifetimes, Heinrich Schütz (1585 - 1672), Johann Hermann Schein (1586 -
1630), and Samuel Scheidt (1587 - 1654) witnessed one of the most brutal wars in European
history, the Thirty Years War. They were in their late twenties and early thirties when the war
first broke out with the infamous Defenestration of Prague in Bohemia in 1618. Extant records
reveal that there were seventy-nine major battles throughout the course of the war, not counting
the smaller combats and fights, which took the lives of eight-million people. In his book
Europe’s Tragedy: A History of the Thirty Years War, Peter Wilson comments that “the
difficulty for later generations in coming to terms with the scale of the devastation [during the
Thirty Years War] has been compared to the problem of historicizing the Holocaust.”
1
Albert
Speer, Hitler’s armament minister stated in the radio broadcast in 1945 that:
The destruction that has been inflicted on Germany [during the World War II] can only
be compared to that of the Thirty Years War. The decimation of our people through
hunger and deprivation must not be allowed to reach the proportion of that epoch.
2

This notion maintained a firm stance well into the twenty-first century that some German authors
stressed that “never before and also never since, not even during the horrors of the bombing
during the Second World War, was the land so devastated and the people so tortured as between
1618 and 1648.”
3

1
Peter H. Wilson, Europe’s Tragedy: A History of the Thirty Years War (New York: Penguin Books,
2010), 4.
2
Ibid, 6.
3
Ibid.

2

Music Industry
Despite the threat of the war, Saxony maintained an active musical atmosphere until the
mid-1620s. Especially, the city of Leipzig, where Schein served as the Thomaskantor from 1616
until his death, boasted flourishing music industry, functioning as the center for distribution and
production of printed music in Saxony.
4
Located at the intersection of the important trade routes
since the early stage of the Holy Roman Empire, Leipzig held three major trade fairs annually,
attracting merchants not only from other German states but also from Italy, Bohemia, Pomerania,
Prussia, and Silesia.
5
During these fairs, printed music took an essential part among other items.
6

Dresden and Halle, where Schütz and Scheidt respectively resided at the time, with its close
proximity to Leipzig, allowed the towns’ musicians to easily travel to the Leipzig fairs to
exchange musical scores.
7
Not only the hub of music trade, Leipzig was also the heartland of the
music printing business. The major portion of the music printed in the city was the compositions
by the local composers written to serve the demand of the provincial churches and schools
throughout Saxony and Thuringia.
8
A careful examination of the music industry of Leipzig
during the early 17th century, therefore, provides a closer view of the musical life in Saxony.
The extant records such as the inventories and contract of the printers, catalogues from the book
trades, and the printed copies of music reveal the predominant repertoires, musical participants,
and the place of music in the Lutheran Saxony. Stephen Rose’s extensive research is especially
important to understanding the impact of the printing industry.

4
Stephen Rose, “Music Printing in Leipzig During The Thirty Years’ War,” Notes 61, no. 2 (2004): 323.
5
Ibid, p. 324.
6
Stephen Rose, “The Mechanisms of the Music Trade in Central Germany,” Journal of the Royal Musical
Association 130, no. 1 (2005): 5-12.
7
Stephen Rose, “Music Printing in Leipzig During The Thirty Years’ War,” Notes 61, no. 2 (2004): 324.
8
Ibid, 325.

3

Music Printing
According to the statistical survey of the book fair catalogues by Stephen Rose and
Barbara Wiermann, music printing in German states was at “unprecedented heights between
1604 and 1624.”
9
Strikingly, one tenth of these printed music was produced in Leipzig.
10
Based
on Rose’s research, it is possible to classify the source of music production in Leipzig during the
early 17th century into three categories: city printers, court printshop, and self-published
composers.
Among these, the city printers were the largest in number and scale. Between 1590 and
1660, there were about forty printers in Leipzig.
11
The printing culture in the city was so highly
developed by the time that the printers owned various sorts of types. For example, the 1601
inventory of the printer Hieronymus Brehm displays that he owned twelve sets of Fraktur
Gothic, four sets of Greek letters, and sixteen sets of Roman fonts.
12
These figures reflect the
increasing demand of the German text in Leipzig while testifying to the continued Latin
prevalence among literary circles. In addition to these types, Brehm also owned a set of “welche
Noten”, a music type used for simple songs that were mainly contained in hymnals or devotional
books.
13
The fact that type was the most expensive equipment for a printer to purchase and that a
minor enterprise like Brehm owned such a set of music types attest the important place of printed
music in the publishing world in Leipzig. Johann Beyer, another moderately small city printer,

9
Stephen Rose, “The Mechanisms of the Music Trade in Central Germany,” Journal of the Royal Musical
Association 130, no. 1 (2005): 5.
10
Stephen Rose, “Music Printing in Leipzig During The Thirty Years’ War,” Notes 61, no. 2 (2004): 323.
11
Ibid, 331.
12
Ibid, 334.
13
Ibid.

4

owned three sets of music fonts. By the end of the 16th century, he already possessed such music
types in his printshop for the production of octavo hymnals, pocket-sized devotional books, and
German organ tablature.
14
Besides Brehm and Beyer, small printers typically borrowed music
fonts from bigger printers such as Abraham Lamberg, Henning Köler, Friedrich Lanckisch Sr.,
and Gregor Ritzsch.
15
These bigger printers owned music types that were elaborate enough to
produce partbook collections which contained complex polyphonic works. For example, Sethus
Calvisius’s Trincinia was printed by Abraham Lamberg in 1603 as well as Schein’s Cymbalum
sionium (1615) and Banchetto musicale (1617).
16
Rose explains that there were “at least five to
six sets of music type being used in Leipzig at any time.”
17
For the luxury of music types owned
by these city printers, composers in relatively small towns sent their works to Leipzig for
printing. Joseph Clauder’s Psalmodia nova (1630) is a good example.
18
However, music was so
pervasive in all regions throughout Lutheran Saxony that even the small towns were equipped
with the basic music types that they could print simple funeral songs on their own. The printed
copy of the funeral songs issued in the town of Altenburg shows a “row of blank staves onto
which the notes, clefs, and key signature were written by hand.”
19
As Rose aptly comments,
“music was too valuable to omit” in their daily lives.
20

In addition to the number and sort of types, the number of presses owned by the Leipzig
printers offers further evidence of the lively music industry of the city. Gregor Ritsch, who
mainly produced devotional books and occasional pamphlets with printed music, owned six

14
Ibid, 334.
15
Ibid, 335.
16
Ibid, 330.
17
Ibid, 335.
18
Ibid, 346.
19
Ibid.
20
Ibid.

5

presses in 1624.
21
Even minor printers like Johann Beyer owned three presses in his printshop.
22

This is not without significance considering that the legendary Italian printing firm of the time
such as Gardano (1569 - 1611) owned two to three presses.
23
Even the Scotto Printing Firm in
Venice that boasted an exuberant tradition of issuing music by the numerous Italian composers
from 1530s possessed no more than three presses.
24
It is true that Gardano and Scotto specialized
in printing music while for Leipzig printers music was a small portion of their entire
production.
25
Nonetheless, it is not a small number considering the normal print runs of the time
as the following account elucidates:
In 1604, Gotthard Vögelin Jr., a Heidelberg printer whose father had worked in Leipzig
and who maintained links with the town, wrote that one-thousand copies was the
minimum edition-size for ordinary books. Twelve-hundred was his usual print run,
however, and in the case of school books he might issue as many as four-thousand
copies.
26

In other words, the music treatise, partbook collections, and hymn books which were the staples
in Lutheran school curriculum must have been produced in great number and widely circulated.
Another account testifies, “A Saxon edict of 1623 isolated one-thousand copies as the benchmark
figure determining the rate charged for printing.”
27

The evidences of printing cost further reflects the popularized use of the printed music in
Saxony. Different from the situation in contemporary England where “music printing was
constrained by royal monopolies” thus causing the price of printed music to be three to four

21
Ibid, 333.
22
Ibid.
23
Richard J. Agee, The Gardano Music Printing Firms, 1569-1611. (New York: University of Rochester
Press, 1998), 25.
24
Stephen Rose, “Music Printing in Leipzig During The Thirty Years’ War,” Notes 61, no. 2 (2004): 333.
25
Ibid.
26
Ibid, 341.
27
Ibid, 341.

6

times more expensive than the normal books, the “retail prices of partbook editions were
comparable to inexpensive editions of standard works of literature or classics.”
28
In summary,
music was not limited to the people with prestigious social ranks but was rather an indispensable
element of the daily lives of the people in Saxony.
While most of the printed music in Leipzig was the product of the city printers, several
courts had their own printshop, enabling their kapellmeisters to enjoy the luxury of printing their
own compositions at the place of their employment. Heinrich Schütz’s Dresden court offers a
good example. In Schütz’s letter to the Elector of Saxony in 1619, the composer gave thanks to
his patron for supplying for the publication of his Psalmen Davids saying, “you graciously
encouraged me by equipping your electoral printshop with new and lovely music-type, for which
I am extremely grateful.”
29
More than any other reason, composers like Schütz preferred using
the court printshop because they could supervise the editing and publication procedure which in
turn resulted in greater accuracy in their printed scores. Therefore, when Schütz had to send his
work to a Leipzig printer Gregor Ritzsch in 1636 due to the dwindling situation at the Dresden
court under the war, he had to make at least “four to five corrections per piece” after the work
was first printed.
30
Apparently, Schütz’s compositional writing was loaded with complex figured
bass and a wide range of different notes for which Ritzch perhaps did not have the necessary
music types to precisely put them in print.
31

The final category of the source of printed music production in Leipzig music were the
self-published composers. For the same reason that Schütz preferred using his court printshop,

28
Ibid, 346.
29
Stephen Rose, “The Mechanisms of the Music Trade in Central Germany,” Journal of the Royal
Musical Association 130, no. 1 (2005) : 17.
30
Stephen Rose, “Music Printing in Leipzig During The Thirty Years’ War,” Notes 61, no. 2 (2004): 337.
31
Ibid.

7

Schein and Scheidt published many of their works by themselves. In the prefaces of their
publications they often indicated such an underlying motivation. For example, Schein wrote in
the preface to his Opella Nova ander Theil (1626) that “he previously issued musical things,
which I published myself out of particular concern for their correction.”
32
In addition to
supervising the entire publication process, self-published composers were responsible for
funding and advertising for their own compositions. Many of the title-pages of the works by
Schein and Scheidt, therefore, often contain such phrases as “whoever would like to publish and
print them, to the glory of God, can get them from me [Scheidt] at any time;”
33
“Published by the
author [Schein] and to be found by him at St. Thomas’s School in Leipzig.”
34
It should not be
confused, however, that these composers still had to borrow the equipment of the local printers
once they completed the editing procedure.
35

Music Trade
In the beginning of the seventeenth century, one of the two biggest traditional book-fairs
in the German lands was held in Leipzig. Along with its counterpart in Frankfurt am Mein, the
Leipzig book fair functioned as “an [important] commercial network with numerous retail outlets
and an effective system for dispatching small consignments of books.”
36
A week-long event, the
Leipzig book fair was held twice yearly, in the third week after Easter and in the week before

32
Ibid, 340.
33
Kerala J. Snyder and Douglas Bush. "Scheidt, Samuel." Grove Music Online. Oxford Music Online.
Oxford University Press, accessed February 13, 2015, http://
www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/24785.
34
Stephen Rose, “The Mechanisms of the Music Trade in Central Germany,” Journal of the Royal
Musical Association 130, no. 1 (2005): 20.
35
Ibid.
36
Ibid, 1.

8

Michaelmas, attracting merchants and publishers from all over Europe.
37
The surviving handbills
(plakaten) and the catalogues (messkataloge) from the book fairs are invaluable sources because
they contain the list of new and old books that were advertised in every fair.
38
Rose’s research
reveals that there were on average 1,588 new books being advertised on the catalogue each year
along with average 39 new editions of music.
39
While the proportion of the musical titles in the
catalogue was relatively small, at least thousands of copies for printed music must have been
produced and distributed considering the normal print runs of the time as previously discussed
(See pp. 4-5).
40
Nonetheless, several firms specialized in music. For example, the surviving
handbills of Katharina and Gerlach Firm from Nuremberg contain the the titles of “51 musical
editions plus printed music paper, more than a quarter of their total advertised stock.”
41

Schütz, Schein, and Scheint must have enjoyed the most up-to-date compositions from
other major German cities even during the years of the war since the music published in
Augsburg, Munich, Nuremberg, Hamburg, Kassel, Magdeburg, and even Antwerp (Netherland)
were among the regular staples at the book-fair until 1640s.
42
On the other hand, it is a rare
occasion to find music from Italy among the titles in the catalogues, especially from 1620s,
presumably due to the increasing tension between the Protestant German states and Catholic
Italy.
43
While those book dealers (sortimentshändler) in southern German cities such as Paul
Parstorffer in Munich and Caspar Flurschütz in Augsburg specialized in importing Italian music

37
Ibid, 5.
38
Ibid.
39
Ibid.
40
Stephen Rose, “Music Printing in Leipzig During The Thirty Years’ War,” Notes 61, no. 2 (2004): 341.
41
Stephen Rose, “The Mechanisms of the Music Trade in Central Germany,” Journal of the Royal
Musical Association 130, no. 1 (2005): 8.
42
Ibid, 11.
43
Ibid.

9

such as the works by Frescobaldi, Monteverdi, and Rovetta, their works did not find a way to
travel further up north to Saxony.
44

Composers and publishers not only used the book-fair to advertise their printed works but
also took advantage of handling other businesses. Schütz was one of a few composers who
particularly enjoyed the close network with the traveling book dealers. Rose’s illustration
provides a vivid example:
Although his [Schütz’s] main post was as Kapellmeister at Dresden, he also had close
links with several other institutions, acting for instance as Kapellmeister in absentia for
the Wolfenbüttel court from the mid-1640s. In Schütz’s dealings with Wolfenbüttel, his
usual intermediaries were merchants from the nearby city of Brunswick. These traders
made the 180-mile round trip to Leipzig at fair-times, where among other business they
would often meet with Schütz or his representatives Thus in 1655 Schütz told the court
that a new falsettos he had recruited would travel to Wolfenbüttel in the escort of
Brunswick merchants returning home from Leipzig. In a contract of July 1655, Schütz
agreed with the Wolfenbüttel court that his stipend would be paid to him in cash or bills
of exchange by a Brunswick merchant. Numerous receipts survive from the following
years confirming such payments. A final example of Schütz’s visit to the Leipzig fair
comes from 1664, when he attended the New Year Fair to hand over a set of his printed
works to a Brunswick merchant who would convey them to Duke August in
Wolfenbüttel.
45

A careful examination of the inventories of the booksellers (sortimenshändler) at the fairs
is helpful for understanding the musical genres that would have been popular for the trade
market. Surprisingly, the proportion of hymn books and music treatises printed in Leipzig
appears to be lower than that of German partsongs (Teutsche Lied) or other collections published
in other states.
46
For example, the 1607 inventory of Johann Rosa, one of the representative
booksellers at the fairs, includes:
five anthologies of Italian sacred music assembled by the Nuremberg editor Friedrich
Lindner and published by Gerlach-Kauffmann firm, books of motets by Melchior Franck

44
Ibid,13.
45
Ibid, 11-12.
46
Ibid, 15.

10

that were also published in Nuremberg, and collections of sacred music by Thomas
Elsbeth and Philipp Dulichius that were published in Poerania and Silesia.
47

However, Rose points out that the treatises and motet books published and printed in Leipzig by
the local composers would have been sold directly to the schools and churches by the musicians
and composers without necessarily going through the book sellers.
48
For instance, the most
widely circulated school primers authored by Bodenschatz and Calvisius are not included among
the titles in the Leipzig book seller’s inventories. In order to gain a clearer understanding in the
popular musical genres in Saxony during the early 17th century, it is helpful to examine the
major musical participants of the time and the repertoires they mostly performed.

Musical Participants
In the early 17th century, some of the major participants of musical activities in Saxony
were the courts. The inventories of the court libraries exhibit an extensive number of titles which
would probably be used by the court musicians. Many of the German princes and electors had a
strong predilection for music thus zealously collected musical compositions from the great
composers of their times. For example, the Landgrave Mortiz of Hesse, well-known as the patron
of young Heinrich Schütz, and a magnificent music library in his Kassel court. His library
inventory of 1618 included not only the works by the Lutheran German composers but also the
secular collections imported from England and Italy.
49
In terms of the repertoire, vocal music
with sacred texts seems to have been the predominant genre at German Lutheran courts. For
example, Scheidt’s three surviving collections of vocal music composed during his tenure as a
Kapellmeister at Halle court are Cantiones sacrae (1620), Pars prima concert sacrarium (1622),

47
Ibid.
48
Ibid, 16.
49
Ibid, 2.

11

and Geistliche concert (1631-40). These collections contain motets, large polytonal concertos
with instruments, and small concertos for a few voices and continuo, all of which are the musical
settings of the sacred texts. Especially, Cantiones sacrae makes an exclusive use of Luther’s
translation of the Bible.
50
On the other hand, Scheidt’s instrumental music contains both secular
and sacred genres. His famous Ludi Musici (1621, 1622, 1624, 1627; of which only the last
volume survives) are collections of instrumental dances such as pavanes, galliards, allemandes,
and courantes. Yet, again, the output of Scheidt’s organ music displays a significantly larger
portion of sacred music, clearly exhibiting the composer’s particular fondness for the Lutheran
chorale as well as the wide public demand. In regards to sacred propensity in composition among
the court musicians, Schütz would probably be the best example. All of Schütz’s surviving music
is “vocal, and almost exclusively to biblical texts.”
51
Such inclination was not merely out of the
motivation to unwillingly conform to the estate’s official religion, but it was, as in the case of
many Lutheran composers of the time, the result of his personal belief.
52
His Becker Psalter
(1628) offers a good example. A collection of simple partsong settings to the text by the Leipzig
theologian Cornelius Becker (1561-1604), the work was produced “for the morning and evening
devotions of the choirboys placed in [his] charge.”
53
However, Schütz later made rather personal
comments that “the sudden death of my late dear wife… bring to a halt such other work as I was
engaged in and put this little psalter in my hands, as it were, so that I could draw greater comfort

50
Kerala J. Snyder and Douglas Bush. "Scheidt, Samuel." Grove Music Online. Oxford Music Online.
Oxford University Press, accessed February 13, 2015, http://
www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/24785.
51
Joshua Rifkin, et al. "Schütz, Heinrich." Grove Music Online. Oxford Music Online. Oxford University
Press, accessed January 2015, http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/
article/grove/music/45997pg7.
52
Robin A. Leaver, “The Funeral Sermon For Heinrich Schütz,” Bach 25, no. 2 (1994) : 116.
53
Hans Joachim Moser, Heinrich Schütz: His Life and Work. (Saint Louis: Concordia, 1959): 521.

12

from it in my sorrow.”
54
Indeed, sacred music could be heard in the Dresden court not only in
public performances but also in private settings such as in the bedrooms of the young choristers.
Considering the fact that the Dresden court was the biggest one in Saxony with the residency of
the Elector, it is plausible that the smaller neighboring German Lutheran courts would have
adopted similar repertoires. In any case, courts played a significant role in nurturing music in
Saxony.
In addition to the courts, music played an important role in the daily lives of ordinary
people. It would be, therefore, a hasty generalization to agree with John Walter Hill who stated
that, “in the course of the 1600s, the lead in cultural matters passed from the merchant class and
university scholars to the class of courtiers and nobles.”
55
This statement may be applicable in
describing the musical scenes of the other parts of contemporary European countries but does not
offer a precise picture of the musical landscape of Saxony. Fines Moryson, an English man well-
known for his Itinerary of 1590s reported after his visit to Leipzig and Wittenberg that:
There is not a man among the Common sorte who… hath not some skill in Arithmaticke
and Musicke. In all theire Meetinges to drinke, they greatly delight in daunsing and
Musicke, as nourishing the present humour of mirth.”
56

This tradition continued well into the next century; unlike the statement by Hill, it was 1626
when Schein’s Studenten-Schmauss, a collection of simple and delightful drinking songs for the
university students, made its first appearance in print.
57

54
Ibid.
55
John Walter Hill, Baroque Music: Music in Western Europe, 1580 - 1750. (New York: W.W. Norton &
Company, 2004): 8.
56
Charles Hughes, ed., Shakespeare’s Europe: Unpublished Chapters of Fynes Moryson’s Itinerary,
being a Survey of the Conduction of Europe at the End of the 16th Century (London, 1903), 300-1
57
Kerala J. Snyder and Douglas Bush. "Scheidt, Samuel." Grove Music Online. Oxford Music Online.
Oxford University Press, accessed February 13, 2015, http://
www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/24785.

13

Individuals also owned part-books of hymnals and motets and used them for personal
devotion at home.
58
Rose further elaborates that “these books [also] included a higher proportion
of newly written poetry, such as metrical paraphrases of the psalms by Cornelius Becker or
Martin Opitz. … The music might be on a specifically chamber scale, as with the continuo arias
in Johann Frentzel’s Zehen andächtige Buß-Gesänge (2nd ed., 1655). … Some of the devotional
songbooks included prayers and woodcuts to help the believer act piously throughout the day.”
59

In addition, townspeople could easily encounter music at weddings and funerals. Music
composed for such occasions was regulated by Kleiderordnungen, the sumptuary law which
restricted people’s clothes and other ceremonial logistics according to the social ranks of the
individuals.
60
The Leipziger Kleiderordnungen of the early 17th century prescribed that
“polyphony and newly composed pieces [for weddings and funeral] were restricted to the
elite.”
61
Furthermore, Rose made an interesting finding about an article from the 1634 ordinances
of Thomasschule which was specifically directed to the cantors. In it:
Cantors were instructed that polyphony during the funeral procession was reserved for
‘those who belong to the distinguished, honored states, or who serve church and school’;
ordinary citizens had to be content with monophonic chorales. The council’s permission
was also required if a motet was to be sung before the house of mourning.”
62

The funeral pamphlets are of particular interest since they contain valuable sources such as
biographies of the dead, elegies and poems written either by the dead or his/her friends, the full
content of the funeral sermon, and the funeral motets. It was conventional for people living not

58
Stephen Rose, “The Mechanisms of the Music Trade in Central Germany,” Journal of the Royal
Musical Association 130, no. 1 (2005): 4.
59
Stephen Rose, “Music Printing in Leipzig During The Thirty Years’ War,” Notes 61, no. 2 (2004): 327.
60
Stephen Rose, “Schein’s Occasional Music and the Social Order in 1620s Leipzig,” Early Music
History 23, (2004): 261.
61
Ibid, 265.
62
Ibid.

14

only in Saxony but in German Lutheran lands of the time to prepare their own funerals from
years before their death. This procedure entailed multiple activities such as selecting Scripture
verses for their own funeral sermon (Leichenpredigten), choosing texts for the funeral motets,
commissioning composers, hiring musicians, and so on.
63
For example, Schütz had completed
the preparation of his own funeral two years before his death. Commissioning his formal pupil
Christopher Bernhard to compose the funeral motet, Schütz heard the piece while he was still
alive and healthy, commenting, “My son, you have done me a great favor by sending me the
requested motet, I would not know how to improve on a single note.”
64
The elegy written by
Schütz’s colleague Constantin Christian Dedekind well reflects the composer’s perspective on
death:
Come, time! I long to go into this chamber
And there lay off mortality and all earth’s woes
For all eternity. He who subdued the world
And who has triumphed gloriously over death
Will bid thee open, he will seal thee, vault,
Until on Judgment Day I fare with greeting froth.
Come, death! I wait for thee, come satisfy my longing!
For thou dost bear me hence to heavenly embrace.

At the request of the Herr Kapellmeister,
Constantin Christian Dedekind composed this.
On September 1, 1670, when
the burial place was complete.
65

Schein also wrote several heartfelt poems and music on the death of six of his children. When his
daughter Johanna-Susanna died in 1627, he wrote the following poem (verse I):

63
Robin A. Leaver, “The Funeral Sermon For Heinrich Schütz,” Bach 25, no. 2 (1994): 116.
64
Joshua Rifkin, et al. "Schütz, Heinrich." Grove Music Online. Oxford Music Online. Oxford University
Press, accessed March 3, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/45997pg5.
65
Hans Joachim Moser, Heinrich Schütz: His Life and Work. (Saint Louis: Concordia, 1959): 224.

15

Ich heul und wein
in meiner großen Not.
Ich ruf und grein:
Wo bist du denn, mein Gott?
Ach daß du doch so gar
berbirgst dein Antlitz klar!
Bewegt dich nicht mein Schmertz?
Wo ist dein Vaterhertz?

I howl and weep
in my great trouble.
I cry and moan,
Where are you now, my God?
Ah that You so hide
The light of your countenance!
Are You not moved by my sorrow?
Where is Your fatherly heart?
66

The funeral pamphlets with such materials were normally published after the funeral ceremony.
Rose clarifies that the production of the funeral pamphlets was mainly for the purpose of
consoling the bereaved family members rather than for use at the event. Therefore, it was
common for individuals to collect funeral pamphlets for their own libraries at home to use for
their personal devotion and consolation. Some pamphlets with exceptionally inspiring sermons
such as the one by the Saxon theologian Polykarp Leyer were printed in large quantities to
satisfy public demand.
67

In addition to the occasional ceremonies, townspeople could regularly participate in
musical activities by regularly attending the civic institutions such as church or schools. Under
the auspice of town council, these institutions contributed greatly to shaping the musical
landscape of Saxony. The musical activity at the Lateinschule (Latin school) is especially

66
Stephen Rose, “Schein’s Occasional Music and the Social Order in 1620s Leipzig,” Early Music
History 23, (2004): 274.
67
Ibid, 280.

16

noteworthy. Martin Luther held music in such high esteem that he stated, “next to the Word of
God, the noble art of music is the greatest treasure in the world.”
68
In particular, he greatly
emphasized the importance of music education for the youth. In the preface to Geistliches
Gesangbuchlein, he wrote:
I desire this[music] particularly in the interest of the young people, who should and must
receive an education in music as well as in other arts if we are to wean them away from
carnal and lascivious songs and interest them in what is good and wholesome. Only thus
will they learn, as they should, to love and appreciate what is intrinsically good.
69

In his letter to Ludwig Senfl, Luther also wrote:
It is necessary indeed that music be taught in the schools. A teacher must be able to sing;
otherwise I will not as much as look at him. Also, we should not ordain young men into
the ministry unless they have become well acquainted with music in the schools. … We
should always make it a point to habituate youth to enjoy the art of music, for it produces
fine and skillful people.
70

Faithful to Luther’s philosophy, the discipline of applied music was an integral part of
required course-works in Lateinsschule. Furthermore, the music teachers and the pupils were
obligated to provide music at the town’s churches for their regular worship services. In addition,
it was their duties to sing at the funerals which were generally held three to four times per week
due to the high rate of death caused by the war and the plague.
71
Often, both professional and
amateur adult musicians joined those music teachers and pupils to form Kantorei, a community
music ensemble which frequently supplied music at the church.
72
Naturally, there was a strong

68
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music. (Lincoln:
University of Nebraska Press, 1997): 4.
69
Ibid, 7.
70
Ibid.
71
Stephen Rose, “Schein’s Occasional Music and the Social Order in 1620s Leipzig,” Early Music
History 23, (2004): 254.
72
Stephen Rose, “Music Printing in Leipzig During The Thirty Years’ War,” Notes 61, no. 2 (2004): 326.

17

link in musical activities between Lateinsschule and its neighboring church. Schein’s job
description as Thomaskantor provides a good explanation. It states:
“[He must] direct choral music in Thomaskirche [Thomas Church] and Thomasschule
[Thomas School]; at Thomasschule, he had to teach Latin grammar and syntax for ten
hours weekly and singing for four hours per week.”
73

Therefore, the Thomasschule and Thomaskirche shared the renowned music library which
ultimately belonged to the city council.
74
Lutheran churches and schools enjoyed the vast
repertoires dedicate to the city council by numerous composers. By presenting their recent works
as a gift to the civic institutions, composers aimed to receive patronage, to distribute and
advertise their works, and to establish their reputations. Schütz, Schein, and Scheidt also gave
their compositions to many of the Lutheran city councils with this purpose. Consequently, even
relatively small cities enjoyed receiving such gifts from the composers thus could possess some
decent musical collections in their libraries. For example, Schein dedicated his Opella Nova I
and II to Delitzsch council, and Scheidt presented his organ music along with several other
sacred vocal works to the Bitterfeld council.
75
Michael Altenburg (1584-1640), a theologian and
pastor who diligently composed music for his own congregation, also offers further testimony by
stating:
Soon there will be scarcely a single village, particularly in Thuringia, where vocal and
instrumental music shall not flourish. If there is no organ, then vocal music is ornamented
and adorned with at least five or six stringed instruments, something hardly known before
this time even in the cities.”
76

73
Kerala J. Snyder and Douglas Bush. "Scheidt, Samuel." Grove Music Online. Oxford Music Online.
Oxford University Press, accessed February 13, 2015, http://
www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/24785.
74
Stephen Rose, “The Mechanisms of the Music Trade in Central Germany,” Journal of the Royal
Musical Association 130, no. 1 (2005): 35.
75
Ibid, 25.
76
Ibid, 3.

18

In regards to the repertoire, motets, large polytonal concertos with instruments, or small
concertos for a few voices and continuo were common genres performed at churches and
schools. Schein and Scheidt, both civic musicians, composed and published such works in
several collections. A large portion of their instrumental and vocal works employ Lutheran
chorales as the foundation of the compositions. Although music with German vernacular text
was widely sung among the people, Latin motets were still in use. For example, Schein’s
Cantonal (1627), a collection of hymns and motets arranged according to the liturgical calendar
of the Lutheran church includes five Latin motets and twelve German motets.

Italian Influence
According to John Walter Hill’s study, foreign musicians began to appear in the courts of
German-speaking lands from the mid-sixteenth century. For instance, Orlando di Lasso was the
kapellmeister at the court of Duke Albrecht V of Bavaria in Munich from 1556. Philippe de
Monte also started his service at the court of Emperor Maximilian II in Vienna from 1558.
77

While Austria and the southern German states had streams of Italian musicians at their courts,
Saxony and other northern German states were less open to accept the musical trend of Italy.
Although Antonio Scandello, an Italian composer, was appointed the kapellmeister at Dresden
court in Saxony from 1568 until his death, there is little evidence that he did bring much Italian
influence to the musical life of the city.
In addition to the religious tension between Catholic Italy and Lutheran German states,
the theocentric philosophy that deeply permeated the lives of the Lutheran people was another
factor that made a great contribution to the lack of Italian influence in Saxony. In other words,

77
John Walter Hill, Baroque Music: Music in Western Europe, 1580 - 1750. (New York: W.W. Norton &
Company, 2004): 139.

19

the humanist philosophy that played a determinant role in shaping the Italian music of the time
appealed little to the musical taste of the Northern German society and Saxony.
78

In Italy, monody was already developing from the mid-1570s at the gathering places of
the Florentine Camerata. Humanist emphasis on the natural flow of the speech declamation
allowed the accompanying instruments greater measure of rhythmic freedom and flexibility.
Monody further evolved to give birth to stile recitativo and basso continuo which led the advent
of the first opera, Euridice (1600), by Jacopo Peri and Giulio Caccini. In the same year, figured
bass appeared for the first time in printed music with the publication of Rappresentatione di
Anima et di Corpo by Emilio de Cavalieri.
79
It was however, not until 1602 that the concept of
basso continuo and figured bass became increasingly popular for which Ludovico Viadana’s
Cento Concerti Ecclesiastici played an important role.
80
Viadana employed concertato style
which exploited a new medium of solo voices and continuo instead of a large polychoral
ensemble. During the first two decades of the 17th century, Monteverdi cultivated even more
innovative compositional style which had a lasting impact on the composers after him, namely
stile concitato.
81
Indeed, Denis Arnold aptly labeled Monteverdi as “the greatest flag-bearer for

78
Denis Arnold, “The Second Venetian Visit of Heinrich Schütz,” The Musical Quarterly 71, no. 3
(1985): 361.
79
H. Wiley Hitchcock. "Rappresentatione di Anima, et di Corpo." The New Grove Dictionary of Opera.
Grove Music Online. Oxford Music Online. Oxford University Press, accessed April 1, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/O008646.
80
Arnold, Denis and Tim Carter. "Viadana, Lodovico." The Oxford Companion to Music. Oxford Music
Online. Oxford University Press, accessed March 11, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/opr/t114/e7124.
81
The Harvard Dictionary of Music defines stile concitato as “A style defined by Monteverdi and
employed in his Combattimento di Tancredo e Clorinda (1624) and Madrigali guerrieri ed amorosi
(1638) to express anger and warfare. By analogy with classical Greek poetic meters, it was based on a
division of the whole note into 16 sixteenth notes repeated on single pitches.” —> No Name(?),
“Concitato,” The Harvard Music Dictionary. (Massachusetts: The Belknap Press of Harvard University
Press), 203.

20

musical humanism, the avant-gardism par excellence.”
82
In addition, Monteverdi further
advanced the development of concertato style; while the previous concertato pieces presented
only a brief solo sections with fragmented melodic passages and put greater emphasis on the
ensemble, Monteverdi began writing virtuosic solo passages with extensive length. The solo
motets published in Italy in 1620s clearly exhibit a great demand of virtuoso vocal technique.
Solo singing soon became a strong vogue in Venice and other regions of Italy that even moderate
public events hired extraordinary soloists such as Cavalli or Piove at exceptionally high costs.
83

At the same time, tuneful arie and duets also became popular; such repertoires often employed
guitar tablature for accompaniment as well as violins for ritornello.
84
Furthermore, the musical
scene at San Marco Basilica also changed dramatically soon after Monteverdi’s tenure in 1613.
By the late 1620s, cori spezzati has almost disappeared; violins became the prominent instrument
in place of cornets; the instrumental ensemble grew from about twelve members to
approximately twenty-five, with the leader of the ensemble also being a violinist.
85

The musical trend of the contemporary Lutheran Germany, on the other hand, was far
more conservative. The 1573 Wittenberg Service Book contains a considerable number of
plainsongs in the format of unaccompanied unison melody.
86
In 1586, Lucas Osiander began the
tradition of four-part harmonization of chorale tunes with the melody in the soprano part.
87
Ten
years laters, Sethus Calvisius, a predecessor of Schein as a Thomaskantor in Leipzig, published a
similar collection of homophonic chorale arrangements, Harmonia cantionum ecclesiaticarum

82
Denis Arnold, “The Second Venetian Visit of Heinrich Schütz,” The Musical Quarterly 71, no. 3
(1985): 361.
83
Ibid, 367.
84
Ibid.
85
Ibid, 360-1.
86
Ann Bond, “Plainsong in the Lutheran Church,” The Musical Times 114, no. 1564 (1973): 583-4.
87
Stephen Rose, “Schein’s Occasional Music and the Social Order in 1620s Leipzig,” Early Music
History 23, (2004): 256.

21

(1597). Surprisingly, even those anthologies published in Leipzig during the first two decades of
the 17th century were hardly more up to date. For example, a vast majority of the repertoires
contained in Abraham Schadaeus’s widely circulated anthology Promptuarium musicum
(Leipzig, 1611) were the works by the old school composers such as the Gabrielis, Merulo,
Marenzio, to name a few.
88
Similarly, two volumes of Bodenschatz’s Florilegium Portense
(Leipzig, 1618 & 1621), another series of popular anthologies in Saxony, were the collections of
motets in stile antico by di Lasso, Hassler, the Gabrielis, Merulo, Calvisius and Melchior
Franck.
89
Although Bodenscahts employed figured bass notation in Florilegium Portense, it was
rather with the aim of facilitating a performance with organ accompaniment than to create a
dramatic effect as was the case in Italian stile recitativo.
90
Clearly, Schütz also learned basso
continuo technique during his first stay in Venice from 1609 to 1613. The record says that
Giovanni Gabrieli introduced young Schütz to Monteverdi’s Quinto libro de madrigali (1605),
of which the last six pieces calls for the harpsichord or lute accompaniment.
91
However, Schütz
clung predominantly to the compositional vocabularies of the old schools, namely polychoral
style and stile antico, until his second visit to Venice in 1629.
92
Although Schütz consistently
employed basso continuo in most of his works, those compositions written before his second

88
Abraham Schadaeus, Promptuarii musici sacras harmonias sive motetas … pars prima, quae concentus
selectissimos, qui tempore hyemali SS ecclesiae usui esse possunt, comprehendit, 5–8vv, bc (org),
(Leipzig, 1611).
89
Florilegium Portense continens CXV selectissimas cantiones praestantissimorum aetatis nostrae
autorum (Leipzig: 1618).
Florilegii musici Portensis sacras harmonias sive motetas...pars altera...cum adjecta Basi Generali ad
organa musicaque instrumenta accomodata (Leipzig: 1621).
90
Stephen Rose, “Schein’s Occasional Music and the Social Order in 1620s Leipzig,” Early Music
History 23, (2004): 273.
91
Denis Arnold, “The Second Venetian Visit of Heinrich Schütz,” 361.
92
Janice M. Fain, “Text-Setting in the Music of Heinrich Schütz,” The Choral Journal 27, no. 7 (1987):
5.

22

visit to Venice did not fully reflect the “new possibilities” of stile recitativo as did the works by
Monteverdi.
93
Even his Historia der frölichen und siegreichen Aufferstehung unsers engine
Erlösers und Seligmachers Jesu Christi (1623) largely depends on prima prattica; Schutz made
a limited use of second prattica only for the moments of textual highlight. While the small
concertato style was firmly established in Italy with the publication of Viadana’s Cento concerti
in 1602, this genre first appeared in Lutheran Germany in 1618 with the publication of the
chorale-based concertos by Schütz, Schein, Scheidt, and Michael Praetorius.
94
For example,
Schein’s Christ unser Herr sum Jordan kam from his Opella Nova (1618) contains highly ornate
melismatic passages that require technical virtuosity of solo singers. William Porter described
Schein’s Opella Nova (1618) as “the earliest collection of Lutheran chorale settings to use the
new monodic style of the Italians.”
95
However, this “new Italian style” had not yet taken firm
root in German soil even as late as 1647, as Schütz testifies in the preface of his Symphoniae
scare II (1647):
…But also, and indeed above all, because of the modern Italian manner used herein, still
not comprehended by the majority, both with respect to the composition and the proper
performance of it. … Until now experience has repeatedly shown that this modern music,
whether Italian or merely in the Italian manner, together with the measure proper for it
and its black-note notations, … will neither rightly adapt itself to most of us Germans, as
many of us are not bred to it, nor yet becomingly depart from us.
96

93
Denis Arnold, “The Second Venetian Visit of Heinrich Schütz,” 361.
94
Eugene K. Wolf, “Concerto,” The Harvard Music Dictionary. (Massachusetts: The Belknap Press of
Harvard University Press), 198.
95
William Porter, “Eight Chorale Settings from Opella Nova, Part I, 1618 by Johann Hermann Schein and
Ludwig Lenel,” Music Library Association 23, no. 4 (1967): 844.
96
Stephen Rose, “The Mechanisms of the Music Trade in Central Germany,” Journal of the Royal
Musical Association 130, no. 1 (2005): 23.

23

Chapter II
Musica Poetica

The previous chapter discussed a broad overview of more progressive Italian musical
style and relatively conservative musical phenomena of Saxony and other Northern German
states in the late 16th and early 17th century. Although all the major Western European countries
of the time shared common musical characteristics which allowed posterity to define that
particular era as “Baroque,” Lutheran Germany cultivated a tradition of musica poetica that was
uniquely German. The Grove Music Dictionary defines musica poetica as “composition in close
relationship with the sound, structure, and meaning of a text.”
97
Despite its authoritative
scholarly reputation, however, this definition offers only a fragmentary knowledge about the
subject matter.
First of all, one must keep in mind that there exists a great number of terminological
discrepancies among the numerous German treatises written between the 16th and 18th centuries
that makes it virtually impossible to provide a single unified definition for musica poetica. Karl
Braunschweig aptly articulates such difficulties as follows:
The writings grouped under the concept of musica poetica have consistently offered
interpretive problems for the researcher [Braunschweig]. … These uncertainties stem
largely from the apparent divergence not only of theory from practice, but theory from
itself: each treatise of this discourse seems to define its subject matter in an idiosyncratic
way, and to address only those aspects of musical rhetoric most relevant to its author.
This difficulty is compounded by increasingly rapid changes in musical style and national
varieties of musical aesthetics, resulting in a discourse that is largely heterogeneous.
98

97
"Musica poetica." Grove Music Online. Oxford Music Online. Oxford University Press, accessed
January 12, 2015.
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/19428.
98
Karl Braunschweig, “Genealogy and Musica Poetica. In Seventeenth- and Eighteenth-Century Theory,”
Acta Musicologica 73 (2001): 45.

24

When the term musica poetica appeared for the first time in Nikolaus Listenius's (b. circa 1510)
Musica (1537, Wittenberg), it denoted “instruction in composition” or composition itself.
99

Niemöller’s annotation on Listenius’s definition of musica poetica would further help one’s
understanding:
With musica poetica, after the work is completed something written remains; for
instance a doctrine or a composition. The aim is to produce a self-contained and complete
work (opus consummatum et effectum), so that after the death of the author a perfect
and independent work (opus perfectum et absolutum) is left behind.
100

Less than three decades later, Gallus Dressler (1533 - c.1580/1589) described musica poetica in
his Praecepta musica poeticae (Magdeburg, 1563) as “a discipline within composition to be
taught alongside those of musica theoretica and musica practica.”
101
Again, at the beginning of
the 17th century, Joachim Burmeister (1564-1629) expanded the meaning of the term as “text
expressive composition” and, for the first time, rigorously adopted the rhetorical principle and
terminologies to define certain compositional phenomena.
102
Throughout the next two centuries,
the term went through a continuous evolution through the pens of numerous German authors.
Appendix 1 shows the list of German treatises on musica poetica.
Knowing that musica poetica is not a term which simply denotes a single compositional
technique or device, a holistic approach to the subject matter is necessary to understand and
appreciate the concept. While numerous German treatises, as Braunschweig comments, define
musica poetica in “an idiosyncratic way” and “address those aspects of musical rhetoric most

99
Klaus Wolfgang Niemöller and Egbert Hiller. "Listenius, Nikolaus." Grove Music Online. Oxford
Music Online. Oxford University Press, accessed April 2, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/16763.
100
Ibid.
101
Walter Blankenburg and Clytus Gottwald. "Dressler, Gallus." Grove Music Online. Oxford Music
Online. Oxford University Press, accessed March 21, 2015.
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/08165.
102
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 45.

25

relevant to its author,” there are nonetheless several fundamental aspects that form a common
denominator for all those authors. In this regard, Dietrich Bartel articulates the definition of
musica poetica in a comprehensive and relevant manner:
[Musica poetica is] … the uniquely German discipline of Baroque music which seeks to
combine medieval music theory with Lutheran theology, inspired by Renaissance
humanistic thought and seventeenth-century rationalism.
103

Bartel further sheds light on the influence of Luther’s theocentric philosophy of music on the
“heightened significance of rhetoric” both in Lateinsschule curriculum and among the German
circle of musicians.
104
Therefore, it would be reasonable to start the discussion by examining
Luther’s philosophy of music and and its relationship to text.

Music & Text: Viva vox evangelii
In her article Text-Setting in the Music of Heinrich Schütz, Janice M. Fain comments that
“Schütz received his first instruction in the importance of the word in composition during his
time in Venice (1609-12) when he studied with Giovanni Gabrieli (c. 1557-1612).”
105
Fain
further states that “another Italian influence upon Schütz’s view of text and music occurred when
he returned to Italy in 1628.”
106
These statements imply that Schütz’s Italian experience formed
the basis for his “view of text and music.”
107
Unfortunately, this is an erroneous conclusion,
because the Lutheran philosophy of the time also stressed the pivotal role of text in musical
compositions. The principle of sola scripture was not only at the very heart of Lutheran doctrine,

103
Bartel, xi.
104
Ibid, x.
105
Janice M. Fain, “Text-Setting in the Music of Heinrich Schütz,” The Choral Journal 27, no. 7 (1987) :
5.
106
Ibid.
107
Ibid.

26

it was the fundamental source of inspiration that sparked the Protestant Reformation.
108
As Robin
A. Leaver points out, in the “formative period of Lutheranism when its particular emphasis and
ethos were being theologically delineated, they [the Lutherans] regarded the Bible as the very
word of God. They [the Lutherans] called it ‘the voice of God.’”
109
In this climate, Luther and
his successors focused primarily on edifying the congregation through exegetical teaching of the
Bible. At the same time, Luther recognized music as a powerful tool to deliver the text that he
called music using various labels such as “a sermon in sound” and, in another occasion, “viva
vox evangelii,” that is, the “living voice of the Gospel.”
110
Consequently, from the outset of the
Protestant Reformation, delivering every property of the text became the consuming priority of
the composers and musicians of the German Lutheran circle. Bartel provides a good summary of
Luther’s mission statement on music in the following paragraph:
Luther had given them the mandate not only to express the text and affections in their
compositions, but to explain and expound on the meaning and significance of the words.
He encouraged musicians to ensure that ‘all the notes and melodies center on the text.’ In
fact, in a proper musical setting, ‘the music will bring the text to life.’ Music was
therefore not just a passive reflection of the text but a tireless advocate of the text.
111

Through this “tireless” application of music to the text, the German Lutherans ultimately
sought to “praise God and edify humanity.”
112
The people in Lutheran Germany diligently
practiced such purpose of music through their every lives. For instance, Joseph Clauder (1586-
1653) published his Psalmodia nova (1630) in the pocket-size editions “to be used by every class

108
Robin A. Leaver, “Heinrich Schütz as a Biblical Interpreter and LIST OF THE SETTINGS
OF THE BIBLE TEXTS IN THE WORKS OF HEINRICH SCHÜTZ,” Bach 4, no. 3 (1973): 7.
109
Ibid.
110
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 45.
111
Ibid.
112
Ibid, 6.

27

of person, to be taken on journeys, and to be carried as a handbook.”
113
Even as late as nearly
two centuries later, Johann Gottfried Walther (1684-1748), the author of the famous
Musicalisches Lexicon and Johann Sebastian Bach’s cousin and colleague in Weimar,
underscored that the very purpose of a musical composition is to “appropriately move the listener
to Godly devotion as well as to please and delight both mind and soul.”
114
In addition, the
fourteen stipulations of the historic Thomaskirche in Leipzig also elucidate the goal of music in
the following statement: “[The cantor must] arrange the music that it shall be of such a nature as
not to make an operatic impression, but rather incite the listeners to devotion.”
115
Such a
theocentric view of text and music fundamentally distinguished Lutheran German music from
that of contemporary Italy. Although the text expression was regarded as equally important by
contemporary Italian musicians, the underlying philosophy for such an emphasis was clearly
different. While Lutheran Germans regarded their music as viva vox evangelii, the contemporary
Italians inclined more toward viva vox humanitas.
116
For example, Madrigali de diverse musici:
libro primo de la Serena (1530), the final collection of madrigals published in Rome, contains
the madrigals whose texts are taken predominantly from the love poetries by Francesco Petrarch
(1304 -1374).
117
In order to explore and express the human emotion to the fullest possible
extension, Italian musicians strived to devise various compositional techniques. Already in 1555,
Nicola Vicentino (1511-1575) in Ferrara invented the arcicembalo, a micro-tonal keyboard

113
Stephen Rose, “Music Printing in Leipzig During The Thirty Years’ War,” Notes 61, no. 2 (2004):
327.
114
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 22.
115
Mark A. Radice, “Heinrich Schütz and the Foundations of the ‘Stile Recitativo’ in Germany,” Bach
16, no. 4 (1985): 18.
116
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 64.
117
Denis Arnold and Emma Wakelin. "madrigal." The Oxford Companion to Music. Oxford Music
Online. Oxford University Press, accessed February 11, 2015.
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/opr/t114/e4142.

28

instrument.
118
Toward the end of the 16th century, their musical vocabularies went through
further evolutions to become more experimental, dramatic, and intense through the hands of
numerous composers such as Luzzasco Luzzaschi (1545-1607), Gaiches de Wert (1535-1596),
Luca Marenzio (1553-1599), and Carlo Gesualdo (1566-1613), to name a few. These composers
heavily drew their textual inspirations from the secular verses of the sophisticated contemporary
poets such as Torquato Tasso (1544-1595) and Giovanni Battista Guarini (1538-1612).
119
Such
humanist effort in text-expression culminated in Monteverdi’s innovative compositional tools
such as stile recitativo, stile concitato, and stylus concertato. Monteverdi was, as Denis Arnold
aptly describes, “the greatest flag-bearer of humanist avant-garde per se.”
120

It is true that both Italian and German composers of the time greatly focused on
expressing and delivering the meaning and the associated affect of the text. However, the
motivation behind such a focus was different between the two. Even when the conservative
German Lutheran composers eventually adopted those of more progressive Italian compositional
devices, it was in an effort to find more effective musical tools to best present and teach the
Scripture.
121
Peter Evans sharply points out that “whatever its obvious initial debt to Italian
techniques, [the music in Lutheran Germany] was from the very stuff of the German scriptural
text.”
122
Despite the external renovation on musical style, their “view on text and music”

118
Henry W. Kaufmann and Robert L. Kendrick. "Vicentino, Nicola." Grove Music Online. Oxford Music
Online. Oxford University Press, accessed April 2, 2016,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/29293.
119
Denis Arnold and Emma Wakelin. "madrigal." The Oxford Companion to Music. Oxford Music
Online. Oxford University Press, accessed February 11, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/opr/t114/e4142.
120
Denis Arnold, “The Second Venetian Visit of Heinrich Schütz,” The Musical Quarterly 71, no. 3
(1985): 361.
121
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 23.
122
Peter Evans, “Heinrich Schütz and the Biblical History,” Listener 62 (1959): 1093.

29

remained intact — to glorify God and edify humanity. And this was the credo that lay at the
heart of the German Musica Poetica.

Music & Rhetoric
Rhetoric finds its origin in the ancient Greek and Latin oral skills for public speech by
lawyers and statesmen. Since then, ancient Romans further developed rhetoric through their
Latin writings and speeches which in turn influenced the writers of the early Christianity.
Although the practice of public speech underwent a slight decline during the Middle Ages, it was
greatly revived by the Renaissance humanists.
123

In Lutheran Germany, rhetoric was a powerful aid to the preachers in preparing and
delivering “the persuasive art of oration” to “admonish and edify the congregation.”
124
With the
emphasis on the “doctrine of the priesthood of the believer,” the responsibility of teaching the
biblical truth was not only limited to the church clergy but was also expected from common
individuals.
125
In this atmosphere, Lateinsschule significantly promoted the place of rhetoric in
their curriculum that it became an integral part of the required course works in every Lutheran
school. Modeled after the disciplines of the Seven Liberal Arts of the Middle Ages,
Lateinsschule curriculum consisted of two categories; the mathematical quadrivium and the
verbal trivium. Rhetoric was one of the three trivium subjects alongside grammar and
dialectic.
126
The weekly curriculum for the advanced students included “eight hours of Latin,
three hours of dialectic (logic), two hours of rhetoric, and two hours of Cicero.”
127
Textbooks

123
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 23.
124
Ibid.
125
Janice M. Fain, “Text-Setting in the Music of Heinrich Schütz,” 7.
126
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 12.
127
Ibid, 66.

30

thereby contained ample rhetorical writings of the classical authors such as Aristotle, Cicero,
Quintilian as well as more recent works by Erasmus and Melanchton. Through these works,
students at Latiensschule learned the linguistic rules and classical techniques without taking its
literary content seriously.
128

Most of the German Lutheran theorists, musicians, and composers of the time received a
thorough education in Lateinsschule. Naturally, they borrowed rhetorical devices in constructing
and decorating the musical crafts. Upon graduating, many of them held positions as kantors at
Lateinsschule where their duties included teaching music as well as Latin grammar and
rhetoric.
129
Such familiarity with the linguistic and literary subjects enabled them to fully exploit
the properties of rhetoric such as structuring steps, divisions, and expressive devices in their
musical compositions.
In order to better understand the way German Lutheran musicians adopted rhetorical
devices, it would be beneficial to review conventional structuring procedure used in classic
rhetoric that consists of five structural steps; invention, dispositio, elocutio, memoria, and actio.
In the first stage of crafting a musical composition (inventio), composers devised a
musical idea that would serve as the basic building block of the work. In the same way the
ancient Roman rhetorician Quintilian (35-100AD) provided Sedes Argumentorum (sources of
argument) to aid the orator in discovering suitable topics, several German music theorists and
composers employed the principle of rhetorical loci topici providing with the list of words to be
musically expressed.
130
For example, as early as 1613, Johannes Nucius offered a list of over
forty words in three categories; “affective words”, “words of motion and placing”, and “adverbs

128
Ibid.
129
Ibid, 45.
130
Ibid, 78.

31

of speed and number.”
131
Later in the century, Johann David Heinichen (1683-1729) and Johann
Mattheson (1681-1764) also encouraged composers to pay a special attention to the lists of
vocabularies they provided.
132

Dispositio, the second step in creative rhetorical procedure, involved the activity of
arranging the materials in a logical order. While the classic rhetoric maintained a structure with
six divisions, Gallus Dressler (1533-1580), in his Musica Poetica (1563), suggests a musical
structure with three divisions; exordium, medium, and finis. Later, Mattheson recommended all
six steps of rhetorical dispositio, namely, exordium (introduction), narratio (statement of facts),
propositio (present argument), confirmatio (supporting evidence), confutatio (refutation), and
peroratio (conclusion).
133
This structure was, however, regarded more as a suggested guideline
which determined the general paradigm of the compositional process rather than being rigidly
applied.
In the third step of classic rhetoric, decoratio (or elocutio), an orator ornamented his
speech with passionate language to arouse certain affection in the audience. In order to make the
speech more persuasive and elegant, orators made use of numerous verbal forms which deviated
from the traditional usage by, for example, altering the normal sentence order or repeating
certain words or phrases in various ways. Such deviated forms of words or sentences were called
figure. Quintilian stressed the pragmatic function of figure referring to it as “the most effective
method of exciting the emotions.”
134
On the other hand, Johannes Susenbrotus (1484-1542)
emphasized aesthetic purpose of figure in his statement:

131
Ibid, 102.
132
Ibid, 78.
133
Ibid, 68.
134
Ibid, 70.

32

The purpose of figure is to relieve the irritation of everyday and worn-out language, to
lend oration greater delight, dignity, and elegance, to add greater force and charm to our
subject, and finally to fortify our writing or speaking in an unusual manner.
135

Later, the German Lutheran rhetorician Johann Gottsched (1700-1766) gave even more credit to
the importance of figure. Gottsched commented:
The entire power of an oration is rooted in the figures, for they possess a certain fire, and
through their magic throw a spark into the heart of the reader or listener and similarly set
them aflame.
136

As early as Renaissance, composers recognized the power of rhetorical figures that they
developed musical counterpart for the purpose of textual emphasis. For instance, when
Burmeister for the first time verbalized the concept of musical-rhetorical figures in his treatises
in the beginning of the 17th century, he frequently used the motets by Orlando di Lasso as
musical examples.
137
In short, virtually all European Renaissance and Baroque composers
employed musical-rhetorical tools in their compositions. It was, however, only the German
Lutheran composers who “attempted to identify and define existing musical phenomena and
devices with terminology borrowed from rhetoric.”
138

Throughout the Baroque era, numerous German Lutheran authors of music treatises
adopted rhetorical terminology to name certain musical figures. The problem lies in that each
author often employed the different rhetorical terminology to indicate the same musical figures
or vice versa. In some occasions, the same author employed a rhetorical terminology in their
treatises to represent different musical figures causing further complication. For example,
Burmeister introduced “twenty-two musical-rhetorical figures in his Hypomnematum musica

135
Ibid, 20.
136
Ibid, 72.
137
George Buelow. "Rhetoric and music." Grove Music Online. Oxford Music Online. Oxford University
Press, accessed February 23, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/43166.
138
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 57.

33

poetica (1599). [The number of figures] grew to twenty-five in his Musica autoschediastike
(1601) and to twenty-six in his Musica Poetica (1606). The definition of some figures were
substantially altered, and the musical examples became sometimes more specific, sometimes
less.”
139
As a result there appeared a great number of terminological discrepancies among
various music treatise, and there is “clearly no one systematic theory of musical figures for
Baroque.”
140
Despite the varying measure of contradiction and disagreement in definition of
figures among the treatises, Bartel offers the most relevant definition of musical-rhetorical figure
in the following statement: “[Musical-rhetorical figure] is an artful and expressive device which
digressed from either the simple, unadorned musical idiom or the established rules of
counterpoint.”
141
The German Baroque music treatises also reveal the ongoing change in notion
and purpose of the musical-rhetorical figures. In early Baroque, musicians emphasized the
ornamental purpose of figures. They regarded musical-rhetorical figures as “aberrations from the
simple or traditional compositional norms for the sake of variety, interest, and color.”
142
They
mainly drew sources for musical-rhetorical figures from the classical Latin writings by Marcus
Fabius Quintilian (c. 35 - 100) and Joannes Susenbrotus (c. 1484-1542). On the other hand, the
late Baroque treatises stressed the affective function of figure. They viewed musical-rhetorical
figures as the “primary agents for presenting and arousing the affections.”
143
Furthermore, with
Martin Optiz’s effort to reform German literature, the natural speech of German vernacular

139
Benito V. Rivera and Martin Ruhnke. "Burmeister, Joachim." Grove Music Online. Oxford Music
Online. Oxford University Press, accessed February 12, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/04394.
140
George Buelow. "Rhetoric and music." Grove Music Online. Oxford Music Online. Oxford University
Press, accessed February 23, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/43166.
141
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 84.
142
Ibid, 83.
143
Ibid.

34

language gained preeminence.
144
Consequently, the musical figures toward the end of the
Baroque era drew their inspiration from the writings by contemporary German authors such as
Christian Weise (1642-1708), Menantes (1680-1721; also known as Christian Friedrich Hunold),
and Johann Christoph Gottsched (1700-1766).
145

No matter in which stage of the Baroque era they lived, German Lutheran composers
ultimately aimed to produce music with greater exegetical power to affect or move [movere] the
listeners by using such figures. Burmeister elucidates in his Musica Poetica (1606) that the
primary purpose of using figures is “to sway the hearts and spirits of individuals into various
dispositions.”
146
A century later, Johann Georg Neidhardt (1680-1739) still confirmed
Burmeister’s comment by stating that “the goal of music is to make felt all the affects through
the simple tones and the rhythms of the notes, like the best orator.”
147
Johann Scheibe (1708-
1776) further affirmed the affective function of figure by mentioning that “the figures are
themselves a language of the affections.”
148

Finally, the last two steps of creative rhetorical procedure, memoria and actio, did not
receive much attention from German Lutheran composers. While Italian musicians emphasized
the importance of actio for dramatic delivery, German Lutheran composers’ main focus
remained in the first three steps, which dealt with crafting a musical composition. In other words,
the primary concern of the German musicus poeticus was “first to analyze and define the

144
Stephen Rose, “Schein’s Occasional Music and the Social Order in 1620s Leipzig,” Early Music
History 23, (2004): 280.
145
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 83.
146
Ibid, 10.
147
George Buelow. "Rhetoric and music." Grove Music Online. Oxford Music Online. Oxford University
Press, accessed February 23, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/43166.
148
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 57.

35

linguistic source and then to construct a parallel musical structure, instead of aspiring to draw
directly on the source of affection.”
149
Unlike their contemporary Italians who regarded Celeste
influx et Inclinatione (heavenly inspiration) as one the most important traits of a great composer,
Germans believed that compositional ability could be cultivated through a diligent study of the
established masterworks.
150
In this context, Andreas Herbst (1588-1666) explained:
Just as a builder or carpenter leaves a house or other building to posterity, so too and in
like manner can a musicus poeticus or composer bequeath to following generations a
musical composition which he constructed with great diligence, tool, and industry,
thereby ensuring the abiding remembrance of his name.
151

Johann Sebastian Bach (1685-1750) also commented that “I had to work hard; anyone who is as
industrious, can achieve the same level.”
152
Such “industrious” labor of studying and mastering
the art of composition involved three learning principle also drawn from rhetorical discipline;
praeceptum (learning of the rules), exemplum (studying the established examples), and imitatio
(imitating the works of the masters).
153
Through the diligent practice, one could be born again as
a true melopoeta (music-poet) as Mattheson described:
Musica poetica. It is so called because the composer must not only understand language
as does the poet in order not to violate the meter of the text but because he also writes
poetry, namely, a melody, thus deserving the title melopoeta or melopoeus.
154

Music & Science
As discussed in the previous chapters, German Lutheran musicians of the Renaissance
and Baroque periods believed in the affective and formative power of music, viewing it as a

149
Ibid.
150
Ibid.
151
Ibid.
152
Ibid.
153
Ibid, 35.
154
Ibid, 22.

36

medium to “glorify God and preach the Christian gospel.”
155
At this point, one may pose the
following questions; what is the rationale behind such belief?; why did they employ music as a
tool to “glorify God and preach the Christian gospel” more than other art forms such as theatre,
painting, or dance?
First of all, German Lutheran Christians of the time believed that music reflected the
order of the universe. They asserted that:
[This order] becomes the underlying principle and governing force behind every element
of creation. It reflects the image of God and provides the common denominator between
God and the various elements of the universe, including both its macrocosmic and
microcosmic components. God is thereby reflected in both the universal macrocosm and
the human microcosm.”
156

Based on this assumption, Martin Luther gave music the highest place among the four subjects in
the Quadrivium curriculum of the Lateinsschule. He commented in his writing to Ludwig Senfl:
For this very reason the prophets cultivated no art so much as music in that they attached
their theology not to geometry, nor to arithmetic, nor to astronomy, but to music,
speaking the truth through psalms and hymns.
157

In fact, the notion of music’s affective power based on its scientific aspect was present
long before the birth of Martin Luther. For example, ancient Greeks viewed music as the audible
manifestation of the numerical order of the universe. They, therefore, believed that music had an
ethical force that could control human temperaments.
158
The concept of music as a mathematical
discipline was further solidified in the Middle Ages, most representatively, by Boethius (480-
524). In his De Musica, Boethius established tripartite classification of music and expounded that

155
Ibid, 30.
156
Ibid, 15.
157
Ibid, 4.
158
George Buelow. "Rhetoric and music." Grove Music Online. Oxford Music Online. Oxford University
Press, accessed February 23, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/43166.

37

musica instrumentalis was a “microcosmic reflection” of the numerical proportions of musica
mundana and musica humana.
159
The Seven Liberal Arts, the central curriculum of the
universities during the Middle Ages, clearly reflects such speculative emphasis on music (musica
speculativa); music was regarded as one of the mathematical disciplines of quadrivium alongside
arithmetic, geometry, and astronomy.
As the human communication and experience came to the forefront during the
Renaissance, applied music (musica practica) received greater legitimacy than the preceding era.
Even before the dawn of Renaissance, Guillaume de Machaut (1300-1377) hinted at the new
direction of music by stating that “music is science, whose purpose is to make people laugh and
sing and dance.”
160
As a result, the art of crafting and performing musical composition gained
greater prominence especially among the circle of Italian composers.
In order to trace the development of musical concepts among German circles, it would be
reasonable to address the bipartite classification by Adam von Fulda (1445-1505), a renowned
Renaissance music theorist from Wittenberg. Fulda classified musica into two categories; musica
naturalis and musica instrumentalis. Unlike before, musica instrumentalis was not regarded
subordinate to musica naturalis but received equal importance. While Italian Renaissance
musicians devalued the scientific aspect of music, Germans continued embracing the speculative
property of music. Fulda stated against his contemporary Italian musicians as follows:
The unfortunates! They do not seem to know that Boethius said in XXXIII chapter of the
first book of his Institutione: “id musicus est, qui ratione perpensa (the musician is one
who measures by reason).”
161

159
Calvin M. Bower, Fundamentals of Music: Animus Manlius Severinus Boethius. (New Haven: Yale
University Press, 1989), 161.
160
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 18.
161
Ibid, 18.

38

The motivation behind Germans’ effort to refine musica speculativa runs parallel with
their view on the purpose of music, which is “to affect.” It seems that, to Germans, the affective
power of music could only be validated when rooted in musica speculativa. In other words,
Germans believed that musica artificialis was a powerful tool to affect human because it was the
audible representation of Divine mathematical principles and proportions. After Fulda, a long
line of German Baroque musicians constantly underscored the importance of musica speculativa
alongside musica practica. For instance, Anathasius Kircher (1602-1680) explained the affect of
specific musical intervals in his Musurgia universalis (1650). Later, Gottfried Leibniz (1646-
1761), a prominent German scholar and philosopher, wrote that “music is a hidden arithmetical
exercise which ‘counts off’ subconsciously in the soul.”
162
The following statements by Andreas
Werckmeister (1645-1706) elucidates the mutual relationship between music’s scientific nature
and its affective power more thoroughly:
For the same musical proportions constitute the human soul and body, as we have heard.
When a person perceives these proportions through sounding tones, his likeness is
thereby correspondingly held before him, providing him with pleasure. … For it cannot
be otherwise, than that an individual’s temperament is moved and controlled through
well-written music. For an individual is both inwardly and outwardly spiritually and
physically a divinely created harmonic being. Because he is a musical blueprint (a
veritable formula of music), the individual will naturally find pleasure when his own
likeness is presented to him through the musical proportions. … It is not marvelous to
recognize that music finds its origin in God, and that as His image, we can harmonize
with God!”
163

In the end of the essay, Werckmeister makes a conclusive statement:
Nothing of the natural order can be discovered in music unless ratio, that is arithmetica
and mathesis first point out the right way. We call that natural which can be
comprehended by sense and ratio. … in accordance with God’s creation and ordering of
all things.”
164

162
Ibid, 17.
163
Ibid, 16.
164
Ibid, 17.

39

Even as late as the beginning of the 18th century, Johann Gottfried Walther also stated:
Music is a heavenly-philosophical and specifically mathematical science, which concerns
itself with tones, with the intent to produce an agreeable and artful harmony or
consonances.
165

In light of this, it is not difficult to understand why most German Lutheran music treatises
between 16th and 18th centuries consistently include a verse from the Wisdom of Solomon that
say, “But thou hast ordered all things by measure and number and weight.”
166

In the mean time, the German rationalism further supported the continued practice of
musica speculativa. German rationalists believed that reason was the key element for human-
beings not only to discern and recognize the order in nature but also correct and harness untamed
elements in nature. Through rational exercise, therefore, they believed that human-beings could
realize the ultimate truth which the Creator “had originally intended according to measure and
number and weight.”
167
Apparently, the Baroque gardening, painting, architecture, and music
reflect such belief. In particular, George Buelow’s statements clearly address the mutual
relationship between reason and affect in Baroque music:
To compose music with a stylistic and expressive unity based on an affect was a rational,
objective concept, not a compositional practice equatable with nineteenth-century
concerns for spontaneous emotional creativity and equally spontaneous emotional
responses on the part of an audience. The Baroque composer planned the affective
content of each work, or section or movement of a work, with all the devices of his craft,
and he expected the response of his audience to be based on equally rational insight into
the meaning of music.
168

165
Ibid, 10.
166
Ibid, 5.
167
Ibid, 20.
168
George Buelow. "Rhetoric and music." Grove Music Online. Oxford Music Online. Oxford University
Press, accessed February 23, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/43166.

40

Wolfgang Caspar Printz (1641-1717), a German Lutheran composer and cantor in Dresden, also
emphasized the authority of ration in the following statement:
Although we have two judges in music, ratio or intellect and sensus or the ear, it is
imperative that while they should agree, ratio retains the upper hand and does not allow
the ear the freedom to judge independently, unless it is absolutely unavoidable. For if the
ear is given the upper hand and is allowed the freedom to judge independently, then
absolutely nothing could be verified with certainty in music.
169

In short, German Baroque musicians believed that a rationally processed musical composition
resembled the orderly nature of God thereby offering an opportunity for listeners to experience
the ultimate truth. In this context, Lutheran Germany developed a concept of musica poetica.
Werckmeister articulates:
While the theorist only knows the rules but cannot practically apply them by playing or
composing and while the practitioner can compose or play according to the rules but
cannot comprehend or explain them, the ideal musician is expert in both cases.
170

Musicus poeticus, a “theoretically informed composer,” was best respected among the
German circles as the ultimate musician. It is, therefore, not surprising to know that most of the
German theorists who wrote major music treatises during the Baroque were also renowned
performers and composers. Furthermore, because Lutheran Germans of the time viewed music as
an object that could be rationally understood, they believed that musical devices and phenomena
could be thereby explained and defined with rhetorical terminologies. Finally, Johann Gottfried
Walther (1684-1748) provides the most comprehensive summary of musica poetica:
Musica poetica or musical composition is a mathematical science through which an
agreeable and correct harmony of the notes it brought to paper in order that it might later
be sung or played, thereby appropriately moving the listeners to Godly devotion as well
as to please and delight both mind and soul. It is so called because the composer must not
only understand language as does the poet in order not to violate the meter of the text but
because he also writes poetry, namely melody, thus deserving the title melopoeta or

169
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 25.
170
Ibid, 20.

41

melopoeus.
171

Treatises of Musica Poetica
In order to best understand the choral settings of Komm, heiliger Giest, Herre Gott by
Schein, Scheidt, and Schütz, it is essential to review the treatises authored by Joachim
Burmeister (1564-1629), Johannes Nucius (c.1556-1620), and Joachim Thuringus (b. late 16th
century). Burmeister, Nucius, and Thuringus published their treatises in early 17th century which
had a profound impact on the further development of German musica poetica. By the time these
treatises were published, Schein, Scheidt, and Schütz were in their twenties and thirties.
Therefore, it is obvious that these composers must have familiarized themselves with the content
of these widely circulated treatises. Especially, understanding the concepts of the musical-
rhetorical figures laid out in each of these treatises will give greater authenticity and relevance to
the analysis of the works by Schein, Scheidt, and Schütz, presented in the next chapter. In
addition to Burmeister, Nucius, and Thuringus, the study will also review the treatise by
Christoph Bernhard (1628-1692), a student and successor of Heinrich Schütz as a kapellmeister
at the court of Dresden.

Joachim Burmeister (1564-1629)
Between 1599 and 1606, Burmeister published three treatises; Hypomnematum musicae
poeticae (1599), Musica autoschediastike (1601), and Musica Poetica (1606). In regards to the
significant influence of these treatises on the theorists and composers of the later generations,
Blake McD. Wilson aptly articulated:
Between 1558 and 1708, a critical period in music history during which rhetorical
thought and language permeated musical discourse. And in attempting to trace and

171
Ibid, 22.

42

understand this rhetorical transformation, there is no more pivotal theoretical work
than Burmeister’s. His[Burmeister’s] influence in establishing a German tradition
of musical-rhetorical theory and composition that persisted through the end of the
eighteenth century is undeniable.
172

While Nikolaus Listenius, Heinrich Faber, and Gallus Dressler had covered a rather general
concept of musica poetica through their writings in the 16th century, Burmestier was the first
author who attempted to “develop and systematize an approach to musical analysis and
composition through the application of rhetorical terminology and concepts.”
173
In other words,
the primary focus of Burmeister’s endeavor was to “identify established musical devices with
rhetorical terminology.”
174
His comments in the preface to his Musica autoschediastike
elucidates this point:
When we study the works of the great masters, we will rarely find one which does not
exemplify some notable devices. But we are bound to record our observations and gather
them for future generations in the form of rules and regulations.
175

Burmeister referred to these “devices” as “figures” defining them as “harmonic and melodic
expressions which deviate from the simplest forms of musical expression, thereby enhancing the
composition in a more artful manner.”
176
He classified these figures into three categories. First,
figurae harmoniae (harmonic figures) denotes those figures that “are applied to all the voices of
a composition, thereby affecting the entire structure or harmonia.”
177
On the other hand, figurae
melodiae (melodic figures) are used in one or more voices without necessarily affecting the
structure of a piece. Finally, figurae tam harmoniae quam melodiae (harmonic-melodic figures)

172
Blake McD. Wilson, “Reviewed Work: Joachim Burmeister: Musical Poetics. by Benito V. Rivera,”
The Sixteenth Century Journal 26, no. 1 (1995): 233.
173
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 94.
174
Ibid.
175
Ibid, 94.
176
Ibid, 95.
177
Ibid, 97.

43

“initially transform only individual voices through similar or identical structuring. Only through
this process is the harmonia altered.”
178
Appendix 2 includes the entire list of figures identified
by Burmeister along with his definition for each figure.
Burmeister’s classification of figures are modeled after the conventional categorization of
the rhetorical figures of the time: figurae dictionis or verbi (word figures) and figurae totis
orationis or sententiarum (sentence or structure figures). Therefore, these classifications “seem
somewhat awkward at times, better suited to rhetoric than to musical figures.”
179
However, while
his classification of the figures is derived from its rhetorical counterpart, “Burmeister’s point of
departure was always the musical composition and its expressive devices rather than the
rhetorical term with a search for a corresponding musical expression.”
180

Apparently, Burmeister and his contemporaries put more emphasis on the ornatus-
oriented function of figures than on movere.
181
In the following statements, he draws parallel
between music and oration, yet still admitting the affective power of musical-rhetorical figures:
In careful and rational examination of music, we will undoubtedly conclude that there is
but little difference between music and the nature of an oration. For the great power of
oratory lies not in the simple aggregation of plain words or in the correct division of
phrases and their unchanging and unadorned combination, but rather an oration
appropriates its expressiveness through its ornatus and its use of significant words,
including the use of emphatic expressions. In like manner, in addition to the combination
of pure consonances, music also offers the listener a mixture of perfect and imperfect
consonances as well as dissonances in a composition, thereby moving the heart.
182

In the end of the same paragraph, Burmeister clarifies the benefit of using such musical-
rhetorical figures:

178
Ibid, 98.
179
Ibid.
180
Ibid, 95.
181
Burmeister articulates that the movere-oriented function of the figures “moves and affects the souls
and hearts of men.” Ibid, 96.
182
Ibid, 94.

44

We believe that through these terms and designations it will be possible to become
familiar with the musical material in its appropriate form.
183

Finally, Burmeister stresses the importance of the composer’s understanding of the text in
the compositional procedure. For example, he defined poeticum decorum as “a most pleasant and
ornate construction, a result of the consideration and interpretation of the text.”
184
In addition, in
his Musica Poetica, Burmeister states:
If the student wishes to know when and where the composition is to be adorned with
these figures, he is carefully to examine the text of a composition, especially one which
uses the specific ornament, and then adorn a similar text with the same figure. Should he
do this in such a manner, the text itself will prescribe the rules.
185

Johannes Nucius (ca. 1556-1620)
In his Musices poeticae, Nucius defined muiscal-rhetorical figures as “deviations from
the plain and ordinary musical idiom, which lend the composition greater grace and variety.”
186

Through the analogy between music and painting, Nucius underscored the importance of
musical-rhetorical figures:
Just as the painter will not merit great praise through an exact reflection of the bearing,
state, or color of an image, but rather endows his images with their unique gestures,
peculiar appearances, and distinct colors, thereby gratifying the eyes of the viewers, so
too will a musical composition through uninterrupted similitude and lack of florid
embellishments not only remains artless, but also bore the listeners.
187

Different from Burmeister, Nucius classified the musical-rhetorical figures into two categories
depending on the function of the figures. First, figurae principales includes the “essentially

183
Ibid.
184
Ibid, 95.
185
Joachim Burmeister, Muisca Poetica, 56 (translated by Bartel, 97).
186
Johannes Nucius, Musices poeticae, ch.7, F.4 (translated by Bartel, 101).
187
Ibid.

45

technical musical devices” such as fugue, commissura, and repetitio. On the other hand, figurae
minus principales consist of those figures that are “more closely linked to the text and affection-
expressive rhetorical figures.”
188
Appendix 3 shows the entire list of Nunicus’s figures and their
descriptions.
In addition, Nucius provides a list of over forty words that are to be “expressed and
painted through the variety and sound of the notes.”
189
The list of words consist of four
categories; affective words; words of motion and place; adverbs of speed and number; and words
such as “ ‘night’, ‘day’, ‘light’ and ‘dark’ that could be expressed through white and black
notation.”
190

Finally, in addition to defining preexisting musical figures using rhetorical terminologies,
Nucius strongly encouraged composers to invent new musical-rhetorical figures that would
correspond to the preexisting rhetorical figures.
191

Joachim Thuringus (b. late 16th century)
Joachim Thuringus’s classification of musical-rhetorical figures were
influenced by both Burmeister and Nucius. While maintaining the same bipartite
categorization of the figures which was originally devised by Nucius, Thuringus
substantially re-organized the list by removing and adding certain figures.
Additionally, Thuringus incorporated some of Burmeister’s figures which Nucius

188
Ibid, 100.
189
Johannes Nucius, Musices poeticae, G.3 (translated by Bartel, Musica Poetica: Musical-Rhetorical
Figures in German Baroque Music, 102).
190
George J. Buelow. "Nucius, Johannes." Grove Music Online. Oxford Music Online. Oxford University
Press, accessed March 11, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/20166.
191
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 102-103.

46

excluded in his list.
192
A great portion of Thuringus’s description of the figures are
indebted to Nucius, many of them even being taken verbatim.
193
Appendix 4 contains
Thuringus’s musical-rhetorical figures and their descriptions.

Christoph Bernhard (1628-1692)
While none of Bernhard’s treatises were published before the death of Schein and
Scheidt, Bernhard’s teacher, Schütz, witnessed the publication of one of the most influential
writings by Bernhard, his Tractatus compositionis augmentatus (c. 1657). Bernhard’s
classification of musical-rhetorical figures focuses primarily on the various use of dissonances.
To be more precise, “Bernhard’s prime objective was to explain and legitimize the occurrence
and use of dissonance in a musical composition.”
194
In Tractatus, Bernhard categorizes the
figures into two divisions; stylus gravis and stylus luxurians. It is plausible that Bernhard
mirrored Monteverdi’s classification of prima prattica and seconda prattica because he
published Tractatus shortly after his return from Rome in 1657. To further support this
speculation, Bernhard incorporated ample musical examples among the works by the
contemporary Roman composers. Stylus luxurians is again divided into two sub-categories,
namely stylus comicus and stylus communis, the structure which resembles the distinction
between the social and theater music originally devised by his contemporary Italian theorist,
Marco Scacchi. The following quotes from Tractatus thoroughly explains the underlying concept
behind such classification:
Contrapunctus gravis (stylus gravis) is the type consisting of notes which do not move
too quickly, and of few kinds of dissonance treatment. It does not consider text as much

192
Ibid, 104.
193
Ibid, 105.
194
Ibid, 113.

47

as it does harmony; and since it was the only type known to composers of former ages, it
is called stylus antiquus — as also a cappella and ecclesiasticus, since it is better suited
for that place than for others, and since the Pope permits this type alone in his churches
and chapel.
Contrapunctus luxurians (Stylus luxurians), the type consisting in part of rather quick
notes and strange leaps — so that it is well suited for stirring the affections — and of
more kind of dissonance treatment (or more figurae melopoeticae which other call
licentiae) than the foregoing. Its melodies agree with the text as much as possible, unlike
those of the preceding type. This can again be subdivided into communis and cominus,
the first being used everywhere, the second most of all in theatrical productions, although
something recitative-like is also often employed in church or table music. No style
succeeds as well in moving the heart as theatralis.
Stylus theatralis… It is also at times called stylus recitativus or oratorius, since it was
devised to represent speech in music, and indeed not too many years ago. … And since
language is the absolute master of music in this genre, just as music is the master of
language in stylus gravis, and language and music are both masters in stylus luxurians
communis, therefore this general rule follows: that one should represent speech in the
most natural way possible.
195

While the above classification of the figures suited Italian music of the time, it proved to be
inadequate when applied to German music. Bartel clearly explains the reason:
For the Italians, the use of the stylus theatralis in ecclesiastical music was simply
improper. However, while the differentiation between styles in Italy was made according
to their appropriate locale of employment or performance (church, chamber, or theater),
this clear-cut distinction could not be made in Germany. German Baroque music sought a
synthesis of the styles rather than a clear distinction between them, allowing the Lutheran
musicus poeticus greater versatility and effectiveness in expressing the text through the
music.
196

Therefore, Bernhard later suggests a new bipartite classification of the figures in his
Ausführlicher Bericht vom Gebrauche der Con- und Dissonantien; figurae fundamentales and
figurae superficiales. Bernhard explains that the first category, figurae fundamentales, can be
“found in fundamental composition, or in the old style.”
197
The second category, figurae

195
Christoph Bernhard, Tractatus (translated by Bartel, Musica Poetica: Musical-Rhetorical Figures in
German Baroque Music, 114-117).
196
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 117.
197
Christoph Berhhard, Bericht, ch. 10; Hilse, “Treatises,” 77.

48

superficiales, refers to the “expressive musical-rhetorical figures.”
198
Appendix 5 provides
Bernhard’s classification of musical-rhetorical figures from his Bericht.
While each musical-rhetorical figure is provided with detailed description, Appendices 5
offers only the names of those devices which Bernhard did not regard as musical-rhetorical
figures in his Bericht. Instead, these figures will be discussed in more detail in Chapter 3 in the
analysis of the choral settings by Schein, Scheidt, and Schütz.
Finally, Addendix 6 offers a list of rhetorical figures and their descriptions by class
authors such as Quintialian and Susenbrotus. In order to fully understand the meaning and
purpose of each musical-rhetorical figures, it is essential to cross-reference their rhetorical
counterparts. The translation of the original manuscript on description of the figures is indebted
to Dietrich Bartel.

198
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 117.

49

Chapter III
An Application of Musica Poetica:
Examination of the Chorale Settings, Komm, Heiliger Geist, Herre Gott,
by Schein, Scheidt, and Schütz

Komm, Heiliger Geist, Herre Gott by Johann Hermann Schein

Johann Hermann Schein (1586-1630)
A son of a pastor and former school master, Johann Hermann Schein was born in
Grünhein in 1586. After the passing of his father when Schein was seven years old, the family
moved to Dresden. From age thirteen, Schein sang as a boy soprano at Hofkapelle of the Elector
of Saxony and learned various choral repertoires in Latin, German, and Italian. After a brief
matriculation at the University of Leipzig, he studied music and humanities for five years at
Schulpforta, a renowned electoral school in Saxony with a strong tradition of music faculty such
as Erhard Bodenschatz. In 1608, he returned to the University of Leipzig to study law and liberal
arts with an electoral scholarship. After a short tenure at Weimar as the kapellmeister to Duke
Johann Ernst the Younger, he returned back to Leipzig where he succeeded Sethus Calvisius as
Thomaskantor in 1616.
199
While Leipzig was ravaged with war and plague during the Thirty
Years War, Schein remained in his position until his early death in 1630.
200

Several defining aspects about the composer need to be acknowledged.

199
Kerala J. Snyder and Gregory S. Johnston. "Schein, Johann Hermann." Grove Music Online. Oxford
Music Online. Oxford University Press, accessed February 3, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/24787.
200
Stephen Rose, “Music Printing in Leipzig During The Thirty Years’ War,” Notes 61, no. 2 (2004):
347.

50

First, Schein was an avid lover of literature. Fluent in Latin, he taught Latin grammar, syntax,
and literature at Thomasschule. As an amateur poet, his Latin poems frequently appeared in the
pamphlets for the weddings and funerals of townspeople.
201
On the other hand, his extant
German poems reveal that Schein’s German literacy was not as elegant as his Latin prowess. For
example, David Paisey comments:
Schein’s German, with its clumsy meter and rhymes, bumpy elisions, predilection for
diminutives, and peppering of Italian words, is quite typical of Schein’s vernacular
technique, and not without its charm.
202

On his poetry for Benjamin Schütz’s wedding, Paisey says:
Schein characterizes his own verse style: he lays no claim to the elegance in Latin of
Virgil or Ovid, nor can he follow the ‘Musa Opitiana’, that is to say write in the new
German style of Martin Opitz, for which Benjamin Schütz had apparently asked: his
German pastoral style is rough, and his offering instead is simple. … Schein himself,
however, while fully aware of the new style, maintains his distance from ‘the furrows of
hundred-footed meter’ — his tongue seems to be in his cheek — and stays a cheerful
reactionary, singing pastorals in his raucous voice.
203

Second, Schein had a particular interest in the classic Pastoral introduced via the Italian
Renaissance. In the three volumes of his Musica Boscareccia (Forest Songs/ 1621, 1626, 1628),
the poems are filled with the characters from the Italian pastoral tradition such as Corydon,
Phyllis, Mirtillo, Delia, Amor, Cupid, Phoebus, Pan, and Venus. The work soon gained such
great popularity that it was reprinted numerous times until 1643.
204
Later, Schein published a
similar collection, Diletti pastorali (1624), for which he wrote his own texts and called himself

201
Stephen Rose, “Schein’s Occasional Music and the Social Order in 1620s Leipzig,” Early Music
History 23, (2004): 421.
202
David Paisey, “Some Occasional Aspects of Johann Hermann Schein,” The British Library Journal 1,
no. 2 (1975): 176.
203
Ibid, 177.
204
Kerala J. Snyder and Gregory S. Johnston. "Schein, Johann Hermann." Grove Music Online. Oxford
Music Online. Oxford University Press, accessed February 3, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/24787.

51

“Corydon” in the title-pages.
205
Indeed, the composer’s fondness for classical pastoral theme
was so well-known among the intellectual circle in Leipzig that lawyer Christoph Pincker, a
friend of Schein, called him ‘a new Orpheus’ in his dedicatory poem for Musica Boscareccia
(1621).
206

Third, Schein had a deep Lutheran faith. In his Cantional (1627), a compilation of
Lutheran hymns arranged in liturgical order, “the title page was emblazoned with Luther’s name
and also asserted the book’s adherence to the Augsburg Confession (the 1530 formulation of
Lutheran doctrine).”
207
In addition, when Heinrich Schütz visited Schein at his deathbed, Schein
requested his dear friend to write a funeral motet for him on the following text from 1 Timothy
1:15-17
208
:
***
† Das ist je gewißlich wahr, SWV 277 †

1 Timothecus 1:15 - 17

Das ist je gewißlich wahr und ein teuer wertes Wort,
daß Christus Jesus kommen ist in die Welt, die Sünder selig zu machen,
unter welchen ich der fürnehmste bin.
Aber darum ist mir Barmherzigkeit widerfahren,
auf daß an mir fürnehmlich Jesus Christus erzeigete alle Geduld zum Exempel denen,
die an ihn gläuben sollen zum ewigen Leben.
Gott, dem ewigen Könige, dem Unvergänglichen und Unsichtbaren und allein Weisen,
sei Ehre und Preis in Ewigkeit, Amen.

***

1 Timothy 1:15 - 17

It is a trustworthy statement, deserving full acceptance,

205
David Paisey, 173.
206
Ibid, 174.
207
Stephen Rose, “Music Printing in Leipzig During The Thirty Years’ War,” Notes 61, no. 2 (2004):
347.
208
Kerala J. Snyder and Gregory S. Johnston. "Schein, Johann Hermann." Grove Music Online. Oxford
Music Online. Oxford University Press, accessed February 3, 2015,
http://www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/24787.

52

that Christ Jesus came into the world to save the sinners,
among whom I am the foremost of all.
Yet, for this reason I found mercy,
so that in me as the foremost, Jesus Christ might demonstrate His perfect patience
as an example for those who would believe in Him for eternal life.
Now to the King eternal, immortal, invisible, the only God,
be honor and glory forever and ever. Amen.

Analysis
Komm, heiliger Geist, Herre Gott is from Schein’s Opella Nova I (1618), a collection of
Lutheran chorale arrangements composed to provide Thomaskirche with music of great quality
for its regular worship services. This collection was one of the earliest attempts by Northern
German composers of the early Baroque to “use the new monodic style of the Italians.”
209

Schein uses a small performing force that consists only of two sopranos, a tenor, a basso
instrument, and basso continuo. Therefore, each part, especially the two upper voices in this
particular piece, are allowed more freedom to decorate the original hymn tune with various
rhythmic and melodic variations. Compared to the setting of the same chorale tune by Scheidt
and Schütz
210
, Schein’s setting exhibits a straightforward structural scheme. Except for the final
“Alleluia”, each line is first embellished with various musical-rhetorical figures by the two
sopranos, followed by the tenor singing the original chorale tune almost intact as the cantus
firmus. The tenor, therefore, offers a firm confirmation of the petitions made by the two sopranos
sung just beforehand. While the basso instrument mostly doubles the continuo part, it plays
elaborate melismatic passages when accompanying the solo tenor as if to highlight the cantus
firmus. Before examining the two soprano parts, therefore, it would be reasonable to start the

209
William Porter, “Eight Chorale Settings from Opella Nova, Part I, 1618 by Johann Hermann Schein
and Ludwig Lenel,” Music Library Association 23, no. 4 (1967): 844.
210
See following chapters.

53

discussion by analyzing the tenor melody and the basso instrument accompaniment part, the
foundation of the entire structure of the work.
At the opening of the piece, Schein employs anaphora in the basso instrument to
emphasize the ardent plea of “Komm, heiliger Geist, Herre Gott (Come, Holy Spirit, Lord God)”
in mm. 1-6 (Example 1). While one of the leading German rhetoricians Johann Christoph
Gottsched (1700-1766) lived a century after Schein, his description of anaphora can
convincingly be applied here:
“When the affection is intensely moved and calls for a concise argument, it does not
suffice to say something only once, but rather it should be repeated two or three times,
thereby ensuring the proper understanding of the word’s emphasis. This repetition occurs
in numerous ways.”
211

Example 3.1. Anaphora: Basso instrument in mm. 1-6

To highlight the first tenor cantus firmus on the text “Komm, heiliger Geist, Herre Gott”
in mm. 7-9, Schein uses hypotyposis through commissura (passing notes). In other words, the
melismatic ascent and descent in the basso vividly conjures up the image of the Holy Spirit rising
up and coming down to a believer’s heart. Burmeister articulates, “Hypotyposis is an explication
of the text through which lifeless things are clarified and appear to come alive before the

211
Johann Christoph Gottsched, Dichtkunst, 322 (translated by Bartel, Musica Poetica: Musical-
Rhetorical Figures in German Baroque Music, 186).
Basso
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?
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œ n
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œ
œ
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œ
œ
œ
œ
Œ Ó ∑

54

eyes.”
212
In addition to commissura, the syncopatio (syncopation) in m. 8 further adds vitality to
the phrase (Example 3.2). Without the syncopatio, the passage might sound square and dry
(Example 3.3).

Example 3.2. Hypotyposis through commissura & syncopatio: mm. 7-9

Example 3.3. Without syncopatio: mm. 7-9

For the next tenor iteration in mm. 15-17, the basso employs corta
213
(Example 3.4).
While the term corta first appears in the treatise by Wolfgang Caspar Printz (1641-1717) who
was born a decade after Schein’s death, it would nonetheless have been a familiar musical figure
to Schein, since the Early Baroque composers often made use of this figure. In regards to the

212
Joachim Burmeister, Hypomnematum (translated by Bartel, Musica Poetica: Musical-Rhetorical
Figures in German Baroque Music, 310).
213
The figura corta consists of three rapid notes, one of which has a duration equal to that of the other
two combined. - Wolfgang Caspar Printz, Phrynis Mytilenaeus, pt. 2, p. 54 (translated by translated by
Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 234).
Basso
instromento
Vc.
4
T.
Vc.
Komm, hei li - ger - Geist, Her re - Gott,
7
T.
Vc.
Komm, hei li - ger - Geist, Her re - Gott,
12
T.
Vc.
18
4
2
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ed. Yejee Choi
Schein_Basso_m.1_Anaphora
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Basso
instromento
Vc.
4
T.
Vc.
Komm, hei li - ger - Geist, Her re - Gott,
7
T.
Vc.
Komm, hei li - ger - Geist, Her re - Gott,
10
T.
Vc.
er füll - mit dei ner - Gna den - Gut
15
4
2
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(†) (††)
ed. Yejee Choi
Schein_Basso_m.1_Anaphora
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Ó

55

figure’s effect, Bartel explains, “due to the inherent rhythmic drive of a series of corta, it is
frequently used in compositions which wish to express agitated or joyful affections.”
214

Example 3.4. Corta: mm. 15-17

For the text “deiner Gläubigen Herz, Mut, und Sinn (Your believer’s heart, courage, and
mind),” Schein inserts a semitone on B-flat of the basso in m. 26, creating pathopoeia (Example
3.5). It seems that, as Burmeister describes, Schein aims to exploit the semitone “in such fashion
that no one appears to remain unmoved by the created affection.”
215

Example 3.5. Pathopoeia: mm. 24-27

Identifying the right terminology for Schein’s use of the eighth-note rests in the basso
instrument in mm. 38-40 requires scrutiny. Because Bernhard’s definition of abruptio refers to
the cadential dissonance resulted from the omission of a final resolving note, it is not strictly

214
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 234.
215
Joachim Burmeister, Hypomnematum (translated by Bartel, Musica Poetica: Musical-Rhetorical
Figures in German Baroque Music, 361).
Basso
instromento
Vc.
4
T.
Vc.
Komm, hei li - ger - Geist, Her re - Gott,
7
T.
Vc.
Komm, hei li - ger - Geist, Her re - Gott,
10
T.
Vc.
er füll - mit dei ner - Gna den - Gut
15
4
2
?
(†) (††)
ed. Yejee Choi
Schein_Basso_m.1_Anaphora
?
(†) (††)
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TENOR
Violoncello
T.
Vc.
12
T.
Vc.
dei ner - Gläu be - gen Herz, Mut und Sinn,
24
T.
Vc.
30
T.
Vc.
39
4
2
4
2
&
‹
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Schein_mm. 24-27
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
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(*)
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&
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Ó Ó
w
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™
œ
˙ b
˙
˙
Ó ∑

56

applicable to this passage. At the same time, Bernhard’s description of ellipsis does not offer this
phrase a precise explanation. While homoioptoton, homoioteleuton, and pausa all represent some
sort of pause in the middle of a passage, the first two require a collective rest in all the voices and
the other also does not provide the best account for Schütz’s treatment of the rests in this
particular passage. In any case, the consecutive use of the eighth rest in mm. 39-40 portrays the
vitality of the Holy Spirit who is, in this passage, depicted as the “bright light.” Therefore, it
would seem appropriate to identify this figure as hypotyposis (Example 3.6).

Example 3.6. Hypotyposis: mm. 38-40

Schein uses certain musical-rhetorical figures for the two sopranos throughout the entire
piece. The most frequently employed figures are repetitio, palilogia, complexio, hypotyopsis,
metalepsis, fuga, commissura, and syncopatio. In addition, Schein also uses inchoatio
imperfecta, epizeuxis, and schematoides, although these figures had not yet been identified in the
treaties by Burmeister, Nucius, Thuringus, nor Bernhard. Since the majority of the passages here
adopt multiple musical-rhetorical figures at a time, not every single figure will be discussed in
the current study, but rather those that play the most prominent role in each passage.
Additionally, I would omit commissura and syncopatio from the discussion since they are
employed in almost every phrase.
TENOR
Violoncello
T.
Vc.
12
T.
Vc.
dei ner - Gläu be - gen Herz, Mut und Sinn,
24
T.
Vc.
30
T.
Vc.
O Herr, durch dei nes - Lich tes - Glanz
38
T.
Vc.
41
4
2
4
2
&
‹
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Schein_mm. 24-27
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
‹
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?
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&
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(*)
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?
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?
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œ

57

First, Schein prominently uses repetitio. This musical-rhetorical figure is one example of
the terminological discrepancy among the treatises discussed in Chapter 2. For Schein’s setting,
Burmeister’s definition of repetitio (anaphora) in his Musica Poetica would be the most suitable
description.
216
All passages sung by the two sopranos use repetitio. Another noteworthy musical-
rhetorical figure in the opening passage is complexio — the repetition of the “beginning of a
harmonia at the end, in imitation of the poets, who frequently begin and end a verse with the
same word, as in, ‘Both in the flower of life, Arcadians both.’ ”
217
By placing the identical
phrase in soprano I in mm. 1-2 and mm. 6-7, Schein successfully opens and closes this small
section with same “sentences”, greatly reinforcing its meaning.

Example 3.7. Repetitio & Complexio: mm. 1-7

216
“The anaphora is an ornament which repeats the same notes through various diverse but not all voices
of the composition in the manner of a fuga without being a true fuga. For a composition earns the name
fuga only if all the voices are involved.” - Joachim Burmeister, Musica Poetica
217
Johannes Nucius, Musices Poeticae, G3 (translated by translated by Bartel, Musica Poetica: Musical-
Rhetorical Figures in German Baroque Music, 228).
°
¢
°
¢
°
¢
Canto I
Canto II
Komm, hei li - ger - Geist, Her re - Gott, Her re - Gott,
Komm, hei li - ger - Geist, Her re - Gott, Her re -
CI
CII
Komm, hei li - ger - Geist, Her re - Gott, Komm, hei li - ger - Geist, Her re - Gott,
4
Gott, Komm, hei li - ger - Geist, Her re - Gott, Komm, hei li - ger - Geist, Her re - Gott, Her re - Gott,
CI
CII
T.
8
4
2
4
2
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Scheinmm.1: Komm
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58

Second, Schein makes an effective use of climax in accordance to the definition by
Nucius and Thuringus. However, to add even more charm and variety, Schein decorates these
parallel thirds with commissura, syncopatio, and dotted rhythms in mm. 10-11. The additional
use of climax in mm. 14-15 is skillfully disguised by canonic entrances between the two voices.
Example 3.8 & 3.9 display unembellished climax passages that stand in a good comparison with
Schein’s setting in Example 3.10. Schein further mixes more compositional ingredients to this
passage, avoiding the “unchanging and unadorned combination of phrases” in his musical
oration.
218
Epizeuxis is one of them. Johann Georg Ahle (1651-1706) first described this figure
with rhetorical terminology in his Sommer-Gespräche, which Schein would never have
encountered during this lifetime.
219
Nonetheless, Schein repeatedly uses this particular figure
throughout the entire work. In this sense, Ahle does not exaggerate when he writes, “Just as salt
is the most common seasoning, so too is the epizeuxis the most common figure, since it is used
by composers in virtually all passages.”
220
In Example 3.10, one may observe epizeuxis in m. 13
on the text, “erfüll (to fill).” Another musical-rhetorical figure that warrants special mention in
this passage is schematoides. Like epizeuxis, this figure was first introduced with rhetorical
terminology long after Schein’s death by Wolfgang Caspar Printz (1641-1717) in his Phrynis
Mytilenaeus, oder Satyrischer Componist (1676-79).
221
By applying the different note-values on

218
Joachim Burmeister, Music Poetica (translated by translated by Bartel, Musica Poetica: Musical-
Rhetorical Figures in German Baroque Music, 94).
219
Johann Georg Ahle, Sommer-Gespräche. “Were he to set: Rejoice / rejoice / rejoice in the Lord all the
earth; it would be an epizeuxis. And were he to set Rejoice / rejoice in the Lord all / all the earth; it would
be a double epizeuxis.”
220
Ibid.
221
Wolfgang Caspar Printz, Phrynis Mytilenaeus. “Schematoides is a figuration constructed out of the
same intervals of a certain figure, but it differs either in duration or in the manner of execution from the
same.

59

the phrases with the same order of pitch intervals in mm.10-11 and mm. 14-15, Schein makes his
musical plea even more persuasive (Example 3.10).

Example 3.8. Unadorned climax: mm. 10-11

Example 3.9. Unadorned climax: mm. 14

Example 3.10. Climax, Epizeuxis, Schematoides: mm. 9-15
Another example of epizeuxis can be observed in mm. 36-38 (Example 3.11).
°
¢
°
¢
°
¢
°
¢
°
¢
CI
CII
CI
CII
7
CI
CII
er füll - mit dei ner - Gna den - Gut,
9
er füll - mit dei ner - Gna den - Gut,
CI
CII
er füll - mit dei ner - Gna den - Gut
14
er füll - mit dei ner - Gna den - Gut
CI
CII
17
4
2
4
2
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9
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CI
CII
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13
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CI
CII
er füll - mit dei ner - Gna den - Gut,
17
er füll - mit dei ner - Gna den - Gut,
CI
CII
er füll - mit dei ner - Gna den - Gut
23
er füll - mit dei ner - Gna den - Gut
4
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er füll - mit dei ner - Gna den - Gut,
9
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CI
CII
er füll - er füll - er füll - mit dei ner, - er füll - mit dei ner - Gna den - Gut
13
Gut, er füll - er füll - er füll - mit dei ner - Gna den - Gut
CI
CII
er füll - mit dei ner - Gna den - Gut,
17
er füll - mit dei ner - Gna den - Gut,
CI
CII
er füll - mit dei ner - Gna den - Gut
23
er füll - mit dei ner - Gna den - Gut
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú
Schein_mm.10_Erfüll mit deiner
ed. Yejee Choi
&
(†)
Ú
&
(†)
&
(†)
Ú
&
(†)
Ú
&
Ú
(†)
Ú Ú
&
Ú
(†)
Ú Ú
&
Ú
(†)
Ú Ú Ú
&
Ú Ú Ú Ú
∑ Ó Œ
œ
˙
˙
˙
˙
˙
˙
˙
Ó
∑ Ó Œ œ
œ™
œ
j
œ
™ œ
œ
œ™
œ
œ™
œ
˙
œ #
˙
œ #
œ
‰
œ
J
œ
œ
œ
œ
w
˙
Œ
œ
˙
Œ
œ
˙ #
Œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ™
œ
J
˙
Ó
˙
Œ
œ
˙
Œ
œ
˙ Œ
œ
œ
œ
œ
œ
œ
œ ˙
œ #
˙
Ó
∑ Ó Œ
œ
˙
˙
˙
˙
˙
˙
˙
Ó
∑ Ó Œ œ
˙
˙
˙
˙
˙
˙
˙
Ó
Œ
œ
œ
œ
œ
œ
œ™
œ
J
˙
Ó ∑
Œ œ
œ
œ
œ
œ
œ # ™
œ
j
˙
Ó ∑

60

Example 3.11. Epizeuxis: mm. 36-38

Metalepsis and parembole are the most noteworthy musical-rhetorial figures in the
following passage (Example 3.12). Burmeister defines metalepsis as “a double fuga in which one
voice partially introduces the subject of another, namely its second part, into the fuga, which it
thereupon completes through repetition of the whole subject.”
222
Susenbrotus’s rhetorical
definition can complement one’s understanding: “The metelepsis occurs when something is
revealed in stepwise fashion.”
223
In Example 3.12, only half the phrase is introduced in mm. 18-
19. The first complete statement of the phrase occurs in soprano II in mm.19-20 echoed by both
voices in turn in mm. 21-24.
Another musical-rhetorical figure, parembole, can be observed in soprano I in m. 23
(marked with *). Johann Christian Gottlieb Ernesti (1756-1802), more than a century after
Schein’s death, still offers the same rhetorical definition for this particular figure, writing, “The
parembole signifies a certain insertion in a sentence which can stand on its own but, were it
removed, would leave the raining thought intact.”
224
As a reminder for the reader, here is

222
Joachim Burmeister, Hypomnematum (translated by Bartel, Musica Poetica: Musical-Rhetorical
Figures in German Baroque Music, 322).
223
Susenbrotus, Epitome, p. 11 (translated by Bartel, Musica Poetica: Musical-Rhetorical Figures in
German Baroque Music, 322).
224
Ernesti, Lexicon (translated by Bartel, Musica Poetica: Musical-Rhetorical Figures in German
Baroque Music, 347).
°
¢
°
¢
°
¢
SOPRANO 1
11
23
O Herr, o Herr, o Herr, durch dei nes - Lich tes - Glanz
35
O Herr, o Herr, o Herr, durch dei nes - Lich tes - - Glanz
o Herr, durch dei nes - Lich tes - Glanz
39
o Herr, durch dei nes - Lich tes - Glanz
47
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Schein_mm.36_O Herr, durch deines Lichtes Glanz
ed. Yejee Choi
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
&
Ú
&
Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
∑ Ó Œ œ
˙
Œ œ
˙
Œ œ
˙
˙
˙
œ™
œ
œ™
œ
œ
™ œ
œ
™ œ
˙ #
w
Œ œ
˙
Œ œ
˙
Œ œ œ
œ
œ
œ
œ # ™
œ
œ
œ
™
œ n
j
œ
™ œ #
j
w
∑ Ó Œ œ
˙
˙
˙
˙
˙
˙ #
w
∑ Ó Œ œ ˙
˙
˙
˙
˙
˙
w

61

Burmeister’s definition of the figure: “The parembole is an interjection (interjectio) of certain
notes through an additional voice, emulating the fugal structure without being a part of the
fuga.”
225
Parembole appears again in soprano I in mm. 55-56 (Example 3.13).

Example 3.12. Metalepsis & Parembole: mm. 17-24

225
Joachim Burmeister, Hypomnematum (translated by Bartel, Musica Poetica: Musical-Rhetorical
Figures in German Baroque Music, 347).
°
¢
°
¢
°
¢
Canto I
Canto I
12
Canto I
Canto II
dei ner - Gläu bi - gen , dei ner - Gläu bi - gen ,
17
dei ner - Gläu bi - gen , dei ner - Gläu bi - gen Herz,
Canto I
Canto II
dei ner - Gläu bi - gen Herz, Mut und Sinn, dei ner - Gläu bi - gen ,
20
Mut und Sinn, dei ner - Gläu bi - gen dei ner - Gläu bi -
Canto I
Canto II
Herz, Mut und Sinn,
23
gen Herz, Mut und Sinn,
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Schein_mm.18_Deiner Glaubigen
&
Ú Ú Ú Ú Ú
&
&
Ú
(†)
&
(†)
&
(†)
&
(*)
&
∑ Ó Œ
œ
œ
œ™
œ
œ
™ œ
œ
Ó Œ
œ
œ
œ™
œ
œ #
™ œ
œ
∑
Ó Œ
œ
œ
œ™
œ
œ
™ œ
œ
Œ
œ
œ
œ™
œ
œ
™ œ
˙
œ
∑ Ó Œ
œ
œ
œ™
œ
œ
™ œ
˙
œ
œ
™ œ
œ
™
œ
œ
™ œ #
j
œ
‰
œ
j
œ
œ
™ œ
˙
œ
™ œ
œ
™
œ
œ
™ œ #
j
˙
Ó ∑ Ó Œ
œ
œ
œ
™ œ
˙ #
Œ
œ
œ
œ™
œ
Ó Œ
œ
œ
™ œ
˙
œ #
w
∑
œ
™ œ
˙
œ
œ
™ œ
œ
™
œ n
œ
™ œ #
j
w
∑
°
¢
°
¢
°
¢
Canto I
Canto I
12
Canto I
Canto II
dei ner - Gläu bi - gen , dei ner - Gläu bi - gen ,
17
dei ner - Gläu bi - gen , dei ner - Gläu bi - gen Herz,
Canto I
Canto II
dei ner - Gläu bi - gen Herz, Mut und Sinn, dei ner - Gläu bi - gen ,
20
Mut und Sinn, dei ner - Gläu bi - gen dei ner - Gläu bi -
Canto I
Canto II
Herz, Mut und Sinn,
23
gen Herz, Mut und Sinn,
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Schein_mm.18_Deiner Glaubigen
&
Ú Ú Ú Ú Ú
&
&
Ú
(†)
&
(†)
&
(†)
&
(*)
&
∑ Ó Œ
œ
œ
œ™
œ
œ
™ œ
œ
Ó Œ
œ
œ
œ™
œ
œ #
™ œ
œ
∑
Ó Œ
œ
œ
œ™
œ
œ
™ œ
œ
Œ
œ
œ
œ™
œ
œ
™ œ
˙
œ
∑ Ó Œ
œ
œ
œ™
œ
œ
™ œ
˙
œ
œ
™ œ
œ
™
œ
œ
™ œ #
j
œ
‰
œ
j
œ
œ
™ œ
˙
œ
™ œ
œ
™
œ
œ
™ œ #
j
˙
Ó ∑ Ó Œ
œ
œ
œ
™ œ
˙ #
Œ
œ
œ
œ™
œ
Ó Œ
œ
œ
™ œ
˙
œ #
w
∑
œ
™ œ
˙
œ
œ
™ œ
œ
™
œ n
œ
™ œ #
j
w
∑
°
¢
°
¢
°
¢
Canto I
Canto I
12
Canto I
Canto II
dei ner - Gläu bi - gen , dei ner - Gläu bi - gen ,
17
dei ner - Gläu bi - gen , dei ner - Gläu bi - gen Herz,
Canto I
Canto II
dei ner - Gläu bi - gen Herz, Mut und Sinn, dei ner - Gläu bi - gen ,
20
Mut und Sinn, dei ner - Gläu bi - gen dei ner - Gläu bi -
Canto I
Canto II
Herz, Mut und Sinn,
23
gen Herz, Mut und Sinn,
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Schein_mm.18_Deiner Glaubigen
&
Ú Ú Ú Ú Ú
&
&
Ú
(†)
&
(†)
&
(†)
&
(*)
&
∑ Ó Œ
œ
œ
œ™
œ
œ
™ œ
œ
Ó Œ
œ
œ
œ™
œ
œ #
™ œ
œ
∑
Ó Œ
œ
œ
œ™
œ
œ
™ œ
œ
Œ
œ
œ
œ™
œ
œ
™ œ
˙
œ
∑ Ó Œ
œ
œ
œ™
œ
œ
™ œ
˙
œ
œ
™ œ
œ
™
œ
œ
™ œ #
j
œ
‰
œ
j
œ
œ
™ œ
˙
œ
™ œ
œ
™
œ
œ
™ œ #
j
˙
Ó ∑ Ó Œ
œ
œ
œ
™ œ
˙ #
Œ
œ
œ
œ™
œ
Ó Œ
œ
œ
™ œ
˙
œ #
w
∑
œ
™ œ
˙
œ
œ
™ œ
œ
™
œ n
œ
™ œ #
j
w
∑

62

Example 3.13. Parembole: mm. 52-56

Metalepsis can also be observed in mm. 46-50. In this passage, Schein also used hypotyposis in
soprano I in mm. 48-50 by exploiting all the notes in a full octave to depict “all the world.”
(Example 3.14)

Example 3.14. Metalepsis & Hypotyposis: mm. 46-50

Quintilian’s rhetorical definition of pathopoeia is somehow equivocal to understand in
musical terms. Nonetheless, Burmeister defines pathopoeia as a musical-rhetorical figure which
“occurs when the text is expressed through semitones in such fashion that no one appears to
°
¢
°
¢
Violoncello
Vc.
13
Vc.
26
CI
39
CI
51
CI
CII
Vc.
Das sei dir , Herr , zu Lob ge sun gen, - zu Lob ge sun - gen. -
52
Das sei dir , Herr , zu Lob ge sun gen. - -
CI
CII
Vc.
Das sei dir , Herr zu Lob ge sun gen, -
57
Das sei dir , Herr , zu Lob ge sun gen, -
4
2
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Schein_mm.52_Das sei dir, Herr
ed. Yejee Choi
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú
&
&
Ú
?
Ú Ú
(†)
&
Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú Ú
∑ Ó Œ
œ
˙
œ™
œ
œ™
œ
œ
™ œ
˙ œ
œ
œ œ
˙
˙
Ó Ó Œ
œ
œ
œ
˙
˙
Ó ∑
∑ Ó Œ
œ
˙
œ™
œ
œ™
œ
œ
™ œ
˙ œ
œ
œ œ
œ™
œ
j
œ #
˙
œ
˙
Ó ∑
Ó Œ œ
˙
˙
˙
˙
˙
™
œ
œ
œ
œ
œ
œ
Œ Ó
∑ Ó Œ
œ
˙
˙
œ
˙
œ
œ œ
˙
˙
Ó
∑ Ó Œ
œ
˙
œ™
œ
œ™
œ
œ
™ œ
˙ œ
œ
œ œ
˙
˙
Ó
°
¢
°
¢
Violoncello
Vc.
9
Vc.
18
Vc.
28
Vc.
39
CI
CII
das V olk aus al ler - Welt, das V olk aus al ler - Welt,
46
das V olk aus al ler - Welt, das V olk aus
CI
CII
Vc.
aus al ler - Welt Zun en, - aus al ler - Welt Zun gen. - -
48
al ler - Welt, Zun gen, - - aus al ler - Welt Zun gen. -
4
2
?
Ú Ú Ú Ú Ú Ú Ú Ú
Schein_mm.46_das V olk aus aller Welt
ed. Yejee Choi
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú
&
&
&
&
?
Œ
œ
œ
œ
œ
™ œ
œ
Ó Œ
œ
œ
œ
œ # ™
œ
œ
Ó
∑ Œ
œ
œ
œ
œ
™ œ
œ
Ó Œ
œ
œ
œ
‰
œ
J
œ
J
œ
J
˙
œ
™
œ n
j
˙
œ
j
œ
j
œ
j
œ
j
œ #
œ™
œ
j
˙
œ
w
∑
œ # ™
œ
œ
œ
™ œ
œ
œ
˙
œ #
˙
‰
œ
J
œ
œ n
˙
œ™
œ
œ
w ∑
w
˙
˙
w
w
œ
Œ Ó ∑
°
¢
°
¢
Violoncello
Vc.
9
Vc.
18
Vc.
28
Vc.
39
CI
CII
das V olk aus al ler - Welt, das V olk aus al ler - Welt,
46
das V olk aus al ler - Welt, das V olk aus
CI
CII
Vc.
aus al ler - Welt Zun en, - aus al ler - Welt Zun gen. - -
48
al ler - Welt, Zun gen, - - aus al ler - Welt Zun gen. -
4
2
?
Ú Ú Ú Ú Ú Ú Ú Ú
Schein_mm.46_das V olk aus aller Welt
ed. Yejee Choi
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú
&
&
&
&
?
Œ
œ
œ
œ
œ
™ œ
œ
Ó Œ
œ
œ
œ
œ # ™
œ
œ
Ó
∑ Œ
œ
œ
œ
œ
™ œ
œ
Ó Œ
œ
œ
œ
‰
œ
J
œ
J
œ
J
˙
œ
™
œ n
j
˙
œ
j
œ
j
œ
j
œ
j
œ #
œ™
œ
j
˙
œ
w
∑
œ # ™
œ
œ
œ
™ œ
œ
œ
˙
œ #
˙
‰
œ
J
œ
œ n
˙
œ™
œ
œ
w ∑
w
˙
˙
w
w
œ
Œ Ó ∑

63

remain unmoved by the created affection.”
226
The best example can be detected in m. 43 where
Schein effectively employs semitones in soprano II. Example 3.15 suggests an unadorned
version of the passage which stands in contrast to Schein’s writing in Example 3.16.

Example 3.15. Unadorned passage: mm. 40-44

Example 3.16. Pathopoeia: mm. 40-44

Finally, the passage in mm. 27-34 contains the most number of the musical-rhetorical
figures in this piece (Example 3.17). First of all, metalepsis can be observed in m.27 and in mm.
31-32 where the fragments of the phrase appear multiple times consecutively on the text, “dein
brünstige Lieb” and “enzünd in ihn.” Second, Schein used schematoides in mm. 28-30 with
augmented note values followed by the diminished phrases mm. 31-34. Third, Schein adds
epizeuxis, “the most common seasoning just as salt”, once again in mm. 32-33 on text “entzünd
in ihn.”

226
Joachim Burmeister, Hypomnematum. (translated by Bartel, Musica Poetica: Musical-Rhetorical
Figures in German Baroque Music, 361.)
°
¢
°
¢
Canto I
CI
12
CI
24
CI
35
CI
39
CI
CII
zu dem Glau ben - ver sam - melt - hast, zu dem Glau ben - ver sam - melt - hast
40
zu dem Glau ben - ver sam - melt - hast zu dem Glau ben - ver sam - melt - hast
CI
CII
zu dem Glau ben - ver sam - melt - hast
45
zu dem Glau ben - ver sam - melt - hast hast, zu dem Glau ben - ver sam - melt - hast
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Schein_mm.40_zu dem Glauben versammelt
ed. Yejee Choi
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú
&
Ú
&
&
Ú
&
Ú Ú Ú
&
∑ Ó Œ
œ
œ
œ
œ
œ
œ
œ ˙
œ #
œ
‰
œ
J
w
˙
˙
˙
œ
™ œ
œ
˙
˙
Ó ∑
Œ
œ
œ
œ
œ
œ
œ œ
œ
‰ œ
J
w
˙
˙ #
˙ #
œ
œ n ˙
œ
˙
Ó ∑
Œ ‰
œ
J
w
˙
˙
˙
˙
˙
˙
Ó ∑
Œ ‰ œ
J
w
˙
˙ #
˙
˙
˙ n
˙
Ó ∑ Œ ‰ œ
J
w
˙
œ #
œ #
˙
˙ n
˙ n
˙
Ó ∑
°
¢
°
¢
Canto I
CI
12
CI
24
CI
35
CI
39
CI
CII
zu dem Glau ben - ver sam - melt - hast, zu dem Glau ben - ver sam - melt - hast
40
zu dem Glau ben - ver sam - melt - hast zu dem Glau ben - ver sam - melt - hast
CI
CII
zu dem Glau ben - ver sam - melt - hast
45
zu dem Glau ben - ver sam - melt - hast hast, zu dem Glau ben - ver sam - melt - hast
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Schein_mm.40_zu dem Glauben versammelt
ed. Yejee Choi
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú
&
Ú
&
&
Ú
&
Ú Ú Ú
&
∑ Ó Œ
œ
œ
œ
œ
œ
œ
œ ˙
œ #
œ
‰
œ
J
w
˙
˙
˙
œ
™ œ
œ
˙
˙
Ó ∑
Œ
œ
œ
œ
œ
œ
œ œ
œ
‰ œ
J
w
˙
˙ #
˙ #
œ
œ n ˙
œ
˙
Ó ∑
Œ ‰
œ
J
w
˙
˙
˙
˙
˙
˙
Ó ∑
Œ ‰ œ
J
w
˙
˙ #
˙
˙
˙ n
˙
Ó ∑ Œ ‰ œ
J
w
˙
œ #
œ #
˙
˙ n
˙ n
˙
Ó ∑

64

This leaves us two more musical-rhetorical figures which have not been discussed yet;
Inchoatio imperfecta and pleonasmus. Despite the frequent use of inchoatio imperfecta by the
many composers of the time, only Bernhard defines this figure in his Tractatus. Simply meaning
“an omission of the opening consonance in the melody which is supplied by the basso continuo,”
this figure can be observed at the beginning of each phrase in both voices m. 28 where the eighth
rest replaced the quarter note on “dein” thus delaying the entrances of each voice.
Pleonasmus, is a particularly expressive musical-rhetorical figure. Quintilian defines
pleonasmus as “an error which occurs when the oration is overburdened with superfluous
words.”
227
He also adds that “pleonasmus is characterized by a wealth of words beyond
necessity, such as ‘I have seen it with my own eyes.’ ”
228
Burmeister articulates that “the
pleonasmus is forged out of a passing dissonance [commissura or symblema] and suspension
[syncopa], occurring most frequently in the beginning of a cadence.” Schein, in mm. 28-30,
successfully adopts this figure. A chain of syncopa (suspensions) and commissura (passing
notes) over three measures creates the affection of fervency to reflect the meaning of the text,
“ignite Your fervent love in them.”
Finally, the last line “alleluia” is set in triple meter where all three voices sing an
intimate fuga section, where the dance-like treatment of the jolly triple meter evokes joyful and
cheerful affection. Although only for one measure, Schein exploits the “most agreeably
stimulating and wonderfully soothing” noema in m. 65 (Example 3.18).

227
Quintilian, Institutio VIII. (translated by Bartel)
228
Quintilian, Instituio IX. (translated by Bartel)

65

Example 3.17. Metalepsis, Schematoides, Epizeuxis, Inchoatio imperfecta, Pleonasmus: mm. 27-34

°
¢
°
¢
°
¢
°
¢
°
¢
Canto I
S.
S.
12
S.
S.
dein brün sti - ge - Lieb dein brün sti - ge - Lieb en zünd in ihn',
27
dein brün sti - ge - Lieb, dein brün sti - ge - Lieb ent zünd - in ihn', dein
S.
S.
dein brün sti - ge - Lieb ent zünd - in ihn', ent zünd - in ihn',ent zünd - in ihn'.
31
brün sti - ge - Lieb ent zünd - in ihn', ent ent zünd in ihn', ent ent zünd in ihn',
S.
S.
36
S.
S.
48
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Schein_mm.27 : Dein Brünstig Lieb
ed. Yejee Choi
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
(*)
&
(*)
(†)
&
(†)
(*)
Ú
&
Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Œ
œ
œ
™
œ
œ
˙ Ó ‰
œ
J
˙ œ
w
˙™
œ
˙
™ œ
œ
w
w
∑ Œ
œ
œ
™
œ
œ
œ ‰ œ
J
˙™ œ
˙ ˙
w
˙ ˙
˙ #
˙
Œ
œ
Ó Œ
œ
œ
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66

Example 3.18. Fuga & Noema: mm. 58-68

Schein set only the first stanza of the original poem to music. This small yet exquisite
composition is like a mosaic work decorated with various musical-rhetorical figures that are
entirely derived from the original chorale melody. Schein cleverly arranges these various
compositional ingredients to create his own ingenious composition. One can thoroughly
appreciate the value of this work through an understanding of musicus poeticus.

°
¢
°
¢
°
¢
S.
S.
T.
Al le - lu - ja, - Al le - ,Al - le - lu - ja, -
58
Al le - lu - ja, - Al le - ,Al - le - lu - -
Al le - lu - -
S.
S.
T.
Al le - lu - ja, - Al le - ,Al - le - lu - ja, - Al le - lu - -
61
ja, Al le - lu - ja, - Al le - ,Al - le - lu - -
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S.
S.
T.
ja, Al le - ,Al - le - lu - ja, - Al le - - lu - ja. -
64
ja, Al le - ,Al - le - lu - ja, - Al le - lu - ja. -
le lu - ja, - Al le - ,Al - le - lu - ja, - Al le - lu - - ja.
6
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2
6
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3
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67

Komm, Heiliger Geist, Herre Gott by Samuel Scheidt

Samuel Scheidt (1587-1654)
Samuel Scheidt was born in Halle in 1587. His father was a wine and beer steward before
becoming a superintendent of water of the city, and his mother was a daughter of a baker. Along
with his two younger brothers, Gottfried and Christian, Samuel Scheidt learned organ from a
young age. Unlike Schein and Schütz, who received electoral music education and sang as choir
boys at the courts throughout childhood and youth, Scheidt attended a local gymnasium. His first
musical career began as an organist at the Moritzkirche at age seventeen, where he remained for
about four years until he left for Amsterdam to study with Sweelinck.
229
Upon return to Halle,
Scheidt became an organist at the Halle court where Michael Praetorius was serving as the
Kapellmeister in absentia and William Brade from England was the violist.
230
Stephen Rose
points out that “Scheidt’s vocal music is similar to Michael Praetorius, largely chorale-based,
rich in polychoral effects. At the same time, most of Scheidt’s stringed consort music is English-
inspired, in the tradition of William Brade or Anthony Forborne.”
231
A proficient organist,
Scheidt was invited to perform at major events in neighboring cities. For example, he prepared a
concert at the Magdeburg Cathedral in collaboration with Schütz and Praetorius in 1618. In the
following year, he gave a dedicatory recital to celebrate the new organ at the Stadtkirche in
Bayreuth, where Schütz and Praetorius attended again. After serving as an organist at the Halle
court for eleven years, Scheidt finally became kapellmeister there and expanded the court

229
Kerala J. Snyder and Douglas Bush. "Scheidt, Samuel." Grove Music Online. Oxford Music Online.
Oxford University Press, accessed February 13, 2015, http://
www.oxfordmusiconline.com.libproxy1.usc.edu/subscriber/article/grove/music/24785.
230
Ibid.
231
Stephen Rose, “Music Printing in Leipzig During The Thirty Years’ War,” Notes 61, no. 2 (2004):
333.

68

ensemble to ten instrumentalists and five vocalists by 1621. Between 1625 and 1638, Halle was
severely damaged and half of the population died from the war and the plague. While Scheidt
suffered during this period — receiving no salary and losing all four of his children — he
remained “remarkably loyal” to Halle supervising the musical activities at the city’s
Marketkirche while providing new music for various occasions.
232
In 1638, when the Duke
August of Saxony moved to Halle court, Scheidt was re-employed as kapellmeister and
continued composing and publishing diligently until his death on Good Friday, 1654.
233

During his lifetime, Scheidt maintained a close relationship with both Schein and Schütz,
and the three are often regarded as the most influential German composers of the early Baroque
period. Unlike Schein or Schütz, however, Scheidt had a strong instrumental background; he
grew up as an organist while the other two began their musical career as choristers; he was not
only a virtuoso organist but also an expert in organ construction.
234
In addition, while the works
by Schütz and Schein exhibit strong Italian influence, Scheidt developed “Anglo-German genres
established in the sixteenth century.”
235
Another noteworthy characteristic of Scheidt’s work is
his strong tendency to recycle musical materials. Finally, Scheidt’s compositions display his
particular predilection for the Lutheran chorale. His Tabulatura nova (1624), Görlitzer Tabulatur
(1650), and Geistlicher Konzerte (1631-1640) are good examples.
236

Like Schein, Scheidt was also a self-published composer. At the end of the second
volume of his Geistlicher Konzerte, he wrote:

232
Kerala J. Snyder & Douglas Bush, “Scheidt, Samuel.” Grove Music Onine.
233
Ibid.
234
Ibid.
235
Stephen Rose, “Music Printing in Leipzig During The Thirty Years’ War,” Notes 61, no. 2 (2004):
312.
236
Kerala J. Snyder & Douglas Bush, “Scheidt, Samuel.” Grove Music Online.

69

The above sacred concertos, which can be performed thus with a few vocal parts, have
also been composed by me in other volumes, namely with eight and twelve voices, two,
three, and four choruses, with symphonies and all sorts of instruments. … Whoever
would like to publish and print them, to the glory of God, can get them from me at any
time.”
237

As a local civic composer who lived through the war and plague, Scheidt did not enjoy the
luxury of the financial support from the court in publishing his music as Schütz did. Therefore,
he could not provide with the suitable music type for certain works, resulting in the omission of
proper ornaments in the printed scores.
238
Stephen Rose sharply points out that this is the reason
why Scheidt’s works are sometimes “criticized as long-winded and monotonous.”
239
Rose further
warns that “his music should not be judged as it stands on the page of the complete edition, but
as it sounds in imaginative and historically informed performance. [His works] come alive if
sung by singers adding stylish divisions and reinforced by kapellen.”
240

Analysis
Between 1631 and 1641, Scheidt published four volumes of Geistliche Konzerte, a
collection of few-voiced concertos with continuo accompaniment. Despite small performing
forces due to the damage from the war, the work nevertheless shows the composer’s expressive
genius. Scheidt composed two settings of Komm, heiliger Geist, Herre Gott; one for soprano,
tenor, and bass with a continuo and the other for two sopranos, two obbligato instruments, and a
continuo. Both settings are included in the third volume of Geistliche Konzerte which were
published in 1635 when Halle was still under the influence of the war. In particular, the setting

237
Stephen Rose, “Music Printing in Leipzig During The Thirty Years’ War,” Notes 61, no. 2 (2004):
324.
238
Ibid.
239
Ibid.
240
Ibid.

70

for three voices clearly reveals Scheidt’s prowess in utilizing the musical-rhetorical figures on
the foundation of cleverly designed structure.
This piece resembles Schein’s Komm, heiliger Geist, Herre Gott in several ways. First, it
used only the first stanza of the poem. Therefore, the overall length of the piece is as brief as
Schein’s setting. Second, both composers took the original chorale tune almost intact with a
moderate variation in rhythm and melody. While Schütz enjoyed a complete liberty of crafting
entirely new melodies, Scheidt and Schein prove their extraordinary creativity by re-organizing
the preexisting musical materials in an innovative manner.
Despite several similarities, this piece exhibits a few important compositional
characteristics distinctive of Scheidt. First, the musical structure of this setting is less clear-cut
than that of Schein. Whereas Schein routinely inserts the cantus firmus melody in the tenor part
to conclude each line of the poem, there is no hierarchy among the three voice parts in Scheidt’s
setting. All three parts — soprano, tenor, and bass — participate in delivering the textual
message with equal importance without one voice claiming an exclusive ownership of the cantus
firmus. While the ground plan for the musical structure laid out in Schein’s setting is entirely
dependent on the physical locations of the cantus firmus melody, Scheidt constructs his work on
the basis of the building blocks resulting from the juxtaposition of contrapuntal and homophonic
texture. Such continuous use of the contrasting textures, brilliantly mingled with the
accompanying texts, creates the effect of hypotyposis throughout the entire work. Example 3.19
provides a good illustration.

71

Example 3.19. Hypotyposis: mm. 27-35

In Example 3.19, Scheidt decorates the contrapuntal passages with opulent musical-rhetorical
figures. It is possible to divide the musical-rhetorical figures herein used into two categories:
figures for contrapuntal texture and homophonic texture. (Commissura and syncopatio will not
be discussed in this particular passage since these figures are used virtually in every phrase
throughout the piece).

°
¢
°
¢
°
¢
SOPRANO
C.
11
C.
22
C.
T.
B.
O Herr, o Herr, durch dei nes - Lich tes - Glanz,
27
O Herr, o Herr, durch dei nes - Lich tes - Glanz, durch dei nes - Lich tes - Glanz,
O Herr, durch dei nes -
C.
T.
B.
durch dei nes - Lich tes - Glanz, O Herr, O Herr, durch dei nes - Lich tes - Glanz durch
30
durch dei nes - Lich tes - Glanz, O Herr, durch dei nes - Lich tes -
Lich tes - Glanz, durch dei nes - Lich tes - Glanz, O Herr, durch dei nes - Lich tes -
C.
T.
B.
dei nes - Lich tes - Glanz, o Herr, durch dei nes - Lich tes - Glanz
33
Glanz, o Herr, durch dei nes - Lich tes - - - - Glanz
Glanz, o Herr, durch dei nes - Lich tes - Glanz
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72

To decorate his contrapuntal textures, Scheidt adopts the following figures; epizeuxis,
circulo, repetitio, and schematoides.
1. epizeuxis
As in Schein’s setting, Scheidt makes prominent use of epizeuxis in this work. While the
term epizeuxis does not appear in any of the treatises by Burmeister, Nucius, and Thuringus, this
figure seems to be one of the popular compositional devices for the composers even as early as
the first quarter of the 17th century. In the above Example 3.19, Scheidt skillfully combines
epizeuxis with the text “O Herr” in mm. 26-27, thus creating a sense of passionate plea through
the repetition. Elsewhere in the piece, epizeuxis can also be detected in the mm. 3-5 on the text
“Herre Gott (Lord God).” (Example 3.20)

Example 3.20. Epizeuxis: mm. 3-5

In mm. 11-14, Scheidt uses epizeuxis twice consecutively for the text “deiner Gläubigen (of Thy
believer)” and “Herz, Mut, und Sinn (heart, courage, and mind)” making a stronger impression
of the text in a listener’s mind. (Example 3.21)

°
¢
°
¢
°
¢
SOPRANO
C.
T.
B.
Komm, hei li - ger - Geist, Her re - Gott,
2
Komm, hei li - ger - Geist, Her re - Gott,
Komm, hei li - ger - Geist, Her re - Gott,
C.
T.
B.
Her re - - - - Gott,
6
Geist, Her re - Gott, Her re - - - - Gott,
ger Geist, Her re - Gott, Her re - - - Gott,
C.
T.
B.
Vc.
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73

Example 3.21. Epizeuxis: mm. 11-14 on the text

In mm. 17-19, Scheidt treats epizeuxis as palilogia by repeating the melodic fragment in exactly
the same voices in same pitch. In a sense, the figure can also be identified as hypotyposis as the
recurring short motifs evoke the image of the little flames of the Holy Spirit kindled here and
there. It effectively conveys the textual meaning, “Thine fervent love” (Example 3.22).

Example 3.22. Epizeuxis, Palilogia, and Hypotyposis: mm. 17-19

°
¢
°
¢
SOPRANO
C.
T.
B.
dei ner - Gläu bi - gen, - dei ner - Gläu - bi - gen, - Herz, Mut und Sinn, Herz,Mut und Sinn,
11
dei ner - Gläu bi - gen, - Herz, Mut und Sinn, Herz,Mut und Sinn,
dei ner - Gläu - bi - gen, - Herz, Mut und Sinn, dei ner Gläu -
C.
T.
B.
15
C.
23
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œ
œ
˙ Ó Œ œ
œ
œ #
˙
°
¢
°
¢
SOPRANO
S.
10
S.
T.
B.
dein brün stig - Lieb, dein brün stig - Lieb
17
dein brün stig - Lieb, dein brün stig - Lieb
dein brün stig - Lieb,
S.
T.
B.
20
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú Ú
Scheidt_mm 17_dein brünstig Lieg (Hypotyposis)
ed. Yejee Choi
&
Ú Ú Ú Ú Ú Ú Ú
&
Ú
&
‹
?
Ú Ú
&
Ú Ú Ú Ú Ú Ú
&
‹
Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú
∑ Œ
œ
œ
œ
œ Œ Œ
œ
œ
œ
˙
∑ Ó Œ
œ
œ
œ
œ Œ Œ
œ
œ
œ
˙ Ó ∑
Œ œ
œ
œ
œ
Œ Ó
œœœœœœœœœœœœœœœœ
Ó ∑

74

2. repetitio / mimesis (Thuringus’s definition)
Repetitio is one of the most frequently used figures in this setting along with epizeuxis.
While the definition of repetitio slightly differs among the treatises by Burmeister, Nucius, and
Thuringus (Bernhard did not incorporate this figure in his treatise), Nucius’s definition would
perhaps be the most fitting description for the passages in mm. 36-39.
241
Interestingly, Thuringus
adds an additional label to repetitio in his Opusculum bipartium, calling it mimesis, a
terminology which Burmeister defines as “the repetition of noema.” Nonetheless, Thuringus’s
wording for the definition of this figure is virtually identical with that of Nucius. He writes:
What is the repetitio? The repetitio, also called mimesis, occurs when in florid or mixed
counterpoint a theme is continually repeated in one and the same voice at however many
different pitches.
242

Bartel offers a useful annotation on mimesis:
The rhetorical mimesis or ethopoeia signifies a contemptuous imitation of someone by
mimicking their speech, mannerisms, and gestures in an oration. As such it is distinct
from the prosopopoeia, which can be used to represent the speech of a deceased or absent
person in a lifelike manner. While mimesis is an imitation which is clearly distinct from
the original through its mocking repetition, the prosopopoeia wishes to present
someone’s words as if that person were in fact present.
243

While the above comments by Bartel are useful in understanding the rhetorical figures, one
should keep in mind that German authors of music treatises, including Thuringus, frequently
adopted the rhetorical terminology without taking its literary content intact.
244
Apparently, such
intention behind the rhetorical mimesis is not applicable in this particular passage in mm. 36-39
of the present work.

241
“What is the repetitio? When in florid or mixed counterpoint, a theme is continually repeated in one
and the same voice on however many different pitches.” - Johannes Nucius, Musices Poeticae (translated
by Bartel).
242
Joachim Thuringus, Opusculum bipartum, p. 125 (translated by Dietrich Bartel, Musica Poetica:
Musical-Rhetorical Figures in German Baroque Music, 329.)
243
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 324.
244
Ibid, 95.

75

Example 3.23. Mimesis in soprano: mm. 36-39

3. circulo
Athanasius Kircher (1601-1680) first introduced circulo in his Musurgia universalis, sive
ars magna consoni et dissoni (1650). Therefore, it is uncertain whether or not Scheidt knew this
specific term, circulo. However, putting aside terminology, the figure itself must have been
known to Scheidt by the time he composed this work since circulo was one of the most popular
compositional devices for seconda prattica by the contemporary Italian composers. Throughout
the entire piece, Scheidt uses circulo only once and very briefly in m. 28. (Example 3.24)

Example 3.24. Circulo in soprano & tenor: m. 28

4. schematoides
°
¢
SOPRANO
C.
11
C.
22
C.
T.
B.
zu dem Glau ben - ver sam - melt - hast, zu dem Glau ben - ver sam - melt - hast
36
zu dem Glau ben - ver sam - melt - - hast, zu dem Glau ben - ver sam - - melt hast
zu dem Glau ben - ver sam - melt - - hast,
C.
40
C.
46
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Scheidt_mm.36_zu dem Glauben (Parembole_Mimesis)
ed. Yejee Choi
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
&
‹
(†)
?
(†)
Ú
&
Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú
∑ Ó Œ
œ
œ
œ
œ
œ
˙
˙
œ
œ
œ
œ
œ
œ
˙
˙
˙
∑
∑ Œ œ
œ
œ
œ
œ
œ
œ™
œ
œ
œ
œ œ
œ
œ
œ
œ
œ
œ
œ
™
œ
œ
™œ
œ
œ
˙
∑
∑ Œ
œ
œ
œ
œ
œ
œ #
œ
œ
œ
œ
œ
œ
œ
œ
˙
Ó ∑
°
¢
°
¢
SOPRANO
C.
9
C.
18
C.
T.
B.
O Herr, o Herr,
27
O Herr, o Herr,
O Herr,
C.
T.
B.
O Herr, O Herr,
31
O Herr,
O Herr,
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú
Scheidt_mm.27_O Herr (Epizeuxis & Hypotyposis)
ed. Yejee Choi
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú
&
‹
Ú Ú
?
Ú Ú
&
Ú Ú Ú Ú
&
‹
Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú
∑ Ó Œ œ
˙
Œ œ
œ
œ
œ
œ
Œ Ó ∑ ∑
∑ Œ œ
˙
Œ œ
œ
œ
œ
œ
Œ ∑
Ó Œ
œ
w w
∑
Ó Œ œ
œ
˙
Œ œ
œ
J
‰ Œ Ó ∑
∑ Œ œ
œ
˙
∑ Œ
œ ˙

76

Like circulo, the term schematoides does not appear in any of the treatises by Burmeister,
Nucius, Thuringus, and Bernhard. Nonetheless, the figure needs a special mention since Scheidt
frequently adopted it in this setting. Mauritius Johann Vogt (1669-1730), though living several
decades after Scheidt’s death, in his Conclave, defines schematoides as follows:
The schematoides is a figura composita, occurring when the same modulus which
appears in longer note values in one voice is introduced confluently by another voice
beginning somewhat later in shorter note values.
245

In Example 3.25, Scheidt uses schematoides on the text “deiner Gläubigen, Herz, Mut, und
Sinn.”The theme is first introduced in crotchet tactus in mm. 11-12, and reinforced through the
rhythmically augmented schematoides in mm. 15-16 (Example 3.25).

Example 3.25. Schematoides in soprano: mm. 11-17

In the same manner, Scheidt employs schematoides to emphasize the text “entzünd in ihn’” in
mm. 19-23 (Example 3.26).

Example 3.26. Schematoides in soprano: mm. 19-23

245
Mauritius Johann Vogt, Conclave, 151 (translated by Dietrich Bartel, Musica Poetica: Musical-
Rhetorical Figures in German Baroque Music, 384).
SOPRANO
C.
dei ner - Gläu bi - gen, - dei ner - Gläu - bi - gen, - Herz, Mut und Sinn, Herz,
11
C.
Mut und Sinn, dei ner - Gläu bi - gen - Herz, Mut und Sinn,
14
C.
18
C.
25
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Scheidt_mm.11_deiner Gläubigen
ed. Yejee Choi
&
(†) (†)
&
(†)
&
Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú
Ó Œ
œ
œ
œ
œ
œ
œ
œ
Ó
œ
œ
œ #
œ
œ
œ
œ œ
œ
œ
˙
Ó Œ
œ
œ
œ
˙
Ó
˙
œ
œ
˙
œ
œ
˙
˙
˙
™
œ #
˙
w
∑
SOPRANO
C.
dei ner - Gläu bi - gen, - dei ner - Gläu - bi - gen, - Herz, Mut und Sinn, Herz,
11
C.
Mut und Sinn, dei ner - Gläu bi - gen - Herz, Mut und Sinn,
14
C.
18
C.
25
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Scheidt_mm.11_deiner Gläubigen
ed. Yejee Choi
&
(†) (†)
&
(†)
&
Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú
Ó Œ
œ
œ
œ
œ
œ
œ
œ
Ó
œ
œ
œ #
œ
œ
œ
œ œ
œ
œ
˙
Ó Œ
œ
œ
œ
˙
Ó
˙
œ
œ
˙
œ
œ
˙
˙
˙
™
œ #
˙
w
∑
°
¢
°
¢
Cantus
C.
12
C.
ent zünd - in ihn',ent zünd - in ihn', end zünd - in ihn', ent zünd - in ihn',
19
C.
T.
B.
B.C.
24
C.
T.
B.
B.C.
34
4
2
4
2
4
2
4
2
4
2
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Scheidt_mm. 21: entzünd i ihn'
ed. Yejee Choi
&
Ú Ú Ú Ú Ú Ú Ú
&
(†) (†) (†)
&
Ú Ú Ú Ú Ú Ú Ú
&
‹
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
‹
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Œ
œ
œ œ
œ
œ
œ œ
˙
Ó ∑ Ó
˙
˙ ˙
w Ó
˙
˙ ˙
w #
∑ ∑ ∑ ∑ ∑ ∑

77

For his homophonic textures in this piece, Scheidt employs most notably noema, as
defined by Burmeister in the following paragraph:
The noema is a condition of the harmonia or periodus characterized by united voices
with the same number of notes. It is most agreeably stimulating and wonderfully soothing
on the ears and spirit if it is appropriately introduced. … Because of how it completes the
parts, this ornamentum is not recognized through isolated examples but rather in the
context of the entire composition, wherefore the entire context of the composition must
be examined or the whole composition must be sung with all its voices.
246

Scheidt employs noema four times in this setting excluding the final Alleluia phrase. Except for
one occasion in mm. 34-36, the rest of the noema passages take independent texts without
echoing the words of the preceding musical phrases. In all occasions, Scheidt treats each noema
passage as a moment of textual reinforcement and as an effective transition point to the
succeeding section. As Burmeister describes, Scheidt uses this figure in the “most agreeably
stimulating and wonderfully soothing” fashion, creating a sharp contrast to the preceding
contrapuntal phrases.

Example 3.27. Noema: mm. 8-11

246
Joachim Burmeister, Musica Poetica, 59 (translated by Dietrich Bartel, Musica Poetica: Musical-
Rhetorical Figures in German Baroque Music, 341).
°
¢
°
¢
SOPRANO
TENOR
BASS
S.
T.
B.
er füll - mit dei ner - Gna den - Gut
8
er füll - mit dei ner - Gna den - Gut
er füll - mit dei ner - Gna den - Gut
S.
12
S.
16
4
2
4
2
4
2
&
Ú Ú Ú Ú Ú Ú Ú
Scheidt_mm.8 Erfüll
ed. Yejee Choi
&
‹
Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú
&
&
‹
?
&
Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú
∑ Ó
˙
˙
˙
˙
˙ ˙
˙
w
˙
Ó ∑
∑ Ó ˙
˙
˙
œ #
œ
˙ ˙
w
˙ #
w
∑
∑ Ó
˙
˙
˙
˙
˙
w
™
˙
w
∑
œ œ œ œ œ œ œ œ œ œ œ œ
Œ ∑

78

Example 3.28. Noema: mm. 24-27

Example 3.29. Noema: mm. 33-36

Example 3.30. Noema: mm. 39-42

°
¢
°
¢
SOPRANO
S.
11
S.
T.
B.
dein brün stig - Lieb ent zünd - in ihn'.
24
dein brün stig - Lieb ent zünd - in ihn'.
dein brün stig - Lieb ent zünd - in ihn'.
S.
28
S.
T.
B.
34
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Scheidt_mm. 24 dein brünstig Lieb (Paragoge)
ed. Yejee Choi
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
&
‹
?
&
Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú
&
‹
Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú
∑ Ó
˙
˙
˙
˙
˙
w™ ˙
w ∑
∑ Ó ˙ ˙
˙ ˙
˙
˙™
œ
œ #
œ
œ
œ
œ
w #
∑
∑ Ó
˙ ˙
˙ #
˙
˙
w™ ˙
˙
Ó ∑
°
¢
°
¢
°
¢
SOPRANO
S.
T.
B.
dein brün stig - Lieb ent -
16
dein brün stig - Lieb ent -
dein brün stig - Lieb ent -
S.
T.
B.
zünd in ihn'.
26
zünd in ihn'.
zünd in ihn'.
S.
T.
B.
o Herr, durch dei nes - Lich tes - Glanz
33
o Herr, durch dei nes - Lich tes - Glanz
o Herr, durch dei nes - Lich tes - Glanz
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
Scheidt_mm. 24 dein brünstig Lieb (Paragoge)
ed. Yejee Choi
&
Ú Ú Ú Ú Ú Ú Ú Ú
&
‹
Ú Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú
&
‹
Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú
&
Ú Ú Ú
&
‹
Ú Ú Ú
?
Ú Ú Ú
∑ Ó
˙
˙
˙
˙
˙
∑ Ó ˙ ˙
˙ ˙
˙
∑ Ó
˙ ˙
˙ #
˙
˙
w™ ˙
w ∑
˙™
œ
œ #
œ
œ
œ
œ
w #
∑
w™ ˙
˙
Ó ∑
∑ Ó Œ œ
˙
˙
˙
˙
w
w #
w
∑
∑ Ó Œ
œ
˙
˙
œ
œ
˙ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
w #
∑
∑ Ó Œ
œ ˙
˙
˙
˙ #
w
w
w ∑
°
¢
SOPRANO
10
20
30
das V olk aus al ler - Welt Zun gen. - - - -
39
das V olk aus al ler - Welt Zun gen. - - - -
das V olk aus al ler - Welt Zun gen. - - - -
43
4
2 &
Ú Ú Ú Ú Ú Ú Ú Ú Ú
Scheidt_mm.40_das V olk aus aller Welt (Noema/Paragoge)
ed. Yejee Choi
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
&
‹
?
&
Ú Ú Ú Ú Ú Ú Ú
∑ Ó
˙
˙
˙
˙
˙ ˙
˙
w
w
w
∑ Ó
˙
˙ #
˙ ˙
™
œ
w #
œ
™
œ n
œ
™ œ
œ
™ œ
œ
™
œ
œ #
˙
œ
w
∑ Ó
˙
˙
˙
˙ ˙
w
w
w
w

79

In addition to noema, Example 3.27-3.30 exhibit paragoge (also called manubrium /
supplementum) in the penultimate measure, an elaborate cadential figure. (We will discuss this
figure in further detail later in the chapter.)
So far, the study discussed the structural characteristics of the piece and the entailing
musical-rhetorical figures which distinguish this work from the arrangement of the same choral
tune by Schein. Another marking difference of the compositional style between Schein and
Scheidt lies in their treatment of vocal lines. While Schein began his musical career as a
chorister, Scheidt studied organ from his childhood. Naturally, several compositional idioms
employed in this work exhibit Scheidt’s strong background as an organist.
First, Scheidt explores a wider range of sonorities by exploiting different vocal colors in
different registers as if an organist would mix various registrations to paint each note with a
distinct tone color. This is especially obvious at the beginning of the piece where the text,
“Komm”, is sung three times consecutively, each time in different registers. The tenor makes the
first statement of “Komm” creating open fifth interval against the g in the bassus. Then, soprano
and continuo create an even more open sonority of two octaves followed by the unison chord of
the bass and the continuo. It produces almost the same effect as the sustained pedal tones in an
organ. The successive iterations of the word, “Komm”, can be identified as epizeuxis since this
“passionate repetition of the same word” results in “greater vehemence,” conjuring up an ardent
plea of a believer to the Holy Spirit.
247

247
“The epizeuxis or subject is a continuous and passionate repetition of the same word for the sake of
greater vehemence or amplification.” - Susenbrotus, Epitome. (translated by Dietrich Bartel, Musica
Poetica: Musical-Rhetorical Figures in German Baroque Music, 264.)

80

Example 3.31. Epizeuxis with different registers: mm. 1-2

Second, Scheidt frequently employs the elaborate cadenza figures in the cadential
passages with significant texts. His treatment of the cascading melismas above the pedal bass is
reminiscent of an instrumental cadenza. This particular musical-rhetorical figure appears with
different names in the treatises by Burmeister, Nucius, and Thuringus. Burmeister calls it
supplementum and describes:
This passage is called harmoniae supplementum, that is, an expolitio or embellishment of
the ending stationary voices with various in themselves harmonizing notes of the
remaining united voices, the ending of the musical composition thereby being introduced
and given clarification.
248

On Burmeister’s selection of the term, “expolitio”, Bartel adds a useful annotation:
Burmeister does not discuss his supplementum among the figures but rather chooses to
place it in the preceding chapter of his Musica Poetica dealing with the ending of a
composition. Although Burmeister chooses a non-rhetorical and rather pedantic term for
this musical device, it is of interest that he associates the embellishment with the
expolitio. The rhetorical expolitio occurs by dwelling on a certain topic for some time,
continually repeating it in various forms or through various expressions.
249

248
Joachim Burmeister, Musica Poetica, 53 (translated by Dietrich Bartel, Musica Poetica: Musical-
Rhetorical Figures in German Baroque Music, 346).
249
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 344.
°
¢
°
¢
Cantus
Tenore
Bassus
Bassus
generalis
Komm,
Komm,
Komm,
7
4
2
4
2
4
2
4
2
&
Ú Ú Ú Ú Ú
Scheidt_mm.1: Komm
ed. Yejee Choi
&
‹
Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú
?
5
Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
&
‹
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú Ú Ú Ú Ú
∑
w
w
∑
w
∑
w
w
w
∑

81

On the other hand, Nucius calls this figure “manubrium.” Again, Bartel elucidates Nucius
selection of the term as follows:
Manubrium, meaning “handle”, is also used to refer to the neck of a plucked instrument
as well as to the draw knobs on an organ. Whether Nucius seeks to relate an organ’s draw
knobs to the pedal point in the figure or simply wishes to refer to the ornament as an
added cauda (appendage, handle) remains conjectural.
250

Nucius defines, “the manubrium also belongs here, which occurs when two or more voices add
an appendage (cauda) at the end of the harmonia.”
251
Finally, Thuringus calls the figure
“paragoge,” adopting Nucius’s description almost verbatim: “What is the paragoge? It occurs
when at the end of the harmonia two or more voices add an appendage (cauda), which is
nowadays usually employed in all compositions.”
252
In Example 3.32, supplementum
(manubrium, paragoge) takes place in mm. 7-8 where the bass sustains the low pedal notes
above which the tenor sings the descending melisma.

Example 3.32. Paragoge (Manubrium, Supplementum): mm. 7-8

250
Ibid, 344-5.
251
Johannes Nucius, Musices Poeticae (translated by Dietrich Bartel, Musica Poetica: Musical-Rhetorical
Figures in German Baroque Music, 346).
252
Joachim Thuringus, Opusculum, 127 (translated by Dietrich Bartel, Musica Poetica: Musical-
Rhetorical Figures in German Baroque Music, 346).
°
¢
°
¢
°
¢
SOPRANO
C.
T.
B.
Komm, hei li - ger - Geist, Her re - Gott,
2
Komm, hei li - ger - Geist, Her re - Gott, Komm, hei li - ger -
Komm, hei li - ger - Geist, Her re - Gott, Komm, hei li - -
C.
T.
B.
6
Geist, Her re - Gott,
ger - Geist, Her re - Gott,
C.
T.
B.
Vc.
Her re - - - - Gott,
7
Her re - - - - - Gott,
Her re - - - Gott,
4
2 &
Ú
Scheidt_mm.2: Komm
ed. Yejee Choi
&
Ú
&
‹
Ú
?
&
Ú
&
‹
?
&
Ú Ú
&
‹
Ú Ú
?
(†)
Ú Ú
?
Ú Ú Ú Ú
∑ Ó Œ
œ
œ
œ
œ
œ
œ
œ
˙
œ
œ
œ œ
œ #
˙
∑
Œ
œ
œ
œ
œ
œ
œ
œ
˙
Ó œ
œ
˙
œ #
˙
Ó Œ
œ
œ
œ
œ
œ n
œ
∑ Œ
œ
œ
œ
œ
œ
œ
œ
w Ó ∑ Ó
œ
œ
œ œ
œ #
˙ Œ œ
œ
œ
œ
œ
œ
œ #
œ
Œ Ó
œ
œ n
˙
œ
œ
œ #
˙
œ
œ
w
˙ #
w
∑
œ
œ n
œ
œ
œ
œ
œ
œ
œ œ
w
∑
w
w
w
∑

82

Scheidt inserts paragoge (manubrium, supplementum) in other cadential points throughout the
work. (Example 3.33-3.35)

Example 3.33. Paragoge (Manubrium, Supplementum): mm. 16-17

Example 3.34. Paragoge (Manubrium, Supplementum): mm. 24-27

Example 3.35. Paragoge (Manubrium, Supplementum): mm. 41-42

°
¢
C.
T.
B.
Herz, Mut und Sinn,
16
Mut und Sinn,
und Sinn,
C.
23
&
Ú Ú Ú Ú Ú
&
‹
Ú Ú Ú Ú Ú
?
Ú Ú Ú Ú Ú Ú
&
Ú Ú Ú Ú Ú Ú Ú Ú Ú
˙
˙
™
œ #
˙
w
∑
œ #
œ
œ
œ
œ
œ
œ
œ
œ
œ #
˙
œ
w
∑
˙
˙
w
2
°
¢
°
¢
SOPRANO
S.
11
S.
T.
B.
dein brün stig - Lieb ent zünd - in ihn'.
24
dein brün stig - Lieb ent zünd - in ihn'.
dein brün stig - Lieb ent zünd - in ihn'.
S.
28
S.
T.
B.
34
4
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Scheidt_mm. 24 dein brünstig Lieb (Paragoge)
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SOPRANO
10
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das V olk aus al ler - Welt Zun gen. - - - -
39
das V olk aus al ler - Welt Zun gen. - - - -
das V olk aus al ler - Welt Zun gen. - - - -
43
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83

Finally, Scheidt makes an effective use of hyperbole, the figure Schein and Schütz rarely
adopted for their settings. Quintilian defines the rhetorical hyperbole as “an acceptable
overstatement of the truth.”
253
Susenbrotus also articulates that “the hyperbole occurs when the
words or oration exceed the truth for the sake of over- or understatement.”
254
Burmeister
describes the musical-rhetorical hyperbole as “an overstepping of the melodia beyond its
uppermost terminum [boundary].”
255
In Example 3.36, Scheidt uses hyperbole in the final note of
the bass in m. 8. As a result of this “overstepping of the melodia” in the bass, the three voices
sing d’s in three different octaves. The vertical range of the three voices conjures up the
greatness of God both visibly on the page of the written music and audibly through the executed
sound. Furthermore, this final chord, consisting of the same solfeggi notes yet in three
distinguishable octaves, effectively symbolizes God, the Three Persons in One.

Example 3.36. Hyperbole in bass: m. 8

253
Quintilian, Institutio VIII (translated by Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures
in German Baroque Music, 306).
254
Susenbrotus, Epitome, 18 translated by Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in
German Baroque Music, 306).
255
Joachim Burmeister, Musica Poetica, 64 (translated by Dietrich Bartel, Musica Poetica: Musical-
Rhetorical Figures in German Baroque Music, 306).
°
¢
°
¢
°
¢
SOPRANO
C.
T.
B.
Komm, hei li - ger - Geist, Her re - Gott,
2
Komm, hei li - ger - Geist, Her re - Gott, Komm, hei li - ger -
Komm, hei li - ger - Geist, Her re - Gott, Komm, hei li - -
C.
T.
B.
6
Geist, Her re - Gott,
ger - Geist, Her re - Gott,
C.
T.
B.
Vc.
Her re - - - - Gott,
7
Her re - - - - - Gott,
Her re - - - Gott,
4
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84

Such “acceptable overstatement of the truth” occurs once again in the bass in m. 26. The
resultant E-major chord on the text, “ihn”, consists of the notes that are taken from three different
octaves thus creating a spacious sonority. This luminous major chord effectively portrays the
text, “Ignite your fervent love in them.”

Example 3.37. Hyperbole in bass: m. 27

In addition to the different treatment of structure and vocal parts, Scheidt separates
himself from Schein by composing his fuga in the manner of strict canon. Burmeister labeled
such fugal figure as fuga imaginaria. Without exception, the decorative melodic fragments used
in Scheidt’s fuga sections are derived exclusively from the original fugal theme. As if to
celebrate the festive text of the final line of the poem, Scheidt designs the longest fuga section
for the text“Das sei dir, Herr, zu Lob gesungen.” Only towards the end of the piece, Scheidt
makes brief use of triple meter in mm. 59-61. (Example 3. 38)
°
¢
°
¢
SOPRANO
S.
11
S.
T.
B.
dein brün stig - Lieb ent zünd - in ihn'.
24
dein brün stig - Lieb ent zünd - in ihn'.
dein brün stig - Lieb ent zünd - in ihn'.
S.
28
S.
T.
B.
34
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85

Example 3.38. Fuga imaginaria: mm. 43-53

°
¢
°
¢
°
¢
°
¢
C.
T.
B.
das sei dir , Herr, das sei dir , Herr,
43
das sei dir , Herr, das
das sei dir , Herr, das sei dir ,
C.
T.
B.
zu Lob zu Lob zu zu Lob zu Lob ge sun -
46
sei dir , Herr, zu Lob zu Lob zu zu Lob ge -
Herr,
C.
T.
B.
gen. ge sun - gen. - - ge sun - -
49
sun gen. - ge sun - gen. - - ge sun - gen. -
ge sun - gen. - - ge sun - gen. - -
C.
T.
B.
gen. - ge sun - gen. - - -
52
ge sun - gen. - - -
ge sun - gen. - - -
&
&
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2

86

Through the ingenious application of certain musical-rhetorical figures, Scheidt
transformed this otherwise plain chorale tune into a well-crafted musical oration. The following
statement by Werckmeister would be the most suitable description of the composer’s musical
prowess:
“While the theorist only knows the rules but cannot practically apply them by playing or
composing, and while the practitioner can compose or play according to the rules but
cannot comprehend or explain them, the ideal musician is expert in both cases.”
256

256
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 20.

87

Komm, Heiliger Geist, Herre Gott, SWV 417 by Heinrich Schütz

Heinrich Schützz (1585-1672)
Heinrich Schütz was born in Köstritz as a son of an innkeeper. Showing great musical
talent from the young age, Schütz was invited to the court of Landgrave Mortiz of Hesse-Kassel
where he served as a choir boy and received other educations. Later, he matriculated at the
University of Marburg as a student of Law, but eventually embraced on his journey to Venice to
study with Giovanni Gabrieli for about three years. Not long after returning to the court of
Landgrave Moritz from Venice, Schütz was invited by the Elector Johann Georg I of Saxony and
remained at his Dresden court as a kapellmeister until his death in 1672.
Upon examining Schütz’s work, it is necessary to shed light on a few facts about the
composer. First, Schütz was a biblical interpreter. According to Janice Fain, interpreting the
Bible through his musical compositions was “the most important of spiritual and liturgical
responsibility” for Schütz.
257
Therefore, regarded as the musical counterpart of his contemporary
painter Rembrandt van Rijn (1606-1669), Schütz and Rembrandt shared their nicknames as “the
two great original interpreters of the Bible — one for the eye, the other for the ear.”
258
Paul Pisk
also comments that “his music lives only in connection with the words he intensifies. This word
is the Word of God. Schütz prays, professes, and preaches in his music.”
259
Schütz’s
compositions reflect the composer’s strong predilection for the biblical text. All his extant works
are vocal music for most of which the composer selected the text from the Bible. At the same

257
Janice M. Fain, “Text-Setting in the Music of Heinrich Schütz,” The Choral Journal 27, no. 7 (1987):
7.
258
Barry S. Brook & Carol Oja, “Rembrandt’s Portrait of a Musician,” College Music Symposium 18, no.
1 (1978): 134.
259
Robin A. Leaver, “Heinrich Schütz as a Biblical Interpreter and LIST OF THE SETTINGS OF THE
BIBLE TEXTS IN THE WORKS OF HEINRICH SCHÜTZ,” Bach 4, no. 3 (1973): 7.

88

time, he was the last composer to exclusively use the biblical passages for his historia settings;
after Schütz, composers often inserted new devotional poems in their works for this particular
genre.
260
Schütz not only used the Bible as a textual source for his music, but he also diligently
studied it for personal devotion. Martin Geier (1614-1680), a Lutheran preacher at Dresden
court, described Schütz in his sermon for the composer’s funeral in the following statements:
His [Schütz’s] powers, and especially his hearing, had declined for a number of years, so
that he went out but little and could not attend the preaching of God’s Word. But though,
for the most part, he remained at home, he devoted much of his time to the reading of
Holy Scripture.
261

Second, Schütz was an excellent linguist. He excelled in German, Latin, Greek, and
Hebrew. He often made slight modifications on Luther’s translations of the Scripture to increase
the musical effect when adopting them for his compositions. Therefore, his contemporaries
rightfully labeled him “Asaph christianus” or the “christian psalm-singer.”
262
In addition, Schütz
also encouraged younger composers to diligently study Hebrew language to maximize their
competency in setting the Old Testament texts in music.
263
Leo Schrade points out that Schütz’s
emphasis on the study of the original language comes not only from his scholarly motivation but
also from his deep Christian faith and his desire to truly understand the Scripture.
264
At the same
time, Schütz, by employing Opitz’s poems for his music, also contributed to the dissemination of

260
Mark A. Radice, “Heinrich Schütz and the Foundations of the ‘Stile Recitativo’ in Germany,” Bach
16, no. 4 (1985): 9.
261
Robin A. Leaver, “Heinrich Schütz as a Biblical Interpreter,” 6.
262
Janice Fain, “Text-Setting in the Music of Heinrich Schütz,” 7.
263
Leo Schrade, Heinrich Schütz and Johann Sebastian Bach in the Protestant Liturgy. (St. Louis:
Concordia Publishing House, 1959), 45.
264
Ibid.

89

the new writing style of Martin Opitz, a great German poet whose literary reform had a profound
influence throughout German states. Schütz’s lost opera Dafne is a good example.
265

Third, Schütz was a text-driven composer. Manfred Bukofzer points out that “perhaps no
other German composer ever derived so much purely musical inspiration from the German
speech rhythm.”
266
Schrade also elucidates:
To Schütz, music exists only in connection with the text; music without words never did
inspire him to any artistic achievement, since such a composition would be deprived of
the very foundation of his music.
267

Such comment becomes evident when examining the list of the composer’s output; all his
surviving works are vocal music with predominantly biblical texts. Schrade comments in another
occasion, “[In Schütz’s compositions], text informed both large structure and minute details of
music; it was the reason for and the guiding principle of composition.
268
Christoph Bernhard
(1628 - 1692), Schütz’s admired student, further reflects the teaching of his master in the preface
to his Tractatus compositions augmentatus, stating:
There is no motive which does not correspond to the form of the text, no motive whose
Affekt runs counter to the content of the text. On the contrary, the musical invention is
almost completely oriented toward the text. It clings to the system of accentuation which
dictates and gives sensations lively expressions.
269

In addition to the above testimonies, many events during Schütz’s life also prove the
composer’s high esteem for text. For example, when Schütz slightly modified the rhythm of
Martin Luther’s Te Deum, Schütz points out:

265
David Paisey, “Some Occasional Aspects of Johann Hermann Schein,” The British Library Journal 1,
no. 2 (1975): 177.
266
Manfred Bukofzer, Music in the Baroque Era from Monteverdi to Bach. (London: Von Eterlein Press,
1948), 90.
267
Ibid.
268
Janice Fain, “Text-Settings in the Music of Heinrich Schütz,” 5.
269
Ibid, 6.

90

The then current practice of singing the Te Deum did not make musical sense, which in
turn made nonsense of the words, and, therefore, any sense of worship and devotion
could not be achieved.
270

In another case, Schütz’s reverence toward words and its relevant use in music instigated his
desire to compose Symphoniae scarae II. Upon observing that some of his contemporary
performers had discretionally replaced the original Latin texts of his Symphoniae sacrae I with
their own selection of German texts, Schütz explains, “I regarded this as a special incentive to
me to attempt another little work of the same sort in our German mother tongue.
271
As Robin
Leaver aptly comments, Schütz was “the greatest master of the art of setting words to music, in
which the content of the words is not destroyed and where the verbal form does not weaken the
musical form.”
272

Fourth, Schütz’s Italian training left a remarkable influence in his compositional
technique. During his first visit to Venice, Schütz received a rigorous training in mastering the
basic Italian madrigal style from Giovanni Gabrieli (c. 1554/7 - 1612) before learning then more
modern polychoral technique.
273
Schütz’s Primo Libro di Madrigali (1612) offers a good
example of his Italian madrigalistic techniques, such as vivid depiction of text, chromatic
coloration, clear contrast of rhythmic pace, melodic figures with contrasting character combined
with more avant-garde polytonal style.
274
Schütz’s second visit to Venice took place in 1628,
shortly after his wife passed away. By this time, there were many changes in the musical scene
of Venice. For example, cori spezzati almost disappeared; violins took the prominent position at
San Marco, in place of the previously dominant brass instruments; tuneful Arie with more

270
Robin A. Leaver, “Heinrich Schütz as a Biblical Interpreter,” 5.
271
Oliver Stunk, Source Readings in Music History from Classical Antiquity to the Romantic Era (New
York: W. W. Norton and Company, Inc., 1950), 436.
272
Robin A. Leaver, “Heinrich Schütz as a Biblical Interpreter,” 4.
273
Hans Joachim Moser, Heinrich Schütz: His Life and Work. (Saint Louis: Concordia, 1959): 253.
274
Denis Arnold, “The Second Venetian Visit of Heinrich Schütz, 363.

91

balanced phrase structure became popular; solo vocal writing developed extremely virtuosic
musical vocabularies, and the length of solo portions expanded dramatically in vocal concertos.
Behind this wave of new phenomena stood Claudio Monteverdi (1567-1643). Among all the new
Italian elements, it was stile concitato which made a “real mark” on Schütz — and through him
on Germany.”
275
Indeed, Schütz diligently absorbed the innovative Italian musical devices. He
sometimes did not hesitate to copy the songs by brilliant Venetian composers of the time such as
Giovanni Rovetta (c. 1595/7 - 1668). In another occasion he took Monteverdi’s Chiome d’oro
from the Seventh Book of Madrigal and gave German text to it.
276
However, Schütz’s intention
was not merely to follow the Italian vogue but to ultimately incorporate them in the foundation
of the continuing German tradition.
277
As Janice Fain points out, “both his Venetian training and
his Lutheran faith informed Schütz’s art.”
278

Analysis
Schütz composed Symphonie Sacrae III in 1650. Looking back his compositional
achievements in his mid-sixties, the old master regarded Symphoniae Sacrae III as “a work of
fulfillment and consummation.”
279
The work supersedes Symphoniae Sacrae I & II in its scale
and performing forces; while Part I & II require only three to six obbligato voices, Part III calls
for five to eight. In addition, in Part III, Schütz added a four-to-eight complementary choir for
the majority of the pieces, resulting in opulent and grand sonority. While the specific

275
Ibid, 364.
276
Ibid, 362.
277
Ibid, 364.
278
Janice Fain, “Text-Setting in the Music of Heinrich Schütz,” 7.
279
Janice Fain, “Text-Setting in the Music of Heinrich Schütz,” 7.

92

arrangements of performing forces slightly vary among the pieces, the work generally needs two
treble instruments and one bass instrument.
Komm, Heiliger Geist, Herre Gott, SWV 417 is one of the twenty-one vocal concertos
from Symphoniae Sacrae III. For this piece, Schütz employs two violins, basso continuo, the
obbligato vocal parts for soprano, mezzo-soprano, two tenors, baritone, and bass along with
complementary double-choir.
The work exhibits several characteristics by which it distinguishes itself from the settings
by Schein and Scheidt. First, Schütz composes entirely new melodic materials instead of using
the original chorale tune. There is not even a hint of the original chorale melody in Schütz’s
setting.
Second, while Schein and Scheidt set to music only the first stanza of the poem, Schütz
adopts the entire three stanzas. For each stanza, the composer prescribes different musical
treatments to best deliver the meaning and affect of the text; distribution of instrumentation,
structure of tonal scheme, and a selective use of contrapuntal and homophonic textures.
Third, Schütz’s harmonic language in this work is far more adventurous than those of
Schein and Scheidt. In particular, Schütz makes a rigorous use of dissonances throughout the
whole piece resulting in the frequent migration of tonal centers, unpredictable harmonic
resolutions, and evaded cadences. This characteristic especially stands in a sharp contrast to that
of Schein and Scheidt who constantly reinforces the established home-key through the repetitive
use of tonic-dominant harmonic progression. Certainly, such progressive treatment of harmonic
vocabulary in Schütz’s setting reflects the advance of German compositional style by the mid-
17th century. Bernhard’s treatises also testifies to Schütz’s influence on such matters, stating that

93

his “prime objective [in his treatises] is to explain and legitimize the occurrence and use of
dissonance in a musical composition through the application of the musical-rhetorical figures.”
280

Fourth, Schütz fully exploits the vast palette of sonorities by using instruments of
different registers. While Schein and Scheidt employ only the basso continuo and a low
instrument which seldom come to the foreground, Schütz allows his two obbligato violins to
shine forth treating them as equally independently as he does to the rest of the voice parts.
Finally, the work displays Schütz’s pervasive use of hemiola rhythm. Intermingled with
various musical-rhetorical figures, the selective use of hemiola rhythm further amplifies the
affect and meaning of the text at any give moment.
Keeping the above points in mind, the analysis of this particular work should probably
start by examining its structure. The tonal scheme apparently plays a crucial role in determining
the structure of the work. What particularly distinguishes Schütz’s setting from those by Schein
and Scheit is the rarity of clear-cut cadences. Schütz’s persistent use of evaded cadences creates
a long thread of ideas that continually develops over a lengthy musical period. To further
elaborate, Schein and Scheidt always conclude each sentence of the poem with either perfect or
imperfect authentic cadences along with the occasional use of the half cadence, thus demarcating
each line by giving them independent musical treatments. On the other hand, Schütz’s setting
reminds one of an elegant prose consisting of fine paragraphs that are neatly interlocked to one
another. Each line of the poem does not arrive in full conclusion at its own cadence but rather
continually passes the baton to the succeeding sections so that the entire stanza can be shaped
into a well-balanced piece of writing. Therefore, it is possible to apply the terminologies of
rhetorical structure to Schütz’s setting at least partially, if not strictly. The diagram of the work in

280
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 113.

94

Appendix 7 provides a summary view of the tonal scheme, representative musical-rhetorical
figures, and the participating voice parts for each line of the poem. At the same time, I have
labeled each section with rhetorical structural terminologies according to the development of
both the textual and musical idea. (See Appendix 7.)
One of the prevailing phenomena is alteratio modi. Bernhard comments, “alteratio modi
occurs when a composition begins in one mode and ends in an other.”
281
Johann Gottfried
Walther further elaborates Bernhard’s alteratio modi giving it several new names. Walther, in his
Musicalisches Lexicon (Leipzig, 1732), articulates:
When the genus is altered, that is when the genus diatonicum is changed to the
chromaticum or enharmonicum or, conversely, the chromaticum into the diatonicum, etc.
This is called mutatio per genus.
When the affection is expressed by progressing from one mode to another, for example
from the minor to major, or major to minor. This is called mutatio per modum or
tonum.
282

In this particular setting, Schütz seldom recycles the musical materials for different
musical phrases. Nonetheless, there are two devices which Schütz uses in all three stanzas that
give a unity to the work. First, the opening phrases of each stanza employ the same melodic
motifs. Example 3.39 shows the beginning phrases of each stanza. It is plausible that the
composer intended to highlight these phrases which are essentially the summary of the attribute
of the Holy Spirit.

281
Christoph Bernhard, Tractatus, 108 (translated by Dietrich Bartel, Musica Poetica: Musical-Rhetorical
Figures in German Baroque Music, 338).
282
Johann Gottfried Walther, Lexicon (translated by Dietrich Bartel, Musica Poetica: Musical-Rhetorical
Figures in German Baroque Music, 338).

95

Example 3.39. “Geist” motif

Schütz cleverly disguises the opening phrase of the first stanza by adding four quarter notes at
the beginning of the passage. Nevertheless, a smart listener would be able to detect the
unadorned, original theme as exhibited in Example 3.40.

Example 3.40. Unadorned“Geist” motif: mm. 9-11

Schütz also uses the decorated “Geist” theme in violin I to start the piece.

Example 3.41. “Geist” motif in violin 1: mm. 1-3

Another important landmark figure is the triple “O” iteration — sextuple in Stanza III—
in the middle of each stanza. Each time, Schütz keeps exactly the same harmonic progression
except for the third stanza where he attaches the three additional chords which leads the
harmonia back to the original key of C-major. Example 3.42, 3.43, & 3.44 provide a good
comparison.
°
¢
Strophe I
Strophe II
Strophe III
Komm, hei li - ger - Geist, Her re - - - Gott
Du hei li - ges - Licht, e dler - - - Hort
Du hei li - ge - Brunst, sü sser - - - Trost
3
2
3
2
3
2
&
‹
ed. Yejee Choi
Schütz_"Geist" Motifs
&
‹
&
‹
œ
œ
œ
œ
˙
˙™
œ
˙
˙
œ
œ
œ
œ #
w
˙
w
Ó
Ó Ó
˙
˙
™
œ
˙
˙
œ
œ
œ
œ
wœ
œ
œ
œ
Ó
˙
w
Ó
Ó Ó
˙
˙
™
œ
˙
˙
œ
œ
œ
œ
w
˙
w
Ó
Strophe I
Komm, hei li - ger - Geist, Her re - - - Gott
3
2 &
‹
Schütz_Unadorned "Heiliger" Motif
ed. Yejee Choi
∑
˙
˙™
œ
˙
˙
œ
œ
œ
œ #
w
˙
w
Ó
Violin 1
3
2 &
ed. Yejee Choi
Schütz_"Geist" Theme_Violin
œ
œ
œ
œ
˙
˙
™
œ
˙
˙
œ
œ
œ
œ
œ
œ
œ
œ
˙ #
w
Ó

96

Example 3.42. “O” in Stanza 1: mm. 26-27

Example 3.43. “O” in Stanza II: mm. 71-72

°
¢
Tenore I
Tenore II
Bassus I
Bassus II
Basso
continuo
O, o, o,
O, o, o,
O, o, o,
O, o, o,
3
2
3
2
3
2
3
2
3
2
&
‹
∑ ∑ ∑ ∑
Schütz_"O"_Strophe I
ed. Yejee Choi
&
‹
∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑
?
# (6) #
∑ ∑ ∑ ∑
w
Ó
w
Ó
w
Ó
w
Ó
w
Ó w Ó
w
Ó
w #
Ó
w #
Ó
w
Ó
w
Ó
w
Ó
w
Ó
w
Ó
w
Ó
°
¢
°
¢
Violin I
Violin II
Cantus I
Cantus II
Basso
Continuo
O, o, o,
O, o, o,
3
2
3
2
3
2
3
2
3
2
&
Schütz_"O"_Strophe 2
ed. Yejee Choi
&
&
&
?
# (6) #
w
Ó
w #
Ó
w #
Ó
w
Ó
w
Ó w Ó
w
Ó
w
Ó
w
Ó
w
Ó
w
Ó
w #
Ó
w
Ó
w
Ó
w
Ó

97

Example 3.44. “O” in Stanza III: mm. 118-120

Unlike Schein or Scheidt, Schütz does not treat each line of the poem independently.
Although Schütz clearly lays out the structural skeleton which defines the foundation of the
entire work, he never adheres to a fixed pattern in the way he sets to music the individual lines of
the poem. This feature is detectable from the very beginning of the vocal entrance. Schütz
introduces the first three lines of the poem in the opening phrase of Bass I. This particular
passage serves as a main sentence or a narrative introductory statement for the sections that
follow. It could be thus regarded as the equivalent of the rhetorical narratio and propositio.
(Example 3.45)
°
¢
°
¢
Violin I
Violin II
Cantus I
Cantus II
Tenore I
Tenore II
Bassus I
Bassus II
Violoncello
O, o, o, O, o, o,
O, o, o, O, o, o,
O, o, o, O, o, o,
O, o, o, O, o, o,
O, o, o,
O, o, o,
7
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
&
Schütz_"O"_Strophe 3
ed. Yejee Choi
&
&
&
&
‹
&
‹
?
∑ ∑ ∑
?
∑ ∑ ∑
?
# (6) # (b) 6
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
w
Ó
w #
Ó
w
Ó w Ó
w
Ó
w
Ó
w
Ó
w
Ó
w #
Ó
w
Ó
w
Ó
w
Ó
w
Ó
w
Ó w Ó w Ó
w
Ó
w
Ó
w
Ó
w #
Ó
w #
Ó
w n
Ó
w
Ó w Ó
w
Ó
w
Ó
w
Ó w Ó
w
Ó
w
Ó
w
Ó
w
Ó w Ó
w
Ó
w
Ó w Ó
w
Ó
w
Ó
w
Ó
w
Ó
w
Ó
w
Ó
w
Ó
w
Ó
w
Ó
w
Ó
w
Ó
w
Ó
=

98

Example 3.45. Opening passage of the vocal entrance in Bass I: mm. 17-28

The succeeding sections serve as the “supporting sentences” or confirmatio through which the
composer elaborates each point that he introduced in the main sentence. By using various
musical-rhetorical figures, Schütz successfully amplifies the exegetical power of his musical
oration. In particular, Schütz gives a special treatment to the very first line of the poem. Through
fuga realis, the composer firmly establishes the “Geist” motif. In addition, variatio — the
constant motion of the quarter-note melisma — further depicts the vital nature of the Holy Spirit,
suggesting hypotyposis. (Example 3.46)
B. I
B. C.
Komm, hei li - ger - Geist, Her re - - Gott, er füll - mit dei ner -
B. I
B.C.
Gna den - gut dei ner - Gläu bi - gen - Herz, Mut und Sinn
8
B. I
B.C.
17
B. I
B.C.
30
B. I
B.C.
39
3
2
3
2
?
(† Theme 1) († Theme 2)
ed. Yejee Choi
Schütz_mm.17_Komm_Solo Bass
?
?
?
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ
œ
œ
œ
˙
˙
™
œ
˙
˙
œ
œ
œ
œ #
w
˙
w ˙
˙
˙
˙
w
˙
w ˙
˙ ™
œ
˙
˙ ™
œ
œ
œ
˙
˙
˙
w
™
w ˙
˙
˙
˙
w
˙
˙
˙
˙
˙ ™
œ
˙
˙
˙
˙
w
Ó
w
˙
w
˙
w
˙
˙
˙
˙
w
Ó
B. I
B. C.
Komm, hei li - ger - Geist, Her re - - Gott, er füll - mit dei ner -
B. I
B.C.
Gna den - gut dei ner - Gläu bi - gen - Herz, Mut und Sinn
8
B. I
B.C.
17
B. I
B.C.
30
B. I
B.C.
39
3
2
3
2
?
(† Theme 1) († Theme 2)
ed. Yejee Choi
Schütz_mm.17_Komm_Solo Bass
?
?
?
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ
œ
œ
œ
˙
˙
™
œ
˙
˙
œ
œ
œ
œ #
w
˙
w ˙
˙
˙
˙
w
˙
w ˙
˙ ™
œ
˙
˙ ™
œ
œ
œ
˙
˙
˙
w
™
w ˙
˙
˙
˙
w
˙
˙
˙
˙
˙ ™
œ
˙
˙
˙
˙
w
Ó
w
˙
w
˙
w
˙
˙
˙
˙
w
Ó

99

Example 3.46. Komm, heilger Geist, Herre Gott: mm. 28-38
fuga realis, variatio, and hypotyposis

On the other hand, Schütz discusses the second through the fourth lines of the Stanza I in one
musical paragraph in mm. 37-51. It would be most reasonable to regard this section as the
extension of confirmatio because Schütz here offers further accounts for what has already been
mentioned in the opening phrase of Bass I. While the composer provides each line with a distinct
melodic material, there is no clear demarcation among the phrases in terms of their points of
entrances. Such use of evaded cadences, along with fuga realis and parembole, successfully
augments the meaning of the text while making a smooth transition from one phrase to another.
°
¢
°
¢
T. I
T.
18
T.
T.
B.
B.
Komm, hei li - ger -
28
Komm, hei li - ger - Geist, Her re - - Gott
Komm,
Komm, hei li - ger - Geist, Her re - -
T.
T.
B.
B.
Geist, Her re - - - - - - Gott,
35
er füll - mit
hei li - ger - Geist, Her Her - - re - - - Gott
Gott er -
T.
42
3
2 &
‹
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Schütz_mm. 27_Komm Heiliger_Fuga
ed. Yejee Choi
&
‹
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
‹
∑ ∑ ∑ ∑ ∑
(†)
&
‹
(†† Theme1)
∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑
(†)
?
∑ ∑ ∑
(†)
&
‹
Ä
(** Evaded Cadence
** PAC on CM)
&
‹
∑ ∑
(† Theme2)
?
?
∑ ∑
(† Theme2)
&
‹
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ
œ
œ
œ
˙
˙™
œ
˙
œ
œ
œ
œ
˙
˙™
œ
˙
˙
œ
œ
œ
œ #
w
˙
w
Ó
œ
œ
œ
œ
˙
œ
œ
œ
œ
˙
˙™
œ
˙
˙
œ
œ
œ
œ
˙ œ
œ
œ
œ
˙
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
w
Ó
Ó Ó
˙
˙
˙
˙
˙
™
œ
˙
˙
œ
œ
œ
œ
˙
˙
˙
w
Ó
w Ó Ó Ó
˙

100

(Example 3.47)

Example 3.47. fugue realis, perembole & evaded cadences: mm. 37-51

The hierarchy among the musical passages is observable in the section discussed above
(mm. 17-51). In other words, the confirmatio passages (or “supporting sentences”) in mm. 28-51
are subservient to the narratio/propositio passage (or “main sentence”) in mm. 17-28.
Interestingly, this is the only section in this piece where Schütz constructs his musical oration in
°
¢
°
¢
T.I
T.II
B.I
B.II
Bc
er füll - mit dei ner - Gna den - gut
37
er füll - mit dei ner - Gna den - gut dei ner - Gläu bi - gen - Herz,
dei ner - Gläu bi - gen -
er füll - mit dei ner - Gna den - gut dei ner - Gläu bi - gen -
T.I
T.II
B.I
B.II
Bc
dein brün stig - Lieb ent zünd - in ihn,
44
dein brün stig - Lieb ent zünd - in ihn,
Herz, Mut und Sinn,
(*Evaded Cadence
*PAC on CM)
dein brün stig - Lieb ent zünd - in ihn,
(*IAC
GM)
Herz, Mut und Sinn, dein brün stig - Lieb ent zünd - in ihn,
&
‹
∑ ∑
(†† Theme2)
&
‹
(†† Theme2) (†† Theme3)
?
∑ ∑ ∑ ∑ ∑
(†† Theme3)
?
∑
(†† Theme2)
(∆)
?
&
‹
∑ ∑
(†Theme 4)
∑ ∑
&
‹
(†Theme 4)
∑ ∑ ∑ ∑
?
Ä
∑ ∑
(†Theme 4) Ä
?
∑ ∑
?
Ó Ó
˙
˙
˙
˙
w
˙
w
˙
w
Ó
Ó Ó
˙
˙
˙
˙
w
˙
w
˙
˙
˙
˙
˙
™ œ
˙ w
Ó
Ó
˙
˙
˙™
œ
˙
Ó Ó
˙
˙
˙
˙
w
˙
w
˙
˙
˙
˙ #
˙™ œ
˙ n
Ó Ó
˙
w ˙
˙
˙
˙
w
˙
w
˙
w
˙
w
˙
˙
œ
œ
œ
œ
w
™
˙
œ
œ
œ
œ #
w
™
˙
œ
œ
œ
œ
w
™
˙
œ
œ
œ
œ #
w
™
˙ ˙
˙
w
™
˙
œ
œ #
œ
œ
w #
™ ˙ œ
œ #
œ
œ
w™
˙
˙ ˙
w
Ó ˙
˙
˙
w
™
˙
œ
œ
œ
œ #
w
Ó
˙
w
w™
˙
w
w
™
˙
˙
˙
w
™
˙
˙
˙
w
Ó
2

101

a strictly hierarchical manner. Schütz designs the remainder of the work using largely two
structural methods; 1) Harmonia with structural repetitio; 2)Harmonia without structural
repetitio.

1) Harmonia with structural repetitio
The repetitio of harmonia herein does not refer to the repetitio of a phrase or a melodic
fragment. Rather, it denotes the reiteration of the entire harmonia after its initial statement. In
this case, neither Nucius nor Thuringus provides a fitting description of the term because they
both define repetitio as “a theme [that is] continually repeated in one and the same voice at
however many different pitches.”
283
It seems that Kircher — although he lived after Schütz —
offers the most suitable definition of the term for the structural repetitions used in this piece.
Kircher wrote:
What is called anaphora or repetitio occurs when a passage is frequently repeated for
emphasis’s sake. It is often used in vehement affections such as ferocity or scorn, as
exemplified in a composition based on the text: To arms! to arms!
284

The first example of the structural repetitio appears in mm. 124-141. The two sopranos first
make a full statement of the Line 3 & 4 of the Stanza II. Then, the two violins echoes the exact
same statement at the fourth above in mm. 131-138. Line 4 is once again repeated by the two
soprano parts in m. 138-141 thus repeating the second half of the harmonia. The climax would
be the most definitive musical-rhetorical figure used in this passage. The parallel thirds between
the two voice parts — either between the two sopranos or the two violins — produces a sweet
sonority evoking a heartfelt prayer on the text, “and teach us to recognize God truly and to call

283
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music. (Lincoln:
University of Nebraska Press, 1997): 188.
284
Anathasius Kircher, Musurgia, L. 8, 144 (translated by Dietrich Bartel, Musica Poetica: Musical-
Rhetorical Figures in German Baroque Music, 189).

102

Him ‘Father’ with all our hearts.” Schütz further decorates the passage with pleonasmus in mm.
129-130 through the use of quasi-transitus in the first beat of m. 129 and a chain of syncopatio in
mm. 129-130 .
285
Schütz, as he repeats the entire harmonia, transfers these musical-rhetorical
figures intact in the subsequent passages.

Example 3.38. climax, pleonasmus, quasi-transitus & syncopatio: mm. 124-141

Schütz also uses the repetitio of harmonia in mm.146-160 where the initial narrative
statement of the Bass II is echoed by the two soprano parts in mm. 154-160. Again, Schütz
employs climax for the two soprano parts. It seems that the composer strategically inserted the
diminished-fifth interval in m. 156 to imply the faultiness of “fremder Lehr (false teaching).”

285
“The quasi-transitus occurs when a dissonant note is placed on an odd [strong] beat, contrary to the
rules of the preceding transitus” Christoph Bernhard, Tractatus, 65 (translated by Dietrich Bartel, Musica
Poetica: Musical-Rhetorical Figures in German Baroque Music, 423).
°
¢
°
¢
°
¢
°
¢
Violin I
Vln. I
16
Vln. I
32
Vln. I
48
Vln. I
64
Vln. I
80
Vln. I
93
Vln. I
107
Vln. I
Vln. II
C. I
C.II
124
und lehr uns Gott recht er ken - nen, - von Her zen - Va ter - nen nen, -
und lehr uns Gott recht er ken - nen, - von Her zen - Va ter - nen - nen,
Vln. I
Vln. II
C. I
C.II
134
von Her zen - Va ter - nen nen, -
von Her zen - Va ter - nen - nen,
3
2 &
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Schütz_m. 124_Und lehr uns Gott recht erkennen
ed. Yejee Choi
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑
(†† Theme 11)
&
∑ ∑ ∑ ∑
(†† Theme 12)
∑ ∑ ∑
(* T11- P) (∆-V)
&
(†† Theme 11)
(∆-V)
∑ ∑
&
(* T11- P)
(∆-H)
(* T12- P)
∑ ∑
&
(†† Theme 12)
(∆-H)
∑ ∑ ∑
&
(* T12- P)
∑ ∑ ∑
&
∑ ∑ ∑
(†† Theme 12) (∆-H)
&
∑ ∑ ∑ ∑
(* T12- P)
˙ ˙ ˙
w
˙
˙
w
˙ # ˙ ˙
w
˙
˙
w #
˙ ˙ ˙
w
˙
˙
w w ˙ w ˙
w™
˙ w
w
Ó
˙ # ˙ ˙
w
˙
˙
w # w #
™
˙ # ˙ ˙ w #
˙ ˙ ˙
˙ #
w
Ó
w ˙ w ˙
w
™
˙ w
w
Ó
w # ™ ˙ # ˙ ˙ w #
˙ ˙ ˙
˙ #
w
Ó
∑
˙ w ˙
w b
™
˙ w
w
Ó
˙ # ˙ ˙ w #
˙ ˙ ˙
˙ #
w
Ó

103

Such insertion of the dissonance can be identified as parrhesia. In addition, the hemiola rhythm
on the same word further contributes to the textual emphasis.

Example 3.39. climax, parrhesia & hemiola rhythm: mm. 146-161

The passages in mm. 162-189 exhibit the lengthiest section for the repetitio of harmonia.
The initial statement occurs in mm. 162-173 then is reiterated by the same voice parts in
different tonality in mm. 174-189. The simultaneous use of noema and the hemiola rhythm in
mm. 162-165 effectively conveys the sense of firm resolution of the text, “denn Jesum Christ mit
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
Vln. I
Vln. II
C. I
C.II
B. II
146
o Herr be hüt - für frem der - Lehr, dass wir nicht Mei ter - su chen -
Vln. I
Vln. II
C. I
C.II
B. II
154
o Herr be hüt - für frem der - Lehr, dass wir nicht Mei ter - su chen - mehr,
o Herr be hüt - für frem der - Lehr, dass wir nicht Mei ter - su chen - mehr,
mehr,
Vln. I
Vln. II
C. I
C.II
B. II
162
&
∑
(†Theme 13)
Ä
(** PAC
on CM) (†Theme 14)
&
∑
(∆)
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
(†Theme 13) (†Theme 14)
&
Ä
(** Evaded Cadence)
** PAC
on Am)
∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑
&
(†Theme 13) Ä
(** IAC
on GM) (†Theme 14) Ä
(** PAC
on GM)
&
?
∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
˙
œ
œ
œ
œ
˙
™ œ
œ
˙
˙ ˙
˙
w™
˙
˙
˙
w
˙
˙
˙
˙
˙
œ
œ
œ
œ
˙
™ œ
œ
˙
˙
œ
œ
œ
œ
w™
˙
˙
˙
w
˙
w
˙ #
˙
œ
œ
œ
œ
w œ
œ
œ
w
˙ ˙
˙
˙
w™
˙
˙
˙
œ
œ
œ
œ
˙
˙
˙ ˙
w
Ó
w
Ó
˙
œ
œ
œ
œ
˙™
œ
œ
˙
˙
œ
œ
œ
œ
w
™
˙
˙
˙
œ
œ
œ
œ
˙
˙
˙ ˙
w
Ó
˙
œ
œ
œ
œ
˙ # ™
œ
œ
˙
˙ ˙
˙ #
w
™
˙
˙
˙ #
œ
œ
œ
œ
˙
˙ ˙
˙ #
w
Ó
w
Ó
2

104

rechtem Glauben (so that we may seek no other master but] Jesus with true faith).” The
following contrapuntal section provides a good example of hypotyposis. Schütz skillfully
employs the ascending scale on the text “und him aus ganzer Macht (and [trust] Him with all our
might).” Once again, the sturdiness of the hemiola rhythm faithfully accompanies the text
“vertrauen (trust).” Schütz additionally adopts heterolepsis for the same word in m. 161 and m.
182 eventually resulting in pleonasmus.
286

(cont…)

286
“The heterolepsis signifies the seizing of another voice and can occur in two ways: first, if a
consonance moves by step or leap to a dissonance which could have been reached through a transitus
from another voice. …” Christoph Bernhard, Tractatus, 87 (translated by Dietrich Bartel, Musica
Poetica: Musical-Rhetorical Figures in German Baroque Music, 293).
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
Vln. I
Vln. II
C. I
C. II
B. II
161
denn Je sum - Christ mit rech tem - Glau ben, - und ihm aus gan zer - Macht
denn Je sum - Christ mit rech tem - Glau ben, - und ihm aus gan zer -
denn Je sum - Christ mit rech tem - Glau ben, -
Vln. I
Vln. II
C. I
C. II
B. II
168
ver trau - en, -
Macht ver trau - en, -
und ihm aus gan zer - Macht ver trau - en, -
Vln. I
Vln. II
C. I
C. II
B. II
175
Je sum - Christ mit rech tem - Glau ben, - und ihm aus gan zer - Macht
Je sum - Christ mit rech tem - Glau ben, - und ihm aus gan zer - Macht ver -
Je sum - Christ mit rech tem - Glau ben, -
&
(∆) = Heterolepsis
∑ ∑
&
∑ ∑
&
&
∑
?
GM
V/CM
CM
I/CM
GM
V/CM
Dm
ii/CM
Am
i/Am
EM
V/Am
∑ ∑
&
∑ ∑
(∆)
Ä
(** PAC
on Dm)
&
∑ ∑ ∑
&
(∆)
Ä
(** Evaded Cadence
** PAC on Am)
∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑
?
∑ ∑ ∑
&
Ä
[Repetitio of mm. 161-165]
Ä
∑
[Repetitio of mm. 166-174]
∑ ∑
&
∑ ∑ ∑
&
(†† Theme 16)
(C. I)
&
∑
(†)
?
FM
V/BbM
CM
ii/BbM
Gm
vi/BbM
Dm
i/Dm
AM
V/Dm
∑ ∑ ∑
Ó Ó
˙
˙™ œ ˙
˙ ˙
˙
w™ w™
Ó Ó
˙ ˙
™
œ ˙ ˙
˙ ˙ w™
w
™
Ó Ó ˙
˙™ œ ˙
˙
˙
˙
w™
w
™
˙
œ
œ
œ
œ
w™
Ó Ó
˙ ˙
™
œ ˙ ˙
˙ ˙
w™
w #
™
˙
œ
œ
œ
œ
Ó Ó
˙
˙™ œ ˙
˙
˙ ˙
w™
w™
˙
œ
œ
œ
œ
w
™
w
™
˙ w
w
Ó
˙
œ
œ
œ
œ
w
˙ ˙ ˙
˙ #
˙
∑
w™
˙ w
w
Ó
w
˙ ˙ ˙
˙ #
w
Ó
˙
œ
œ
œ b
œ
w
˙ ˙
w
w Ó
˙
™
œ ˙ ˙
˙ ˙
w
™
w™
˙
™
œ ˙
˙ ˙
˙ w
™
w # ™
˙ b
™
œ ˙
˙
˙
˙ #
w™ w™
˙ #
œ
œ
œ
œ
w
™
w
™
˙™ œ ˙ ˙
˙
˙
˙™
œ
˙
w
™
˙
œ
œ #
œ
œ
w
˙
˙ b
™
œ ˙
˙
˙
˙
w
™
w™
2

105

Example 3.40. noema, hypotyposis, heterolepsis, pleonasmus: mm. 162-189
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
Vln. I
Vln. II
C. I
C. II
B. II
161
denn Je sum - Christ mit rech tem - Glau ben, - und ihm aus gan zer - Macht
denn Je sum - Christ mit rech tem - Glau ben, - und ihm aus gan zer -
denn Je sum - Christ mit rech tem - Glau ben, -
Vln. I
Vln. II
C. I
C. II
B. II
168
ver trau - en, -
Macht ver trau - en, -
und ihm aus gan zer - Macht ver trau - en, -
Vln. I
Vln. II
C. I
C. II
B. II
175
Je sum - Christ mit rech tem - Glau ben, - und ihm aus gan zer - Macht
Je sum - Christ mit rech tem - Glau ben, - und ihm aus gan zer - Macht ver -
Je sum - Christ mit rech tem - Glau ben, -
&
(∆) = Heterolepsis
∑ ∑
&
∑ ∑
&
&
∑
?
GM
V/CM
CM
I/CM
GM
V/CM
Dm
ii/CM
Am
i/Am
EM
V/Am
∑ ∑
&
∑ ∑
(∆)
Ä
(** PAC
on Dm)
&
∑ ∑ ∑
&
(∆)
Ä
(** Evaded Cadence
** PAC on Am)
∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑
?
∑ ∑ ∑
&
Ä
[Repetitio of mm. 161-165]
Ä
∑
[Repetitio of mm. 166-174]
∑ ∑
&
∑ ∑ ∑
&
(†† Theme 16)
(C. I)
&
∑
(†)
?
FM
V/BbM
CM
ii/BbM
Gm
vi/BbM
Dm
i/Dm
AM
V/Dm
∑ ∑ ∑
Ó Ó
˙
˙™ œ ˙
˙ ˙
˙
w™ w™
Ó Ó
˙ ˙
™
œ ˙ ˙
˙ ˙ w™
w
™
Ó Ó ˙
˙™ œ ˙
˙
˙
˙
w™
w
™
˙
œ
œ
œ
œ
w™
Ó Ó
˙ ˙
™
œ ˙ ˙
˙ ˙
w™
w #
™
˙
œ
œ
œ
œ
Ó Ó
˙
˙™ œ ˙
˙
˙ ˙
w™
w™
˙
œ
œ
œ
œ
w
™
w
™
˙ w
w
Ó
˙
œ
œ
œ
œ
w
˙ ˙ ˙
˙ #
˙
∑
w™
˙ w
w
Ó
w
˙ ˙ ˙
˙ #
w
Ó
˙
œ
œ
œ b
œ
w
˙ ˙
w
w Ó
˙
™
œ ˙ ˙
˙ ˙
w
™
w™
˙
™
œ ˙
˙ ˙
˙ w
™
w # ™
˙ b
™
œ ˙
˙
˙
˙ #
w™ w™
˙ #
œ
œ
œ
œ
w
™
w
™
˙™ œ ˙ ˙
˙
˙
˙™
œ
˙
w
™
˙
œ
œ #
œ
œ
w
˙
˙ b
™
œ ˙
˙
˙
˙
w
™
w™
2
°
¢
°
¢
°
¢
°
¢
Vln. I
Vln. II
C. I
C. II
B. II
182
ver trau - en, - aus gan zer - Macht ver trau - -
trau - en, - aus gan zer - Macht ver trau - -
und ihm aus gan zer - Macht ver trau - en, -
Vln. I
Vln. II
C. I
C. II
B. II
189
en,
en,
&
∑ ∑
(†)
&
∑
(C. I)
(∆)
&
(∆) Heterolepsis
Ä
(** Evaded Cadence
** PAC on GM)
∑ ∑ ∑
(*) Cauda
&
∑ ∑ ∑
?
∑ ∑ ∑
&
Ä
(** PAC
on CM)
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
˙
œ
œ
œ
œ
w
˙ ˙ ˙
˙
w™
˙
w
˙
œ
œ
œ
œ
w™ w™
˙ w
w™ ˙
w
˙ w
w
Ó
˙
œ
œ
˙ ˙ ˙™
œ
˙ ˙
˙ #
w
Ó
˙
œ
œ
˙
˙ w
˙
œ
œ
œ
œ
w
˙ ˙
w
w
Ó
w™
w™
w™
w
™
3

106

Finally, Schütz’s construction of musical structures through the repetitio of harmonia
takes place the last time in mm. 252-277. This section consists of the multiple repetition of the
pure noema passages. Apparently, Schütz must have been well-acquainted with Burmeister’s
definition of the figure which states, “it is most agreeably stimulating and wonderfully soothing
on the ears and spirit if it is appropriately introduced.”
287
The absence of hemiola rhythm further
contributes to conjuring up the joyful accordance of the believers on the text “Daß wir hier
ritterlich ringer, Durch Tod und Leben zu dir dringen (so that we here may gallantly struggle
through death and life to reach You).”

(cont…)

287
Joachim Burmeister, Musica Poetica, 59 (translated by Dietrich Bartel, Musica Poetica: Musical-
Rhetorical Figures in German Baroque Music, 341).
°
¢
°
¢
Vln. I
Vln. II
C. I
C.II
T. I
T. II
B. I
B.II
Vc.
252
dass wir hier rit ter - lich - ring en, - durch Tod und Le ben - zu dir drin gen, -
dass wir hier rit ter - lich - ring en, - durch Tod und Le ben - zu dir drin gen, -
dass wir hier rit ter - lich - ring en, -
dass wir hier rit ter - lich - ring en, -
dass wir hier rit ter - lich - ring en, -
dass wir hier rit ter - lich - ring en, -
&
∑ ∑
(†)
∑ ∑
(††)
&
∑ ∑ ∑ ∑
&
(†)
∑
(††)
&
∑
&
‹
∑ ∑ ∑ ∑ ∑
&
‹
∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑
?
6 6
5 6 6 6 4 # 5 6 6
˙ ˙
˙
˙™ œ
˙
˙ ˙
Ó
˙
˙
˙
˙ ˙
˙
˙™ œ
˙
˙ ˙
Ó ˙
˙
˙
˙ ˙
˙
˙™ œ
˙
˙ ˙
Ó
˙
˙
˙
˙
˙
˙
˙ ˙
˙ #
w
Ó
˙ ˙
˙
˙
™
œ ˙ ˙ ˙
Ó
˙
˙
˙
˙
˙
˙
˙
w
w
Ó
˙ ˙
˙
˙™ œ
˙
˙ ˙
Ó
˙ ˙
˙
˙™ œ
˙ ˙ ˙
Ó
˙ ˙
˙
˙™ œ
˙
˙ ˙
Ó
˙ ˙
˙
˙™
œ
˙
˙ ˙
Ó
˙ ˙
˙
˙™
œ
˙
w
˙
˙™
œ
˙
w
˙
˙
˙
˙
˙
w
w
˙
11

107

Example 3.41. noema: mm. 252-277

2) Harmonia without Structural Repetitio
While some of the musical passages that I would include under this heading still contains
repetitio, the figure, when used in these cases, has little contribution in constructing the structure
of the harmonia. Rather, repetitio that would be hereafter mentioned denotes the purely melodic
figure which only has peripheral or no influence in determining the shape of the structure of the
piece. Schütz decorates the current setting with numerous musical-rhetorical figures thus it
would not only be taxing but also meaningless to simply identify every single figure used in this
piece. Instead, the study will discuss a few highlights that exhibit the composer’s ingenious
treatment of certain musical-rhetorical figures.
°
¢
°
¢
Vln. I
Vln. II
C. I
C.II
T. I
T. II
B. I
B.II
Vc.
260
dass wir hier rit ter - lich - ring en, -
dass wir hier rit ter - lich - ring en, -
dass wir hier rit ter - lich - ring en, - durch Tod und Le ben - zu
dass wir hier rit ter - lich - ring en, - durch Tod und Le ben - zu
dass wir hier rit ter - lich - ring en, -
dass wir hier rit ter - lich - ring en, -
&
∑
(†)
∑
&
∑ ∑
&
∑ ∑
Ä
[Repetitio of mm. 252-6]
∑ ∑ ∑
&
∑ ∑ ∑ ∑ ∑
&
‹
∑ ∑ ∑
Ä
(††)[Repetitio of mm. 256-9 ]
&
‹
∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑
?
∑ ∑ ∑ ∑ ∑
?
6 7(#) 6 6 # 6 #
5 6 6 6
˙
˙
˙
˙
w
w Ó
˙ ˙
˙
˙
™
œ
˙
˙ ˙ Ó
˙
˙
˙
˙ ˙
™
œ #
w
Ó ˙ ˙
˙
˙
™
œ
˙ #
˙ ˙
Ó
˙ ˙
˙
˙
™
œ
˙
˙ ˙ Ó
˙ ˙
˙
˙
™
œ
˙ #
˙ ˙
Ó
˙ ˙
˙
˙
™
œ ˙ ˙ ˙
Ó
˙
˙
˙
˙
˙
˙
˙ ˙
˙
˙
™
œ
˙ ˙ ˙
Ó ˙
˙
˙
˙
˙
˙
˙ ˙
˙
˙
™
œ
˙
˙ ˙
Ó
˙ ˙
˙
˙
™ œ
˙
˙ ˙
Ó
˙
˙
˙
˙
w
˙ ˙
˙
˙
™ œ
˙
˙ ˙
˙
˙
™ œ
˙
w
˙
˙
˙
˙
12

108

First of all, Schütz proves himself to be a master of fuga writing through this
composition. Nucius’s explanation on this classic musical device reveals how Schütz’s
contemporaries held fuga in high esteem:
On Fugae. … This figure is invoked by composers to such an extent that no composition
is considered artful if it is not filled to overflowing with fugue. However, the ingenuity of
a composer in the use of this figure is to be held in very high regard if he understands
how to construct appropriate fugae according to the specific nature of the modi and to
properly connect these in good coherent fashion. Therefore one should always strive to
structure the harmonia through elegant fugae.
288

Schütz’s first masterful treatment of fuga in this work appears in mm. 67-88. In this
section of an exuberant glorification, the fuga clusters occur a total of three times as if to give
praise to each person of the Trinity; the first iteration beginning with Tenor I at m. 67; the second
one starting with Bass I at m. 82; the final statement led by Tenor II and Bass I at m. 81. In
particular, Schütz effectively uses abruptio between the text, “dass sei dir” and “o Herr,”
amplifying a sense of excitement. In addition, the composer gave further emphasis on the same
text through a skillful use of epizeuxis. At the same time, the consecutive repetition of “o Herr”
creates a fervent atmosphere. Furthermore, the consistent use of hemiola rhythm on “Lob
gesungen” evokes delightful dances and praises of the faithful ones (der Glauben). Finally,
Schütz skillfully exploits passus duriusculus at the first cadence in mm. 71-72 and the second
cadence in mm. 79-80 resulting in cadentia duriusculus. Schütz’s handling of the various
musical-rhetorical figures in this section ultimately causes the consummation of hypotyposis that
vividly depicts the thousand tongues (das Volk as aller Welt Zungen) simultaneously glorifying
God.

288
Johannes Nucius, Musices Poeticae (translated by Dietrich Bartel, Musica Poetica: Musical-Rhetorical
Figures in German Baroque Music, 285).

109

Example 3.42. fuga realis, abruptio, epizeuxis, passus duriusculus, cadentia duriusculus: mm. 67-88

Another evidence of Schütz’s prowess in fuga composition can be found in mm. 113-123.
The consecutive entrances of the fugal theme in the two sopranos and the two violins graphically
°
¢
TENOR 1
C. I
16
C. I
35
C. I
55
C. I
C.II
B. I
B.II
dass sei dir, o Herr, zu Lob ge sun - gen, -
67
dass sei dir, o Herr, zu Lob ge sun - - gen,
dass sei dir, o
dass sei dir,
3
2 &
‹
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Schütz_mm.67_das sei dir, o Herr
ed. Yejee Choi
&
‹
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
‹
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
‹
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
‹
(††Theme 8)
Ä
(** Evaded Cadence
** PAC on Dm)
&
‹
∑
(†)
?
∑ ∑ ∑ ∑ ∑
(†)
?
∑ ∑ ∑ ∑ ∑ ∑
(†)
˙ ˙ ˙
Ó w
w ˙
˙™
œ
œ
œ
˙™
œ
˙
˙
w
w
Ó
˙ ˙ ˙
Ó
w
w
˙
˙™
œ
˙ #
˙ ˙
˙ #
w
Ó
˙ ˙ ˙
Ó
w
˙ ˙ ˙
°
¢
°
¢
C. I
C.II
B. I
B.II
dass sei dir, o Herr, zu Lob ge sun - -
74
dass sei dir, o Herr, o Herr, zu Lob ge sun - gen, -
Herr, o Herr, o Herr, zu Lob ge sun - gen, -
o Herr, o Herr, zu Lob
C. I
C.II
B. I
B.II
gen, dass sei dir, o Herr, zu Lob Lob ge sun - - gen,
81
das sei dir, o Herr, o Herr, zu Lob ge sun - gen -
dass sei dir, o Herr, o Herr, zu Lob ge sun - gen -
dass sei dir, o Herr, zu Lob ge sun - gen -
&
‹
∑
(††)
&
‹
(†)
?
?
&
‹
Ä
(** Evaded Cadence
** PAC on Dm)
(††)
Ä
(** PAC
on CM)
&
‹
(†)
?
(†)
?
(†)
˙ ˙ ˙
Ó
w
w ˙
˙™
œ
œ
œ
˙ # ™
œ
˙
˙ ˙
˙ #
˙ ˙ ˙ Ó
w
w
Ó Ó w
w ˙
w™
˙
˙ ˙
w
Ó Ó
w
w
Ó Ó
w
w ˙
˙
™ œ
˙
˙
˙ ˙
Ó
w
w
Ó Ó w
w ˙
˙™
œ
œ
œ
w™
˙ b
w
w
Ó
˙ ˙ ˙
Ó
w
w ˙
˙
™ œ
œ
œ
˙
™
œ
˙
˙ ˙
˙
w™
˙ ˙ ˙
Ó w
w
Ó Ó
w
w ˙
w
™
˙ w w
™
˙ # ˙ ˙
Ó
w
w
Ó Ó
w
w ˙
˙™
œ
˙
˙
w
w™
w
Ó
˙ ˙ ˙
Ó
w
w ˙
˙ b
™ œ
œ
œ
w
™
˙
w
w™
2
°
¢
°
¢
C. I
C.II
B. I
B.II
dass sei dir, o Herr, zu Lob ge sun - -
74
dass sei dir, o Herr, o Herr, zu Lob ge sun - gen, -
Herr, o Herr, o Herr, zu Lob ge sun - gen, -
o Herr, o Herr, zu Lob
C. I
C.II
B. I
B.II
gen, dass sei dir, o Herr, zu Lob Lob ge sun - - gen,
81
das sei dir, o Herr, o Herr, zu Lob ge sun - gen -
dass sei dir, o Herr, o Herr, zu Lob ge sun - gen -
dass sei dir, o Herr, zu Lob ge sun - gen -
&
‹
∑
(††)
&
‹
(†)
?
?
&
‹
Ä
(** Evaded Cadence
** PAC on Dm)
(††)
Ä
(** PAC
on CM)
&
‹
(†)
?
(†)
?
(†)
˙ ˙ ˙
Ó
w
w ˙
˙™
œ
œ
œ
˙ # ™
œ
˙
˙ ˙
˙ #
˙ ˙ ˙ Ó
w
w
Ó Ó w
w ˙
w™
˙
˙ ˙
w
Ó Ó
w
w
Ó Ó
w
w ˙
˙
™ œ
˙
˙
˙ ˙
Ó
w
w
Ó Ó w
w ˙
˙™
œ
œ
œ
w™
˙ b
w
w
Ó
˙ ˙ ˙
Ó
w
w ˙
˙
™ œ
œ
œ
˙
™
œ
˙
˙ ˙
˙
w™
˙ ˙ ˙
Ó w
w
Ó Ó
w
w ˙
w
™
˙ w w
™
˙ # ˙ ˙
Ó
w
w
Ó Ó
w
w ˙
˙™
œ
˙
˙
w
w™
w
Ó
˙ ˙ ˙
Ó
w
w ˙
˙ b
™ œ
œ
œ
w
™
˙
w
w™
2

110

portray the liveliness of the Holy Spirit. Furthermore, the circle-like motion of the four
consecutive quarter notes, which somehow resembles the later figure circulo, depicts the
dynamic working power of the Lebens Wort (Life’s Word). Once again, Schütz successfully
creates hypotyposis by using different musical-rhetorical figures.

Example 3.43. fuga realis & hypotyposis: mm. 113-123

Finally, among several other fuga passages, the section from mm. 206 - 217 needs a
special mention. Here, at the opening of the Stanza III, Schütz for the first time invites all the
vocal parts to the splendid fuga passage. It is striking to see how manipulatively Schütz paces the
°
¢
°
¢
°
¢
°
¢
Vln. I
Vln. II
S.
S.
Bc.
113
lass uns leuch ten - des Le bens - Wort, lass uns leuch ten - des
lass uns leuch ten - des Le bens - Wort,
Vln. I
Vln. II
S.
S.
Bc.
119
Le bens - Wort, und lehr uns
und lehr uns
&
∑ ∑ ∑
(†)
&
∑ ∑ ∑ ∑ ∑
(††)
&
(†† Theme 10) (††)
&
∑ ∑
(††)
?
5 6
&
(†)
Ä
(** Evaded Cadence
** PAC on Em)
&
&
∑ ∑
&
∑ ∑ ∑ ∑
?
6 5 6 # #
#
∑ ∑ ∑
Ó
˙
˙
˙
œ
œ
œ
œ
œ
œ
œ
œ
˙
Ó
˙
˙
Ó
˙
˙
˙
œ
œ
œ
œ
˙
œ
œ
œ
œ
w Ó Ó
˙
˙
˙
œ
œ
œ
œ
Ó
˙
˙
˙
œ
œ
œ
œ
˙
œ
œ
œ
œ
w
Ó
w
˙
w™
w
™
w™
w
™
w™
w
Ó Ó
˙
˙ #
˙
œ
œ #
œ
œ
œ #
œ
œ
œ
˙
w
Ó
˙
œ
œ
œ
œ
˙
œ
œ
œ
œ
˙
œ
œ
œ
œ #
˙ #
˙
˙
w
Ó
˙
œ
œ
œ
œ
w
Ó ˙ ˙ ˙
˙ # ˙ ˙
w
™
w ˙
w™
˙
˙
˙
w
Ó
2

111

time interval of each vocal entrances in a specific order to exploit the diverse sonorities. Only
once the composer employs parembole, the melodic material that is not derived purely from the
original fugal theme. In addition, the unexpected shift of the tonal center at the cadence in mm.
215-217 witnesses Schütz’s dexterous management of mutatio toni.

(cont…)

°
¢
°
¢
C. I
C.II
T. I
T.II
B. I
B.II
ja. Du hei li - ge -
206
ja. Du hei li - ge - Brunst, sü sser - Trost, Du
ja. Du hei li - ge - Brunst, Du
ja. Du hei li - ge - Brunst, sü sser - Trost, Du hei li - ge - Brunst, sü sser -
ja. Du hei li - ge - Brunst, sü sser - - Trost, Du hei li - -
ja. Du hei li - ge - Brunst, sü sser -
C. I
C.II
T. I
T.II
B. I
B.II
Brunst, sü sser - - - Trost,
213
hei li - ge - Brunst, sü sser - Trost,
hei li - ge - Brunst, sü sser - Trost, sü sser - Trost,
Trost, sü sser - Trost, sü sser - Trost,
ge Brunst, sü sser - - Trost,
Trost, sü sser - Trost,
&
∑ ∑ ∑ ∑
(†† Theme17)
&
∑
(†)
(†)
&
‹
∑ ∑ ∑
(†)
(†)
&
‹
(†)
(†)
?
(†) (†)
?
(Am) - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
∑ ∑
(†)
&
∑
&
∑ ∑
&
‹
&
‹
(Parembole)
?
∑ ∑
?
(Am) - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - (AM) (Dm) -- - - - - - - - - - - - - - - - - - - - - - (Dm)
(Parembole)
[ iv
6
4
∑
V #3 i ]
∑
w
Ó Ó Ó
˙
˙
™
œ
˙
w
Ó Ó Ó
˙
˙
™
œ
˙
˙
˙ #
˙ #
w
Ó Ó Ó
˙
w
Ó Ó Ó
˙
˙™
œ
˙
w
˙
w
˙
˙
™
œ
˙
˙
˙
˙
w
Ó Ó Ó ˙
˙™
œ
˙
˙
˙ ˙
w
Ó Ó Ó
˙
˙
™
œ
˙
˙ œ
œ
œ
œ
œ #
œ
˙
˙
w
Ó ˙ ˙
™
œ
w
Ó Ó Ó
˙
˙
™
œ
˙
w™
w
˙
˙
œ
œ
œ
œ
w
˙
w™ w™
˙™
œ
˙
˙
˙
˙ #
w
Ó
˙
™
œ
˙
˙
˙ ˙ w
˙ ˙
w
w
Ó
w
Ó
w
˙
w #
˙ ˙
w #
w
Ó
˙
œ
œ
œ
œ
w ˙ w
Ó
w Ó
w
˙
w
Ó
=
3

112

Example 3.44. fuga realis, parembole, mutatio toni: mm. 206-217

Besides fuga, Schütz also employs noema-related figures in his own ingenious way that
within the noema passage the composer skillfully incorporates other musical-rhetorical figures to
give more power to his musical exegesis. The mastery of Schütz’s treatment of noema especially
shines in mm. 217-235. Within this section, Schütz covers the second through the fourth line of
Stanza III. After the florid fuga passage in mm. 206-217, the composer sets the second line of the
Stanza in noema which is echoed by the other voices in anaploce.
289
Strikingly, Schütz transfers
the melodic materials used in noema in mm. 217-220 literally verbatim into the anaploce in mm.
220-222. Schütz’s musical treatment of the third and fourth lines bear a great resemblance to

289
“The anyplace is a repetition [of a noema] in the same or neighboring musical clause by alternating
choirs, specifically in an eight-part, double-choir composition.” Joachim Burmeister, Musica Poetica, 62
(translated by Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music,
191).
°
¢
°
¢
C. I
C.II
T. I
T.II
B. I
B.II
ja. Du hei li - ge -
206
ja. Du hei li - ge - Brunst, sü sser - Trost, Du
ja. Du hei li - ge - Brunst, Du
ja. Du hei li - ge - Brunst, sü sser - Trost, Du hei li - ge - Brunst, sü sser -
ja. Du hei li - ge - Brunst, sü sser - - Trost, Du hei li - -
ja. Du hei li - ge - Brunst, sü sser -
C. I
C.II
T. I
T.II
B. I
B.II
Brunst, sü sser - - - Trost,
213
hei li - ge - Brunst, sü sser - Trost,
hei li - ge - Brunst, sü sser - Trost, sü sser - Trost,
Trost, sü sser - Trost, sü sser - Trost,
ge Brunst, sü sser - - Trost,
Trost, sü sser - Trost,
&
∑ ∑ ∑ ∑
(†† Theme17)
&
∑
(†)
(†)
&
‹
∑ ∑ ∑
(†)
(†)
&
‹
(†)
(†)
?
(†) (†)
?
(Am) - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
∑ ∑
(†)
&
∑
&
∑ ∑
&
‹
&
‹
(Parembole)
?
∑ ∑
?
(Am) - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - (AM) (Dm) -- - - - - - - - - - - - - - - - - - - - - - (Dm)
(Parembole)
[ iv
6
4
∑
V #3 i ]
∑
w
Ó Ó Ó
˙
˙
™
œ
˙
w
Ó Ó Ó
˙
˙
™
œ
˙
˙
˙ #
˙ #
w
Ó Ó Ó
˙
w
Ó Ó Ó
˙
˙™
œ
˙
w
˙
w
˙
˙
™
œ
˙
˙
˙
˙
w
Ó Ó Ó ˙
˙™
œ
˙
˙
˙ ˙
w
Ó Ó Ó
˙
˙
™
œ
˙
˙ œ
œ
œ
œ
œ #
œ
˙
˙
w
Ó ˙ ˙
™
œ
w
Ó Ó Ó
˙
˙
™
œ
˙
w™
w
˙
˙
œ
œ
œ
œ
w
˙
w™ w™
˙™
œ
˙
˙
˙
˙ #
w
Ó
˙
™
œ
˙
˙
˙ ˙ w
˙ ˙
w
w
Ó
w
Ó
w
˙
w #
˙ ˙
w #
w
Ó
˙
œ
œ
œ
œ
w ˙ w
Ó
w Ó
w
˙
w
Ó
=
3

113

each other in several ways; first, the use of paired voices; second, the antiphonal — rather than
fugal — treatment among the pairs. However, above all, the most distinguishing characteristic
that separates this particular section from the rest of the composition would be the great rhythmic
complication caused by the predominant — not the occasional — use of hemiola. The hemiola is
the only ingredient that completely defines the rhythm of the passage in mm. 217-222. Then,
Schütz gives a hint of triple meter only briefly in mm. 223-224 which again is followed by the
hemiola passage in mm. 225-226. The similar rhythmic phenomenon characterizes the
succeeding passages in mm. mm. 227-235; a hint of triple meter over two measure succeed by
the firm hemiola passage. In short, such frequent rhythmic shift greatly maneuvers the ear that it
is almost impossible to determine rhythmic emphasis simply by listening to this particular
section only a few times. (Example 3.45)

(cont…)
°
¢
°
¢
C. I
C.II
T. I
T.II
B. I
B.II
nun hilf uns, frö lich - und ge trost - in dei nem - Dienst be stän - -
A
217
nun hilf uns, frö lich - und ge trost - nun hilf uns, frö lich - und ge trost - in dei nem - Dienst be stän - -
nun hilf uns, frö lich - und ge trost - in dei nem - Dienst be stän - dig -
nun hilf uns, frö lich - und ge trost - in dei nem - stän -
nun hilf uns, frö lich - und ge trost - nun hilf uns, frö lich - und ge trost -
nun hilf uns, frö lich - und ge trost -
C. I
C.II
T. I
T.II
B. I
B.II
dig blei ben, - dei Trüb sal - uns nicht ab trei - ben, -
226
dig blei ben, - dei Trüb sal - uns nicht, ab trei - ben, -
blei ben, - dei Trüb sal - uns nicht, ab trei - ben, -
dig blei ben, - dei Trüb sal - uns nicht ab trei - ben, -
dei Trüb sal - uns nicht, uns nicht ab trei - ben, -
dei Trüb sal - uns nicht, uns nicht ab trei - ben, -
&
Theme 18
(†††† 18)
∑ ∑
(† Theme 19)
&
(†††)
(Anaploce)
(††††)
Ä
(**Evaded Cadence
** HC of Am) († Theme 19)
&
‹
(††)
∑ ∑
(*)
(† Theme 19)
&
‹
∑ ∑ ∑
(†††)
(*) († Theme 19)
?
(†)
(††)
∑ ∑
?
Harmonic
Link:
∑
GM
I/G
∑
- - - - - - - - -(GM)- - - - - - - -
∑
AM
V/d
(†)
dm
i/d
- - - - - - - - -(dm)- - - - - - - -
EM
V/a
- - - - - - - - - - - - - - - -(am)- - - - - - - - - - - - - - - - -
∑ ∑
&
∑ ∑ ∑
(† Theme 20)
Ä
(** HC
of Am)
&
∑ ∑ ∑ ∑
(† Theme 20)
(∆)
&
‹
∑ ∑ ∑ ∑
(∆)
&
‹
∑ ∑ ∑
(† Theme 20)
?
∑
(† Theme 20)
∑ ∑ ∑ ∑
?
- - - - - - -(CM)- - - - - -
∑
CM
I/C
- - - - - - - - - - - - - - - - -(CM)- - - - - - - - - - - - - - - - - -
GM
V/C
- - - - - - - - - - - - - - - - - -(CM)- - - - - - - - - - - - - - - - - - - -
∑ ∑ ∑
EM
V/a
∑
(am)
Ó Ó
˙
˙
™
œ ˙
˙
˙
˙
w #
Ó ˙ ˙ ˙
w
˙
˙™
œ
˙
Ó Ó
˙ #
˙
™
œ ˙
˙ #
˙ ˙
w
˙
˙™ œ ˙
˙
˙
˙
w #
™
˙ ˙ ˙ ˙ ˙
˙
Ó Ó
˙ ˙
™
œ ˙ ˙ ˙ ˙
w
Ó Ó
˙ œ
œ
w ˙ w ˙
Ó Ó
˙ #
˙
™
œ ˙
˙ #
˙ ˙
w
Ó Ó
˙ œ
œ
˙™
œ
˙
Ó Ó ˙
˙™ œ ˙
˙
˙
˙ b
w ˙ ˙
™
œ ˙ ˙ ˙ ˙
w
Ó
Ó Ó
˙
˙
™
œ ˙
˙
˙
˙
w
Ó
˙ w w
Ó ˙
˙
˙
w
™ w
˙ ˙
w
w #
Ó
˙
w
w
Ó
˙
˙
˙
w
˙
˙ ˙
™
œ
w
Ó
˙ ˙
˙
w
Ó ˙
˙
˙
w
˙
˙
˙
œ
œ
w Ó
˙
w
w
Ó
˙
˙
˙
w
™ w
˙ ˙
w
w
Ó
˙
˙
˙
w
˙
w
˙
˙ ˙
˙ #
w
Ó
˙
˙
˙
w
˙
w ˙
˙
w
w
Ó
3

114

Example 3.45. noema, anyplace & hemiola rhythm: mm. 217 -235

Throughout the entire work, Schütz exhibits his ability to create various sonorities by
fully exploiting the diverse vocal and instrumental registers that best reflect the accompanying
texts. In addition, his careful selection of different musical textures results in the increased effect
of musical exegesis. The following statement of Martin Luther, which the composer must have
been well-acquainted with during this lifetime, would be an apt portrayal of this setting:
“When man’s natural musical ability is whetted and polished to the extent that it becomes
an art, then do we note with great surprise the great and perfect wisdom of God in music, which
is, after all, His product and His gift; we marvel when we hear music in which one voice sings a
simple melody, while three, four, or five other voices play and trip lustily around the voice that
sings its simple melody and adorn this simple melody wonderfully with artistic musical effects,
thus reminding us of a heavenly dance, where all meet in a spirit of friendliness, caress, and
embrace.”
290

290
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 4.
°
¢
°
¢
C. I
C.II
T. I
T.II
B. I
B.II
nun hilf uns, frö lich - und ge trost - in dei nem - Dienst be stän - -
A
217
nun hilf uns, frö lich - und ge trost - nun hilf uns, frö lich - und ge trost - in dei nem - Dienst be stän - -
nun hilf uns, frö lich - und ge trost - in dei nem - Dienst be stän - dig -
nun hilf uns, frö lich - und ge trost - in dei nem - stän -
nun hilf uns, frö lich - und ge trost - nun hilf uns, frö lich - und ge trost -
nun hilf uns, frö lich - und ge trost -
C. I
C.II
T. I
T.II
B. I
B.II
dig blei ben, - dei Trüb sal - uns nicht ab trei - ben, -
226
dig blei ben, - dei Trüb sal - uns nicht, ab trei - ben, -
blei ben, - dei Trüb sal - uns nicht, ab trei - ben, -
dig blei ben, - dei Trüb sal - uns nicht ab trei - ben, -
dei Trüb sal - uns nicht, uns nicht ab trei - ben, -
dei Trüb sal - uns nicht, uns nicht ab trei - ben, -
&
Theme 18
(†††† 18)
∑ ∑
(† Theme 19)
&
(†††)
(Anaploce)
(††††)
Ä
(**Evaded Cadence
** HC of Am) († Theme 19)
&
‹
(††)
∑ ∑
(*)
(† Theme 19)
&
‹
∑ ∑ ∑
(†††)
(*) († Theme 19)
?
(†)
(††)
∑ ∑
?
Harmonic
Link:
∑
GM
I/G
∑
- - - - - - - - -(GM)- - - - - - - -
∑
AM
V/d
(†)
dm
i/d
- - - - - - - - -(dm)- - - - - - - -
EM
V/a
- - - - - - - - - - - - - - - -(am)- - - - - - - - - - - - - - - - -
∑ ∑
&
∑ ∑ ∑
(† Theme 20)
Ä
(** HC
of Am)
&
∑ ∑ ∑ ∑
(† Theme 20)
(∆)
&
‹
∑ ∑ ∑ ∑
(∆)
&
‹
∑ ∑ ∑
(† Theme 20)
?
∑
(† Theme 20)
∑ ∑ ∑ ∑
?
- - - - - - -(CM)- - - - - -
∑
CM
I/C
- - - - - - - - - - - - - - - - -(CM)- - - - - - - - - - - - - - - - - -
GM
V/C
- - - - - - - - - - - - - - - - - -(CM)- - - - - - - - - - - - - - - - - - - -
∑ ∑ ∑
EM
V/a
∑
(am)
Ó Ó
˙
˙
™
œ ˙
˙
˙
˙
w #
Ó ˙ ˙ ˙
w
˙
˙™
œ
˙
Ó Ó
˙ #
˙
™
œ ˙
˙ #
˙ ˙
w
˙
˙™ œ ˙
˙
˙
˙
w #
™
˙ ˙ ˙ ˙ ˙
˙
Ó Ó
˙ ˙
™
œ ˙ ˙ ˙ ˙
w
Ó Ó
˙ œ
œ
w ˙ w ˙
Ó Ó
˙ #
˙
™
œ ˙
˙ #
˙ ˙
w
Ó Ó
˙ œ
œ
˙™
œ
˙
Ó Ó ˙
˙™ œ ˙
˙
˙
˙ b
w ˙ ˙
™
œ ˙ ˙ ˙ ˙
w
Ó
Ó Ó
˙
˙
™
œ ˙
˙
˙
˙
w
Ó
˙ w w
Ó ˙
˙
˙
w
™ w
˙ ˙
w
w #
Ó
˙
w
w
Ó
˙
˙
˙
w
˙
˙ ˙
™
œ
w
Ó
˙ ˙
˙
w
Ó ˙
˙
˙
w
˙
˙
˙
œ
œ
w Ó
˙
w
w
Ó
˙
˙
˙
w
™ w
˙ ˙
w
w
Ó
˙
˙
˙
w
˙
w
˙
˙ ˙
˙ #
w
Ó
˙
˙
˙
w
˙
w ˙
˙
w
w
Ó
3

115

Chapter IV
Conclusion

The three settings of Komm, Heiliger Geist, Herre Gott, by Schein, Scheidt, and Schütz,
provide good examples of the compositional style of Northern Germany during the first half of the
seventeenth century. A descriptive historical account discussed in Chapter I offers a broader
context within which to understand these invaluable works composed by the three leading German
composers of the Early Baroque era. Chapter II focuses on the examination of musica poetica, the
uniquely German tradition, which is the product of amalgamation of rhetoric, Lutheran theocentric
philosophy of music, medieval music theory, Renaissance humanism, and German rationalism.
In particular, the study reminds oneself of that rhetorical principles had an extensive influence on
the musical compositions in contemporary Italy, France, and England. However, it was exclusively
a German phenomenon to rigorously apply the rhetorical terminology to identify the aberrant
compositional figures which deviated from the common musical expression. Chapter III includes
a biographical account of the Scheidt, Schein, and Schütz, each followed by musical analysis their
works from the perspective of musica poetica tradition. The specific focus on various figures
within the context of the compositions helps the reader to appreciate and interpret these pieces in
the historically informed manner. To borrow J.G. Walther’s words in the statement below, Schein,
Scheidt, and Schütz are the true melopoeta whose musical style had a profound impact on the
German composers of the following generation:
“The composer must not only understand language as does the poet in order not to violate
the meter of the text but because he also writes poetry, namely a melody, thus deserving
the title melopoeta or melopoeus.”
291

291
Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music, 22.

116

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Appendix 1
List of German Treatises on Musica Poetica

Author

Treatise

Joachim Burmeister

Hypomnematum musicae poeticae (1599)
Musica autoschediastikē (1601)
Musica poetica: definitionibus et divisionibus breviter delineata
(1606)
Johannes Lippius Synopsis musicae novae (1612)
Johannes Nucius Musices poeticae, sive De compositione cantus praeceptiones (1613)
Joachim Thuringus Opusculum bipartitum de primordiis musicis (1624)
Johann Andreas Herbst Musica poetica, sive compendium melopoeticum (1643)
Athanasius Kircher Musurgia universalis, sive Ars magna consoni et dissoni (1650)
Christoph Bernhard Tractatus compositionis augmentatus (c. 1657)
Ausführlicher Bericht vom Gebrauche der Con- und Dissonantien
(?)
Wolfgang Caspar Printz Phrynis Mitilenaeus, oder Satyrischer Componist (1696)

Johann Georg Ahle
Johan Georg Ahlens musikalisches Frühlings-Gespräche (1695)
Johan Georg Ahlens musikalisches Sommer-Gespräche (1697)
Johan Georg Ahlens musikalisches Herbst-Gespräche (1699)
Johan Georg Ahlens musikalisches Winter-Gespräche (1701)
Tomáš Baltazar Janovka Clavis ad thesaurum magnae artis musicae (1701)
Mauritius Johann Vogt Conclave thesauri magnae artis musicae (1719)
Johann Gottfried Walther Praecepta der musicalischen Composition (1708)
Musicalische Lexicon (1732)
Johann Mattheson Der vollkommene Capellmeister (1739)
Meinrad Spiess Tractatus musicus compositorio-practicus (1745)
Johann Adolf Scheibe Der critische Musicus (1745)
Johann Nikolaus Forkel Allgemeine Geschichte der Musik (1788-1801)

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Appendix 2
Burmeister’s List of Musical-Rhetorical Figures

Classification
(1) Figurae harmoniae (Harmonic Figures)
(2) Figurae melodiae (Melodic Figures)
(3) Figurae tam harmoniae quam melodiae (Harmonic-melodic Figures)

(1) Figurae harmoniae

1) Anadiplosis
“The anadiplosis is an embellishment of the harmonia, and is constructed out of a
double mimesis. This ornament is similar to the mimesis, for it repeats that which
was first introduced through a mimesis.” (Musica Poetica)

2) Analepsis
“The analysis is an immediate repetition of a musical passage in certain voices
whose united syntax consists of pure consonances. It is a repetition of nosema and
thereby is an ornament related to the noema.” (Musica poetica)

3) Anaploce
“The anaploce is a repetition of a noema in the same or neighboring musical
clause by alternating choirs, specifically in an eight-part, double-choir
composition. The two- or three-fold repeated alternation is often encountered
toward the end of the composition.” (Musica Poetica)

4) Apocope
“The apocope signifies a cutting off of the fugue for whatever reason. Instead of
completing the fugue in all parts with all voices, one of its voices is broken
off.” (Musica autoschediastike)

5) Aposiopesis
“The aposiopesis is a complete silence in all voices and is indicated through a
certain sign.” (Hypomnematum)

6) Auxesis
“The auxesis occurs when the harmonia grows and increases with a single,
twofold, threefold, or further repetition only of combined consonances [noema]
using one and the same text. … All compositions in which the text is repeated, but
not in the form of a fugue, abound with this figure.” (Musica Poetica)

7) Fuga realis
“Fuga realis is a form of composition in which all the voices of the harmonia
imitate a certain state of another specific voice in relation to the same intervals
and phrases. One is free to use this musical mimicking either in the beginning or

121

the middle of the composition. … In fugue, one voice is called prophoneousa
(sounding before), the other hysterophonos (sounding after). The voice which
introduces the melodia which is to be turned into a fugue is the one called
prophoneousa and prepares the formulation of the fuga through its leading
position. Among all the voices, it is the one which sounds first. Hysterophonos is
the voice which imitates the prepared fugal structure and is introduced later.
Hysterophonos can be as numerous as the number of imitating voices in the fuga,
the first of which can be called prote, the second deutera, the third trite, etc.”
(Musica Poetica)

8) Hypallage
“The hypallage occurs when a fugue introduces an inverted order of the
intervals.” (Musica Poetica)

9) Metalepsis
“The metalepsis is a double fuga in which one voice partially introduces the
subject of another, namely its second part, into the fuga, which it thereupon
completes through repetition of the whole subject.” (Hypomnematum)

10) Mimesis
“A mimesis occurs when a number of voices in a polyphonic composition
introduce a noema, while the other immediately adjacent voices are silent. They
are imitated then in turn by the adjacent voices at a higher or lower pitch.”
(Musica Poetica)

11) Noema
“The noema is a condition of the harmonia characterized by united voices with
the same number of notes. It is most agreeably stimulating and wonderfully
soothing on the ears and spirit if it is appropriately introduced. … Because of
how it completes the parts, this ornamentum is not recognized through isolated
examples but rather in the context of the entire composition, wherefore the entire
context of the composition must be examined or the whole composition must be
sung with all its voices.” (Musica Poetica)

“The noema is a collection of pure consonances in a unique alteration which
stimulates the ears most agreeably.” (Hypomnematum)

12) Pleonasmus
“The pleonasmus is a compositional excess in the formation of a cadence, most
frequently in its middle, and is forged out of a symblema and syncopa over two,
three, or more tactus.” (Musica Poetica)

13) Symblema (Transitus, Commisura)
“The symblema is a combination of consonances and dissonances occurring as
follows: all the consonances behave like absolute consonances in all the voices of
the composition in the beginning or first half of the beat. However, in the end or

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last part of the beat, not all voices behave according to the syntax of absolute
consonances but rather only to a certain extent. Among themselves the voices are
consonant, either progressing in parallel motion, or holding through the entire
beat. … This is called a symblema majus. A symblema minus occurs when this
combination appears within the middle of the beat. It is not considered among the
figure or ornamenta because it does not affect in the same manner.”
(Musica Poetica)

14) Syncopa
“The syncope is opposite to the symblema but allows a related ornament. It occurs
when two parts of a certain whole, half, or quarter tactus within one voice are
joined. The latter part of this contraction results in a relative consonantia which is
pleasantly followed by the lower neighboring consonance so that the entire
structure does not deviate far from the nature of the cadence. A relativa
consonantia is one which, although it seems to be dissonant with those notes with
which it is vertically aligned and on this account could be held for a dissonance,
nonetheless is not dissonant because of the syncopa. An absoluta consonantia is
one which is consonant with all the notes with which it is vertically combined.”
(Hypomnematum)

(2) Figurae melodiea

1) Climax
“The climax repeats similar notes but on pitches one step apart.”
(Musica Poetica)

2) Hyperbole
“The hyperbole is an overstepping of the melodia beyond its uppermost terminum
[boundary].” (Musica Poetica)

3) Palilogia
“The palilogia is a repetition of either the entire or only the beginning of the
structure of the melos or theme on the same pitch in the same voice, occurring
with or without intervening rests in all events in one voice.”
(Hypomnematum)

4) Parembole
“The parembole is an interjection (interjectio) of certain notes through an
additional voice, emulating the fugal structure without being a part of the fuga.”
(Hypomnematum)

5) Parrhesia
“The parrhesia occurs when an interval such as an imperfect or incomplete fifth,
a minor sixth, or a major or minor seventh is mixed into the other harmonizing

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voices. Perfect intervals are understood as those which can be neither increased
nor decreased without sacrificing the harmony. Imperfect intervals are those
which can be increased or decreased through a semitone, such as the minor third,
the second, the major or minor sixth, and the major or minor seventh.”
(Musica Autoschediastike)

“The parrhesia is an intermixing of a certain dissonance with the other
harmonizing voices. It is placed in the middle of a beat in order that the other
voices can resolve it within the beat. (Musica Poetica)

(3) Figurae tam harmoniae quam melodiae

1) Anaphora
“The anaphora is an ornament related to the palilogia because, like it, the
anaphora repeats something, yet only in the bass. Should this occur in more
voices, it is a palilogia.” (Hypomnematum)

“The anaphora is an ornament which repeats the same notes through various
diverse but not all voices of the composition in the manner of a fugue without
being a true fuga. For a composition earns the name of fugue only if all the voices
are involved.” (Musica Poetica)

2) Congerie
“The conjure amasses either ascending or descending perfect as well as imperfect
consonances using at least three voices, causing an alternation in harmony.”
(Hypomnematum)

“The congerie or synatrismos is an accumulation of perfect and imperfect
consonances, in which parallel motion has been abandoned.”
(Musica Poetica)

3) Fuga imaginaria
“Fuga imaginaria is a melodia which consists of a single voice, which is then
imitatively taken up by more voices beginning on the same note or on different
ones. … The fuga imaginaria is of two kinds: homophonos or unisona, and
pamphonos or multisona. The first occurs when the melodia is one and the same
in all the voices, that is when the following voices imitate the melodia at the same
pitch and intervals. … The second kind occurs when the melodia which the
following voices imitate does not reappear exactly, but rather with the same
intervals at a pitch a specified distance away. The formulations of fuga imaginary
can be as numerous as the distances of intervals at which the melodia of one voice
can be repeated by another one.” (Musica Poetica)

124

4) Faux Bourdon
“The faux bourdon occurs when thirds, fourths, and sixths are combined in
parallel motion, very much in the manner of congerie.”
(Musica Poetica)

5) Paragoge
“At the end [of the harmonia] an added structure or passage is sometimes found
in which one or more among the voices of the harmonia end and rest in their final
notes, be this in the primarius or secondarius, while the remaining voices
elaborate around them for two, three, four, or more measures. They present
nothing more than harmonic variations which could be assigned to one note and
thereby most clearly fashion the introduced ending. … This passage is called
harmoniae supplementum, that is, an expolitio or embellishment of the ending
stationary voices with various in themselves harmonizing notes of the remaining
united voices, the ending of the musical composition thereby being introduced
and given clarification.”
(Musica Poetica)

6) Pathopoeia
“The pathopoeia occurs when the text is expressed through semitones in such
fashion that no one appears to remain unmoved by the created affection.
(Hypomnematum)

The pathopoeia is an apt figure to create affections. It occurs when semitones are
inserted into a composition which neither belong to its modus or genus but are in
produced into a composition’s modus from another. It occurs when semitones are
frequently added to the modus of a composition in an extraordinary fashion.”
(Musica Poetica)

125

Appendix 3
Nucius’s List of Musical-Rhetorical Figures

Classification
(1) Figurae principales (Primarily musical-technical figures)
(2) Figurae minus principales (musical-rhetorical expressive figures)

(1) Figurae principales

1) Commissura
“What is commissura? Musicians define commissura as a certain dissonance
which is excused because of a preceding and following consonance. It is of two
kinds: directa and cadens.

What is a commissura directa? When the ear perceives a dissonance on the
downbeat that is nonetheless admitted on account of the following consonance,
which usually occurs in all formal cadences and in syncopationes.

What is commissura cadens? When the first part of the tactus is consonant and the
last part is dissonant, which is nonetheless admitted on account of the following
consonance. These kinds of commissura occur particularly in all cadences and
syncopaniones, and are especially appropriate in fugae.”
(Musices Poeticae)

2) Fugae
“Of Fugae. What are fugae? Fugae are nothing else but frequent, successive
repetitions of the same theme in diverse voices, separated by pauses. This
definition refers to flight, because one voice chases the other, thereby producing
the composition. Furthermore, this figure is invoked by composers to such an
extent that no composition is considered artful if it is not filled to overflowing
with fugae. However, the ingenuity of a composer in the use of this figure is to be
held in very high regard if he understands how to construct appropriate fugae
according to the specific nature of the modi and to properly connect these in good
coherent fashion. Therefore one should always strive to structure the harmonia
through elegant fugae. Should this appear to be too difficult to accomplish in all
voices, which takes a great deal of practice, the proof of Tyronius can be
accomplished in three or even two voices.

Which are the kinds of fuga? Totales and Partiales. What are fugae totales? When
two or more voices, proceeding out of the same theme, unite to the end of the
harmonia according to the specific inscription of the canon. Such canones can be
a fuga at the unison, the upper or lower fourth, the upper or lower fifth, or the
upper or lower octave. What are fugae partiales? These are frequently partial
fugae totales, and are therefore called fractae [fractured] fugae. Here the
repetition of the same theme in all voices finally resolves to a perfect consonance

126

or clausula formalis. The use of this figure is most fruitful in those compositions
called Motets.” (Musices Poeticae)

3) Repetitio
“What is repetitio? When in florid or mixed counterpoint a theme is continually
repeated in one and the same voice on however many different pitches.”
(Musices Poeticae)

(2) Figurae minus principales

1) Climax
“What is climax? It occurs when two voices progress upwards or downwards in
parallel motion, for example when the soprano and bass proceed in parallel tenths
or the bass and tenor in parallel thirds. The use of this figure is most frequent at
the end of a composition, to which we strive to engage the listener who eagerly
awaits the conclusion.” (Musices Poeticae)

2) Complexio
“What is complexio? It occurs when the beginning of a harmonia is repeated at
the end, in imitation of the poets, who frequently begin and end a verse with the
same word, as in, “Both in the flower of life, Arcadians both.”
(Musices Poeticae)

3) Homoioteleuton
“What is homoioteleuton? It occurs when the harmonia is interrupted and a
general silence is indicated with semibreves or minima rests after the voices have
run together. The Italians and French frequently use this figure in choruses,
galliards, madrigals, passamezzi, and similar pieces, and contemporary composers
in dialogues and in questions. Previous composers employed this figure in motets
in order to arouse attention.” (Musices Poeticae)

5) Manubrium
“The manubrium also belongs here, which occurs when two or more voices add
an appendage (cauda) at the end of the harmonia. The use and imitation of this
compositional device are presented here because it is applied most frequently
nowadays in virtually all motets.” (Musices Poeticae)

4) Syncopatio
“What is syncopatio? When numerous semibreves are extended against the tactus
but finally resolve in the cadence. It is used most frequently in the discount than
in the other voices. As this figure is most familiar to everyone, it therefore
requires no example.” (Musices Poeticae)

127

Appendix 4
Thuringus’s List of Musical-Rhetorical Figures

Classification
(1) Figurae principales (Primarily musical-technical figures)
(2) Figurae minus principales (musical-rhetorical expressive figures)

(1) Figurae principales

1) Commissura
“The commissura, also called symblema or celeritas, occurs when dissonant notes
are artfully integrated into the composition without, however, offending the ears,
or when dissonances are inserted into the counterpoint on an upbeat through
minimae. All notes of short duration are permissible as commissar, including
minimae, semiminimae, fusae, and semifusae. The semibrevis, however, is not
permissible because its duration is too long. (Opusculum)

2) Fuga
“This figure, one of the figurae principales, is invoked by composers to such an
extent that no composition is considered artful if it is not filled to overflowing
with fugae. However, the ingenuity of a composer in the use of this figure is to be
held in very high regard if he understands how to construct appropriate fugae
according to the specific nature of the modi and to properly connect these in good
coherent fashion. Therefore one should always strive to structure the harmonia
through elegant fugae. Should this appear to be too difficult to accomplish in all
voices, which takes a great deal of practice, the proof of Tyronius can be
accomplished in three or even two voices.

What is fuga? It is an artful distributio, a successive repetition of one and the
same clasula in various parts of the composition. Or, it is a delightful repetition
of one and the same melodia in other voices. Whence comes the name? From
fugare, because one voice appears to chase and follow the other voice due to the
similarity of their notes.” (Opusculum)

3) Syncopatio
“And now follows the third figure principalis, the syncopatio, a figure most
familiar to all. What do composers call a syncopatio? When longer confined notes
are advanced against the tactus through shorter ones, which renders an artful,
agreeable, and pleasant composition. It is used more frequently in the discount
than in other voices.
(Opusculum)

128

(2) Figurae minus principales

1) Anaphora
“What is anaphora? It is a continued repetition only in the Bass.”
(Opusculum)

2) Apocope
“What is an apocope? It occurs when the final note is substantially cut and the
composition is ended with a nota minima, resulting in an incomplete ending.”
(Opusculum)

3) Aposiopesis
“What is an aposiopesis? It is a general silence in all parts of the composition. It
is of two kinds: homoioptoton and homoioteleuton. (Opusculum)

4) Catachresis (Faux Bourdon)
“What is catachresis? The catachresis or faux bourdon occurs when numerous
sixths and thirds ascend in parallel motion.” (Opusculum)

5) Climax
“What is climax? This figure, which is also called gradatio, occurs when two
voices progress upwards or downwards in parallel motion, for example when the
soprano and bass proceed in parallel tenths or the bass and tenor in parallel thirds.
The use of this figure is most frequent at the end of a composition, to which we
strive to engage the listener who eagerly awaits the conclusion.”
(Opusculum)

6) Complexio
“What is complexio? It occurs when the beginning of a harmonia is repeated at
the end, in imitation of the poets, who frequently begin and end a verse with the
same word.” (Opusculum)

7) Homoioptoton / Homoioteleuton
“What is homoioptoton? It occurs when a general pause is simultaneously inserted
in all the voices of the composition through semibrevis, minima, or semiminima
rests. The Italians and French frequently use this figure in choruses, galliards,
madrigals, passamezzi, canzonetta, courants, balletti, Auffzügen, intradas,
paduanas, etc., and contemporary composers in dialogues and in questions.
Previous composers employed this figure in motets in order to arouse attention.

What is homoioteleuton? It is a complete silence in the middle of the composition.
Or it occurs when the harmonia is interrupted and general silence is indicated
with semibrevis or minima rests after the voices have run together.”
(Opusculum)

129

8) Noema
“What is noema? It is a collection of pure consonances, most agreeably revealed
in motets through a singular alternation.” (Opusculum)

9) Paragoge
“What is the paragoge? It occurs when at the end of the harmonia two or more
voices add an appendage (cauda), which is nowadays usually employed in all
compositions. (Opusculum)

10) Parrhisia
“What is the parrhisia? It occurs when mi is set against fa in the fourth, fifth, or
seventh in such a manner that no discord becomes evident.” (Opusculum)

11) Parthopoeia
“What is the parthopoeia? It occurs when the passage is enhanced with affections
of sorrow, joy, fear, laughter, mourning, mercy, exultation, fright, terror, and
similar affections in such a manner that it over both singers and listeners.”
(Opusculum)

12) Pausa
“What is a pausa? It is a sign of silence whose duration is determined according
to a certain note. … Since no composition can be regarded as charming and artful
unless it is adorned with fugae, pauses are necessarily introduced in order for
fugue to be constructed.” (Opusculum)

13) Repetitio
“What is repetitio? The repetition, also called mimesis, occurs when in florid or
mixed counterpoint a theme is continually repeated in one and the same voice at
however many different pitches.”
(Opusculum)

130

Appendix 5
Bernhard’s List of Musical-Rhetorical Figures

Classification
(1) Figurae fundamentales (figures found in stylus antiquus)
(2) Figurae superficiales (Expressive musical-rhetorical figures)

(1) Figurae fundamentales

1) Syncopatio / Ligatura
“The ligatura, also called syncopatio, occurs when a shifted note is placed against
a consonance and a dissonance. The following is to be observed in such a
ligatura: (1) it must be a rhythmically shifted note; (2) its one half must be good,
the other bad; (3) the note following the shifted note must stand a second lower.
The rhythmic shift must either be clearly evident. … or it is implied through a dot
added after the note.” (Bericht)

2) Transitus
“The transitus, which I also call Deminution, occurs when a dissonant note is set
between two consonant notes in the neighboring pitch. It is of two kinds:
regularis and irregularis. A transitus regularis occurs when the note on the beat
is consonant, the other, however, dissonant. In this kind of transitus it is to be
observed (1) that all uneven parts of the measure consist of consonances, which I
call “striking notes” (on the beat) … and (2) that a consonance is to be followed
by a dissonance in the neighboring pitch, and the dissonance again by a
consonance in the neighboring pitch. The transitus irregularis occurs when the
note on the beat is dissonant but the following one is consonant. These transitus
irregularis (1) should seldom be used; (2) the shortened notes of the transitus
irregularis should only descend and not ascend; (3) a short dissonant note should
be on the beat, and a second note of equal duration should fall a second, resolving
the first note. (Bericht)

(2) Figurae superficiales

1) Abruptio
“The abruptio occurs when, instead of sounding the anticipated consonance
which a resolution would require, the composition is torn apart or even broken
off. It can be torn in the middle of the contextus when a rest is written instead of a
note.” (Tractatus)

“Abruptio means tearing off, and occurs when one ends on a fourth in the cadence
which should have been resolved through a third, before the bass ends the
cadence.” (Bericht)

131

2) Ellipsis
“Ellipsis means omission and signifies a suppression of a consonance. It occurs in
two ways: when a pause replaces a consonance and is followed by a dissonance;
or when in a cadence the fourth is not resolved by the third but rather remains
stationary.” (Bericht)

3) Heterolepsis
“Heterolepsis means the taking of another voice and occurs (1) when a
consonance moves to a dissonance when this could have been accomplished by
another voice through a transitus; (2) when a lower syncopated voice resolves and
the upper voice which had formed a fourth falls a third where it should have risen
a second.” (Bericht)

4) Multiplicatio
“The multiplicatio is the subdivision of a dissonance through numerous notes on
the same pitch. It is of two kinds: regular and extended. The regular multiplicatio
emanates out of the transitus regularis or the syncopatio and does not last longer
than the preceding consonance. The extended multiplicatio occurs when the
dissonances last longer than the preceding consonances.” (Bericht)

5) Subsumptio
“The subsumptio, called cercar della nota by the Italians, occurs when something
is added to a note at the next lower pitch. It is of two forms: the next lower note
can be appended either to the beginning or to the end of the note. If it is appended
to the beginning, it can be called subsumptio praepositiva. If it is appended to the
end of the note, it can be called subsumptio postpositiva.” (Bericht)

6) Superjectio
“The superjectio, otherwise generally called accentus, occurs when a note is
placed a step higher next to a consonance or dissonance. This accentus is
employed when a voice descends by step or by leap. However, it should be noted
that just a fundamental counterpoint does not permit a leap out of a dissonance,
neither is it permitted to embellish or excuse such an offensive leap with an
accentus.” (Bericht)

7) Variatio
“The variatio, otherwise called passagio, occurs when, instead of a longer note,
numerous shorter ones at various pitches are introduced which rush to the
following note.” (Bericht)

8) Retardatio
“The retardatio is a hesitation, namely, when a note which should rise a second
tarries too long before rising. This figure was devised in imitation of the
syncopatio, with this difference: while the syncopatio resolves by descending, the
retardatio resolves by ascending.” (Bericht)

132

(3) Devices that are No Longer Listed as Specific Figures in Bericht:
- Ancitipatio
- Prolongatio
- Syncopatio
- Catachresis
- Passus duruisculus
- Saltus duruisculus
- Mutatio toni
- Inchoatio imperfecta
- Longuita distantia
- Consonantiae impropriae
- Tertia deficiens
- Sexta superflua
- Quaesitio notae
- Cadentiae duriusculae
- Extensio
- Mora
- Transitus inversus

133

Appendix 6
List of Rhetorical Figures - Quintilian & Susenbrotus

1. Anadiplosis / Palilogia
“The anadiplosis or reduplicatio occurs when the last word of a preceding passage is
repeated at the beginning of the following one or when we construct a subsequent
opening out of the preceding close.” (Susenbrotus, Epitome)

2. Anaphora / Repetitio
“The repetition occurs when the beginning of numerous subsequent phrases are formed
with one and the same words. Or it occurs when the same beginning phrase is repeated in
numerous clauses. (Susenbrotus, Epitome)

3. Anaploce
“This frequent repetition is called place and consists of a mixture of figures.”
(Quintilian, Insitutio IX)

“The copulatio or duplicatio occurs when a word is repeated with a certain added
emphasis, as in the example, “But on that day, Memmius was Mmmius,” the repetition
referring to his previously familiar character. The figure is called ploce in Greek. It
differs from the epizeuxis, which repeats the beginning of the word, while the ploce
repeats the ending.” (Susenbrotus, Epitome)

4. Apocope
“The apocope signifies the dropping of the last letter or syllable of a word.”
(Susenbrotus, Epitome)

5. Aposiopesis
“An omission is effected through the aposiopesis which, being a figure, will be dealt with
later.” (Quintilian, Institutio VIII)

“The aposiopesis occurs when a part of the oration is cut off for the sake of the affection,
other interruption, or even transition, or for some other reason. Cicero calls this reticentia
or praecisio, Celsus.” (Susenbrotus, Epitome)

6. Auxesis
“The incrementum is a most powerful from [of amplification]: insignificant things are
made to appear important. This is effected through either one or several steps and can be
carried not only to the highest degree, but at times even beyond it, as in Virgil’s
description of Lausus: “for no one was fairer, except Laurentis Turnus.” The superlative
is expressed with “for no one was fairer,” which is then further heightened. … The
oration can be heightened less obviously but perhaps more effectively with an unbroken
series, in which each expression is continuously followed by a stronger one.”
(Quintilian, Institutio VIII)

134

“The incrementum or auxesis occurs when something is advanced by step, not only to its
highest degree, but at times in a way even beyond that.” (Susenbrotus, Epitome)

7. Climax
“The gradatio, also called climax, … repeats what has already been said and, before
proceeding to something else, dwells on that which preceded.”
(Quintilian, Institutio IX)

“A gradatio or climax occurs when consequent phrases begin with the same words that
ended the preceding phrase, frequently altering the case endings. Or it occurs when an
oration is constructed by step in which a word which ends a phrase begins the following
one, for example: For the remaining hope abides in freedom, and if it should please them,
it is permitted; and whatever is permitted, they consider; and whatever they consider,
they dare; and whatever they dare, they do; and whatever they do, does it not trouble us
greatly?” (Susenbrotus, Epitome)

8. Complexio
“The complexio or symploce occurs when subsequent parts of an oration are given the
same beginning and ending.” (Susenbrotus, Epitome)

9. Congerie
“The congerie or accumulation of words and sentences of identical meaning can also be
regarded as a form of amplification. For although the expressions do not climax by step,
they nonetheless heighten the argument through such an accumulation. … This is similar
to the figure called synathroismus, except that while the later accumulates numerous
different expressions, the former elaborates on only one thought.”
(Quintilian, Institutio VIII)

“The congerie or coacervatio is a sequence of words with varying content, as exemplified
in Romans, chapter1: “being filled with all unrighteousness, wickedness, greed, evil, full
of envy, murder, strife, deceit, malice, gossip, slander,” etc. In contrast to the synonymia,
which is an elaboration of one thought, the congeries is an accumulation of numerous
different thoughts.” (Susenbrotus, Epitome)

10. Ellipsis
“Some use the term synecdoche when something is suppressed but nonetheless assumed
in the context of the speech. A word might be understood through another word, which is
called an ellipsis when it leads to a fault in the oration.” (Quintilian, Institutio VIII)

“The synecdoche occurs when the omitted word is clearly understood out of the context
of the other words.” (Quintilian, Institutio IX)

“The eclipsis signifies an omission of words or parts of speech which the correct
construction requires. In this figure the omitted word or clause is ascertained either
through the established usage of past authors, that is, through the consensus of the learned
ones’ usages, or through the other words in that clause of the oration.”

135

(Susenbrotus, Epitome)

11. Homoioteleuton
“Second, it occurs when clauses end similarly, the same syllables being placed at the end
of each one. A similar ending of two or more sentences is called homoioteleuton. Third,
when the same case-ending is used, it is called homoioptoton.”
(Quintilian, Institutio IX)

“Similiter cadens or homoioptoton occurs when words or sentences are expressed in the
same case, as in Mordents, flerentes, lachrymantes, commiserantes.
Similiter desinens or homoioteleuton occurs when words or sentences end similarly.”
(Susenbrotus, Epitome)

12. Hypallage
“The metonymia is related to [the synecdoche] and consists of a substitution of one name
for another. As Cicero tells us, rhetoricians call this hypallage. When this affects two
words, it is called anastrophe, which signifies their reversal.”
(Quintilian, Institutio VIII)

“The hypallage occurs when the orations is advanced through a reversed order of things.”
(Susenbrotus, Epitome)

13. Hyperbole
“I have kept the hyperbole for the end because of its bold nature. It is an acceptable
overstatement of the truth.” (Quintilian, Institutio VIII)

“The hyperbole occurs when the words or oration exceed the truth for the sake of over- or
understatement. According to Mancinellus, a transgression of the actual truths occurs
through the hyperbole.” (Susenbrotus, Epitome)

14. Manubrium
(See paragoge.)

15. Metalepsis
“The metalepsis or transumptio is the last of the [tropes] involving a change of meaning
and signifies a transition from one trop to another. … It is the nature of the metalepsis
to form a certain intermediate step between a transferred term and that to which the term
is transferred, taking on no meaning itself, but only providing a transition. The most
common example is the following one: if cano is replaced canto, and canto with dico,
then cano can be replaced with dico, the intermediate step provided by canto.”
(Quintilian, Institutio VIII)

“The metalepsis or transumptio occurs when something is revealed in stepwise fashion. It
occurs when a certain utterance adopts a meaning other than its literal one because of that
which preceded it. It is a rare poetic trop.” (Susenbrotus, Epitome)

136

16. Mimesis
“The imitation of someone else’s voice is called ethopoeia or mimesis, and is counted
among the figures used to arouse gentler affections. It is used in a mocking manner, and
concerns itself with deeds and with words.” (Quintilian, Institutio IX)

17. Noema
“There is also a figure called noema by modern rhetoricians through which everything
can be understood through the speech. However, they use this term to signify those thing
which are not said but can in fact be understood.” (Quintilian, Institutio VIII)

“The noema occurs when we make veiled allusions which the listener will decipher on
his own. Or it is an obscure but closely related expression of something.”
(Susenbrotus, Epitome)
18. Parembole
“Furthermore, through the interiectio (which orators and historians frequently use to
insert another thought into the middle of a sentence), the understanding of a passage can
be impeded if the interruption is not kept short.” (Quintilian, Institutio VIII)

19. Paragoge / Manubrium /
“The paragoge or diductio is an addition of a letter (hostis instead hosti) or syllable at the
end of a word.” (Susenbrotus, Epitome)

20. Parrhesia
“The same is true in freedom of speech, which Cornificius (Auct. ad Herennium) calls
licentia and the Greeks call parrhesia. For what is less figurative than true liberty?
However, adulation frequently is hidden under this device. … and it obliges him whose
cause was evil.” (Quintilian, Institutio IX)

“The licentia (parrhesia, freedom of speech) occurs when we strive to gain authority and
trust through full freedom in our seepch. It is better if this freedom does not offend. This
figure is used to mitigate the freely expressed words so that they do not offend the
listener.” (Susenbrotus, Epitome)

21. Pathopoeia
“And finally the entire force and variety of the affections can be expressed through the
pathopoeia. These affections are usually elicited because of the circumstances,
conditions, era, fate, location, time, cause, manner, and persons.”
(Susenbrotus, Epitome)

22. Pleonasmus
“Pleonasmus is an error which occurs when the oration is overburdened with superfluous
words.” (Quintilian, Institutio VIII)

“Caeilius understand pleonasmus as an oration characterized by a wealth of words
beyond necessity, such as “I have seen it with my own eyes.”
(Quintilian, Institutio VIII)

137

“The pleonasms occurs when the structure of the oration is frequently overburdened with
superfluous words for the sake of assertion or emphasis.” (Susenbrotus, Epitome)

23. Repetitio
(See Anaphora.)

24. Syncope
“The syncope occurs when a letter or syllable is removed from the middle of a word.”
(Susenbrotus, Epitome)

138

Appendix 7
Komm heiliger Geist, Herr Gott, SWV 417 by Heinrich Schütz

§. Stanza I

139

§. Stanza II

§. Stanza III

140

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Core Title Musical landscape in Northern Germany in the early seventeenth century: musica poetica and its application in the settings of Komm, Heiliger Geist, Herre Gott by Heinrich Schütz, Johann Hermann S...

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