The city of Venice embodied this attraction better than any other. The legendary republic, an obligatory stop on any tour of Italy, had also inspired Albert Dürer, who, although a painter, had rapturously exclaimed a century earlier about the quality of St. Mark’s “church violinists” (Kirchengeiger).

A penchant for Italy was amplified in the young Sagittarius (the Latin form of “Schütz”) during his three years as Gabrieli’s student. During this period Schütz fully experienced Italy’s exhilarating sounds, colors and rhythms. The way in which motets for multiple choirs were staged to make optimal use of St. Mark’s architecture was particularly inspiring. (It should be noted that the basilica’s construction in the shape of a Greek cross, its two galleries facing one another and its cupolas creating mystical echoes—influenced the way in which music was performed there.)

It is curious that Schütz’s time in Italy did not result in the composition of sacred music, but in a secular work: his First Book of Madrigals for five voices. These works far surpass what one might have expected of a promising student, and resemble the virtuoso pieces of the best composers of the genre: Marenzio, Monteverdi, and others.

The return to Germany

Upon his death in 1612, Gabrieli left a ring symbolizing his “deep affection” for his “beloved disciple”. Schütz returned to Germany in early 1613, decided (following law studies in Leipzig) to make a definite career in music and accepted the post of second organist in Moritz’s Kapelle. His was an exceptional musical destiny. Blessed with great longevity, his musical activities continued uninterrupted for more than sixty years. This activity took place almost exclusively in the service of the Elector Johann Georg I of Saxony. During his temporary position with the Elector in 1614, Schütz so pleased his employer that he was appointed Kapellmeister in 1617, replacing Hans Leo Hassler, who had died in 1612. This appointment was made in spite of Moritz’s anxious efforts to retain Schütz’s services; Moritz was finally obliged to capitulate to the Elector of Saxony’s demands for political reasons.

In Dresden Schütz was at the helm of the second most important musical Kapelle in Germany, Bavaria occupying the premier position. His post was prestigious and included many responsibilities: chamber and church concerts, rehearsals, instrument upkeep and purchasing, and the auditioning of future singers and instrumentalists. Above all, Schütz was ceaselessly required to compose new works.

He was scrupulous in the accomplishment of his tasks; in exchange he was well-lodged and handsomely paid, at least until Saxony became involved in the Thirty Years War. From this point of view, these first years in Dresden were happier than any others, and brought him the greatest success as a composer. In 1617 he wrote a grand ballet on a mythological theme for the visit of the Emperor Matthias; this work has not survived. Ceremonies celebrating the centenary of the Reformation were held in the autumn of the same year and it was perhaps on this occasion that Schütz composed the Latin Magnificat, a striking example of festive music for multiple choirs.