Geistliches Konzert

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Geistliches Konzert (plural Geistliche Konzerte) or "spiritual concerto" is a broad term for various genres of chamber concerto for a small number of voices and instruments popular in Germany during the 17th Century and prefiguring the late baroque church cantata and solo spiritual cantata forms.[1]

The stylistic roots of the concert lie in early baroque Italian models brought back to German by musicians such as Heinrich Schütz, and popularised by his contemporaries such as Samuel Scheidt.

Some of these concerts take an Italianate dialogue or oratorio form, notably the works of Kaspar Förster and the dialogues of Schütz.

The next generation of composers working in this form include Johann Schelle, Johann Philipp Förtsch, Sebastian Knüpfer, Dietrich Buxtehude and early members of the Bach family.


  1. ^ 'Karl Heinrich Wörner, Wolfgang Gratzer, Lenz Meierott 'Geschichte der Musik: ein Studien- und Nachschlagebuch1993 Page 243 "Aus den Gattungen Geistliches Madrigal, Motette und insbesondere Geistliches Konzert entwickelt sich nach 1650 die ältere Kirchenkantate als geistliche Vokalmusik mit (relativ) unabhängigen Sätzen"