The asteroid was discovered on 15 February 1961 by Freimut Börngen in Tautenburg, and named after Heinrich Schütz (1585–1672), a German composer and organist.
Starting in 1985, Mellon also worked under the direction of Philippe Herreweghe, with La Chapelle Royale (1985–1990) and the Collegium Vocale Gent (1990–1996), interpreting Charpentier, Heinrich Schütz, Monteverdi, Jean Gilles, and Johann Sebastian Bach.
His works are after Roos, Van der Does, Hackert, and Schutz, and consist of costumes and manners of the French before the Revolution, illustrations of books, and other miscellaneous subjects.
Heinrich Schütz welcomed the theological intentions of this new metrical version, and composed the melodies, which he published twice during his lifetime (1628, 1661 (revised and enlarged)), together with four-part musical settings.
He wrote what is traditionally considered to be the first German opera, Dafne (Opitz-Schütz), performed at Torgau in 1627, the music of which has since been lost.
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He was born in Köstritz, the eldest son of Christoph Schütz and Euphrosyne Bieger.
Heinrich Schütz: Saint Luke Passion, SWV 480 – Otto Peter (Baritone), Günther Ess (Tenor), Helen Ess (Soprano), Georg Jelden (Tenor), Hans Georg Fehr (Bass); Singkreis der Engadiner Kantorei Zürich Hannes Reimann (Conductor).
Heinrich Schütz's St John Passion (1666) is in the Phrygian mode (Rifkin, Linfield, McCulloch, and Baron 2001, §10)
He became particularly interested in early music and the music of Claudio Monteverdi and Heinrich Schütz, and in contemporary music by the composers of the Second Viennese School and others.
Heinrich Himmler | Heinrich Heine | Heinrich Schütz | Johann Heinrich Pestalozzi | Heinrich von Kleist | Heinrich Böll | Heinrich Isaac | Schütz | Heinrich Marschner | Baron Hans Heinrich Thyssen-Bornemisza | Heinrich Mann | Heinrich Hertz | Heinrich Graetz | Heinrich Böll Foundation | Christian Heinrich Friedrich Peters | Wilhelm Heinrich Roscher | Johann Heinrich Lambert | Heinrich von Breymann | Heinrich Finck | Wilhelm von Schütz | Heinrich Zimmer | Heinrich Wilhelm Ernst | Heinrich Wilhelm Dove | Heinrich Wild | Heinrich von Bibra | Heinrich Schenker | Heinrich Nordhoff | Heinrich Leutemann | Heinrich Gustav Magnus | Ernst Heinrich Weber |
Some composers who specified the use of the cornettino in their scores include: Michael Praetorius, Heinrich Schütz, Johann Heinrich Schmelzer, Heinrich Ignaz Franz von Biber, Matthias Weckmann, Antonio Bertali, Johann Caspar Horn, Johann Erasmus Kindermann, Matthias Spiegler, Johann Vierdanck, Johann Sebastian Bach and Georg Philipp Telemann.
She is a member of Paul Hillier's Theatre of Voices, with whom she sings ancient and baroque works of composers such as Abelard, Lassus, Tallis, and Schütz as well as contemporary creations such as by Cage, Stockhausen, and Pärt.
Friedrich Werner (Gottleuba, Pirna, 3 October 1621 - 1660s?) was a German cornettist under Heinrich Schütz at the Dresden court.
Overshadowed by his contemporaries, Claudio Monteverdi and Heinrich Schütz, Valentini is practically forgotten today, although he occupied one of the most prestigious musical posts of his time.
For example, see: Canzon in echo duodecimi toni à 10 by Giovanni Gabrieli and Ist nicht Ephraim mein teurer Sohn SWV 40 (from the great Psalmen Davids of 1619) by Heinrich Schütz, both of these works feature low cornetto lines written in the C tenor clef.
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In the works of Schütz, Schein, Scheidt, Praetorius, Gabrieli, Viadana and other composers from 16th and 17th century Venice, the tenor cornett appears to have been employed as the 3rd or 4th voice in instrumental and vocal music, usually playing alto or tenor ranged musical parts.
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Roland Wilson and his group Musica Fiata employ tenor cornetts in their recordings of the Psalmen Davids of Heinrich Schütz and the Music for San Rocco recording of music by Giovanni Gabrieli and his contemporaries.