ABSTRACT
The concerto Saul, Saul, was verfolgst du mich?, SWV 415, from Symphoniae sacrae III has been recognized as an outstanding piece of music ever since Carl von Winterfeld initiated the Schütz revival 150 years ago. Winterfeld singled it out in his study Johannes Gabrieli und sein Zeitalter in a chapter devoted to “Johannes Gabrieli’s Schiller, Heinrich Schütz.” 1 He transcribed the piece (a transcription to which I will refer later) and offered a sensitive analysis of some of the composition’s technical aspects as well as its broader meaning.
