Composer

:

Johann Heinrich Schmelzer

Genre

:

Chamber

Style

:

Sonata

Compose Date

:

1662

Publication Date

:

1662

Average_duration

:

6:23

Johann Heinrich Schmelzer's 'Sacro profanus Concentus Musicus No. 4, sonata a 6' is a Baroque instrumental work that was composed in the mid-17th century. The piece was premiered in Vienna, Austria, in 1662, and it is considered one of Schmelzer's most significant works. The 'Sacro profanus Concentus Musicus No. 4, sonata a 6' is a six-movement work that is divided into two parts. The first part consists of three sacred movements, while the second part consists of three secular movements. The sacred movements are titled 'Sonata a 3,' 'Sonata a 4,' and 'Sonata a 5,' while the secular movements are titled 'Sonata a 2,' 'Sonata a 3,' and 'Sonata a 4.' The first movement, 'Sonata a 3,' is a sacred sonata that features three instrumental parts. The movement is characterized by its use of counterpoint and its intricate harmonies. The second movement, 'Sonata a 4,' is a sacred sonata that features four instrumental parts. This movement is characterized by its use of polyphony and its complex rhythms. The third movement, 'Sonata a 5,' is a sacred sonata that features five instrumental parts. This movement is characterized by its use of imitative counterpoint and its use of dissonance. The fourth movement, 'Sonata a 2,' is a secular sonata that features two instrumental parts. This movement is characterized by its use of dance rhythms and its lively melodies. The fifth movement, 'Sonata a 3,' is a secular sonata that features three instrumental parts. This movement is characterized by its use of ornamentation and its use of syncopation. The final movement, 'Sonata a 4,' is a secular sonata that features four instrumental parts. This movement is characterized by its use of virtuosic passages and its use of chromaticism. Overall, the 'Sacro profanus Concentus Musicus No. 4, sonata a 6' is a significant work in the Baroque instrumental repertoire. It showcases Schmelzer's mastery of counterpoint, polyphony, and harmony, and it demonstrates his ability to seamlessly blend sacred and secular elements in his music.

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