Stilo Recitative, and the element of dramatic expression. In 1625 appeared his 'Geistliche Gesänge,' and in 1628 his music to Becker's metrical Psalms. After a second visit to Italy in 1628, he published the first part of his 'Symphoniæ Sacræ' (the second part appeared in 1647, the third in 1650), which has been regarded as his chief work, and testifies how diligently he had studied the new art of instrumental accompaniment which had arisen in Italy with Monteverde. Two pieces from this work, The Lament of David for Absalom, and the Conversion of S. Paul, are given in Winterfeld's 'Gabrieli.' The Thirty Years War interrupted Schütz's labours at Dresden in 1633, and compelled him to take refuge at the Court of King Christian IV. of Denmark, and of Duke George of Brunswick. In this unsettled time appeared his 'Geistliche Concerto zu 1 bis 5 Stimmen, 1636 and 1639, and in 1645 his 'Sieben Worte' (first published by Riedel, Leipzig, 1870). This last work may be considered as the germ of all the later Passion-music, uniting as it does the musical representation of the sacred narrative with the expression of the reflections and feelings of the ideal Christian community. As Bach later in his Passions, so Schütz in this work accompanies the words of our Lord with the full strings. On Schütz's return to Dresden, he found the Electoral Chapel fallen into such decay, and the difficulties of reorganisation so great for want of proper resources, that he repeatedly requested his dismissal, which however was not granted. Like Weber at Dresden with Morlacchi, so even in 1653 Schütz found it difficult to work harmoniously with his Italian colleague Bontempi. Italian art was already losing its seriousness of purpose, and in the further development of the Monodic style, and the art of instrumental accompaniment, was renouncing all the traditions of the old vocal and ecclesiastical style. This seems to have caused a reaction in the mind of Schütz, the representative of serious German art; and his last work—the four Passions, 'Historia des Leidens und Sterbens unseres Herrn und Heilandes Iesu Christi' (1665–6)—is an expression of this reaction. Instrumental accompaniment is here dispensed with, and dramatic expression restricted for the most part to the choruses; but in them is manifested with such truth and power as to surpass all previous essays of the same kind, and give an imperishable historical value to the work. Schütz himself regarded it as his best work. Carl Riedel has made selections from the 'Four Passions' so as to form one Passions-musik suitable for modern performances—a questionable proceeding. Schütz died Nov. 6, 1672. His importance in the history of music lies in the mediating position he occupies between the adherents of the old Ecclesiastical style and the followers of the new Monodic style. While showing his thorough appreciation of the new style so far as regarded the importance of dramatic expression, he had no desire to lose anything of the beauty and power of the pure and real a-capella style. And so by his serious endeavour to unite the advantages of the Polyphonic and the Monodic styles, he may be considered as preparing the way for the later Polyodic style of Sebastian Bach. [See vol. ii. 539b, 665b.]
STIMPSON, James, a well-known Birmingham musician, born at Lincoln Feb. 29, 1820, son of a lay vicar of the cathedral, who removed to Durham in 1822, where James became a chorister in 1827. In February 1834 he was articled to Mr. Ingham, organist of Carlisle Cathedral; in June 1836 was appointed organist of St. Andrew's, Newcastle; and in June 1841, on Ingham's death, was made organist of Carlisle.
In February 1842 James Stimpson was unanimously chosen organist at the Town Hall and St. Paul's, Birmingham, out of many competitors, and in the following year justified the choice by founding the Festival Choral Society and its Benevolent Fund, in connection with the Triennial Festivals. He continued organist and chorus-master to the Society until 1855. His activity, however, did not stop here. In 1844 he was instrumental in starting the weekly Monday Evening Concerts, of which, in 1859, he took the entire responsibility, to relinquish them only after heavy losses in 1867.
In 1845 Mr. Stimpson had the satisfaction of having the pedals of the Town Hall organ increased from 2 to 2½ octaves, so that he was able to perform the works of J. S. Bach unmutilated. He is still organist of the Town Hall, and gives weekly recitals throughout the year to audiences varying from 600 to 1000. In the absence of a permanent orchestra—a fact remarkable in a town of the wealth, importance, and intelligence of Birmingham—many a young amateur has derived his first taste for classical music from the excellent programmes of Mr. Stimpson. He was permanent organist of the Birmingham festivals, and Mendelssohn's last visit there was to conduct 'Elijah' for Mr. Stimpson's benefit April 25, 1847. He introduced Sims Reeves and Charles Halle to Birmingham, and laboured from 1849 until 1868, in many ways, in the service of good music, gaining thereby the gratitude and respect of his fellow townsmen. He has been Professor of Music at the Blind Institution for 25 years.
D'Almaine published in 1850 'The Organists' Standard Library,' edited by Mr. Stimpson, consisting principally of pieces hitherto unpublished in this country. His other publications consist mostly of arrangements, one of the best known being the favourite anthem 'As pants the hart' from Spohr's 'Crucifixion.' His long experience in teaching the theory of music is embodied in a manual published by Rudall, Carte & Co.
