CHAPTER XII
PROGRESS IN CHURCH MUSIC
92. In General.—As compared with the 16th century, the
17th was much less productive of church music of a high order,
since the new zeal for dramatic music absorbed the best attention
of both musicians and the public. In Italy, in spite of the
efforts of a small number of conservatives, the drift toward
secular works and a secular handling of sacred ones was overwhelming.
In Germany, however, amid many changes observable
in the treatment of sacred music, a worthy development
began in Protestant choir and organ music on the basis of the
chorale. This movement was augmented by that vigorous interest
in the problems of inner musical construction which has
always marked German music as compared with Italian. These
efforts pointed toward the culmination of Protestant music under
Bach in the 18th century. In England, also, there were interesting,
though not remarkable, movements.
Dramatic music inevitably affected all church music, working an emphatic revolution from the severe polyphony of earlier times and often leading to a questionable sensuousness or sensationalism. In many instances whatever was successful on the operatic stage was transferred to the church (of course with religious words). The oratorio was recognized as the link between the two fields, and it was frequently undertaken in both Italy and Germany, though with contrasted results. All these efforts, also, were important in relation to progress after 1700.
More distinctive was the attention to organ music as a specialty. Here the impulse came from Italy, but the greatest progress was in Germany. The organ itself now became more complete, virtuosity became gradually common, and steady gains were made in devising forms of composition germane to the instrument. Through them the wealth of suggestion in chorale music was taken up and under polyphonic manipulation wrought into works of abiding value.
