Schütz synthesized Italian multichordal and rhythmic styles with the German dramatic and melodic sensibility to construct powerfully moving and emotional music with a classical restraint that serves to accent these emotional qualities rather than inhibit them. This is especially evident in the marvelous Symphoniae Sacrae; Saul, Saul Was verfolgst du mich? ("Saul, Why Persecutest Thou Me?"); the heartbreaking Fili Mi, Absalon ("Absalom, My Son"); the multiple-chorus splendor and tone-painting of the Psalms of David; and the funeral mass Musicalische Exequien. In his older age, Schütz aimed at a more spare style, as shown in the Christmas Oratorio (1664), in which all the characters are accompanied by their own scoring and the evangelist/narrator is accompanied only by the continuo part. ~ Blue Gene Tyranny, Rovi