Sacred choral music
Sacred Choral Music is a collection of motets based on German texts for choir by Heinrich Schütz . It was printed in Dresden in 1648 as his opus 11 and contains 29 movements for five to seven voices, to which the numbers 369 to 397 in the Schütz-Werke directory (SWV) were assigned. The collection is also known as Sacred Choir Music 1648 . It contains both earlier and new compositions as well as a German arrangement of a motet by Andrea Gabrieli .
history
Schütz assembled the collection of 29 motets, which contain both earlier and new compositions, in 1648 when the Thirty Years' War was coming to an end. The original title was Geistliche Chor-Music, First Part . Accordingly, Schütz planned a sequel.
In a detailed foreword Schütz wrote: Geistliche Chor-Music / With 5th, 6th and 7th voices / use both vocaliter and instrumentaliter / Auffgesetzet / By / Heinrich Schützen / ... Worbey the Bassus Generalis on expert opinion and request / but not out of necessity / at the same time is to be found… . The line-up is therefore for five to seven voices, which can be performed both vocal and instrumental. It is essential that the figured bass is not necessary, since the motets are set in the stile antico , which Schütz learned from Giovanni Gabrieli .
Schütz dedicated the collection to Leipzig , addressing the mayor and council in the dedication letter, dated “Dreßden, on April 21, 1648” and highlighting the choir, which is known today as the St. Thomas Choir . It is the first work that he did not dedicate to the court or the nobility.
collection
Kurt Gudewill describes sacred choral music as the most important motet work of the 17th century. The collection contains compositions from various styles, of which a little more than half were probably made between 1630 and 1648 and the rest (except No. 24) between 1615 and 1630. In particular, Schütz composed the motets nos. 7, 13, 15 and 21 especially for this collection. The motet “That is always true” goes back to the funeral music that Schütz wrote on the occasion of the death of Johann Hermann Schein . The setting “The heavens tell the glory of God” can be traced back to an early handwritten version from the mid-1630s.
Schütz mainly set biblical texts to music, but also some stanzas from hymns . The first twelve motets are composed for five parts, the others for six or seven parts. The first two pieces are marked as belonging together by the addition of “First Part” and “Other Part” and set a section from the Book of Genesis to music , the fourth and fifth are also marked and treat the song Verleih uns Frieden graciously .
| No. | SWV No. | title | source |
|---|---|---|---|
| 1 | SWV 369 | The scepter will not be stolen from Judah | Gen 49,10-11a LUT |
| 2 | SWV 370 | He will wash his dress in wine | Gen 49,11b-12 LUT |
| 3 | SWV 371 | It appeared | Tit 2,11-14 LUT |
| 4th | SWV 372 | Graciously grant us peace | Song by Martin Luther and Johann Walter |
| 5 | SWV 373 | Give to our princes | continued |
| 6th | SWV 374 | Our nobody lives for himself | Rom 14,7-8 LUT |
| 7th | SWV 375 | Much will come in the morning and in the evening | Mt 8 : 11-12 LUT |
| 8th | SWV 376 | Gather the weeds beforehand | Mt 13,30 LUT |
| 9 | SWV 377 | Lord, I trust you | Ps 71,1-3 LUT |
| 10 | SWV 378 | Who sow with tears | Ps 126,5-6 LUT |
| 11 | SWV 379 | So I go to Jesus Christ | from Nikolaus Hermans When my hour is available |
| 12 | SWV 380 | So God loved the world | So God loved the world ( Joh 3,16 LUT ) |
| 13 | SWV 381 | O dear Lord God | Advent song |
| 14th | SWV 382 | Comfort, comfort my people | Isa 40 : 1-5 LUT |
| 15th | SWV 383 | I am a calling voice | Joh 1,23.26-27 LUT |
| 16 | SWV 384 | A child is born to us | Isa 9,5-6 LUT |
| 17th | SWV 385 | The word was made flesh and dwelt among us | Joh 1,14 LUT |
| 18th | SWV 386 | The heavens tell the glory of god | Ps 19,2-7 LUT and doxology |
| 19th | SWV 387 | I love you dearly, Lord | I love you dearly, Lord |
| 20th | SWV 388 | That is certainly ever true | 1 Tim 1,15-17 LUT |
| 21st | SWV 389 | I am a real vine | Joh 15,1-2.5a.4 LUT |
| 22nd | SWV 390 | Our walk is in heaven | Phil 3,20-21 LUT |
| 23 | SWV 391 | Blessed are the dead | Rev 14,13 LUT |
| 24 | SWV 392 | Whatever my God wants, that's always the case | Whatever my God wants, that's always the case |
| 25th | SWV 393 | I know that my saviour is alive | Job 19: 25-27 LUT |
| 26th | SWV 394 | Look at the fig tree | Lk 21,29-31,33 LUT |
| 27 | SWV 395 | The angel spoke to the shepherds | Lk 2,10-11 LUT , Isa 9,5 LUT , arrangement by Andrea Gabrieli |
| 28 | SWV 396 | A shout was heard on the mountain | Mt 2,18 LUT |
| 29 | SWV 397 | You scoundrel | Mt 18,32-33 LUT |
Printing and recording
Spiritual choir music first appeared in Dresden, printed by Johann Klemm . The collection was printed by Breitkopf & Härtel as part of the first edition of Schütz's Complete Works, begun in 1885 and edited by Philipp Spitta . It is part of the critical New Schütz Edition by Bärenreiter . From 1955 the motets appeared as individual editions and were summarized in the volume Geistliche Chormusik 1648 - Complete edition of 29 five- to seven-part motets (Bärenreiter edition 500), Bärenreiter-Verlag Kassel and Basel . In this edition, most of the movements are transposed up by a whole tone or a minor third, and the three-time measures are printed as three-half time instead of three-dance time, which means that the proportions between the sections are no longer correct. Wilhelm Kamlah was the editor. In the GDR a corresponding edition was published by VEB Breitkopf and Härtel Musikverlag Leipzig , which goes back to Kurt Thomas and differs in a different font. The five-part motets (Nos. 1–12) were published as two-volume work in 2003 and the six-part and multi-part pieces in the second volume in 2006. Sacred choral music is also part of the complete edition of Schütz's works based on the Heinrich Schütz Archive of the Dresden University of Music , which Carus Verlag began in 1992 as a Schütz edition in Stuttgart.
The motets were often recorded as individual works or selections. There are also numerous complete recordings: Rudolf Mauersberger directed the Dresden Kreuzchor 1962–1963, Heinz Hennig conducted the Hanover Boys Choir with instruments from 1981 to 1984 , performing some motets as soloists, others as choirs and offering several versions of some. Gerhard Schmidt-Gaden conducted the Tölzer Knabenchor 1998. This was followed by further recordings with Martin Behrmann , Manfred Cordes , Wilhelm Ehmann , Matteo Messori , Craig Smith and Masaaki Suzuki , Hans-Christoph Rademann and others. a.
Web links
- Sacred Choral Music, Op.11 : Sheet music and audio files in the International Music Score Library Project
- Heinrich Schütz: "Sacred Choral Music" 1648 - all motets. Thuringian composer and arranger
- In the service of the word / Heinrich Schütz: Motets from the “Geistliche Chormusik” op. 11. Südwestrundfunk
Individual evidence
- ↑ a b c d Origin of sacred choral music SWV 369–397 . Heinrich Schütz House. Retrieved July 8, 2014.
- ↑ a b c Heinrich Schütz. Sacred choral music ( English ) JSTOR . Retrieved July 11, 2014.
- ^ Kurt Gudewill: Heinrich Schütz. In: The music in past and present, Munich a. a. 1989, ISBN 3-423-05913-3 , Vol. 12, p. 219.
- ↑ Werner Breig : Heinrich Schütz - Sacred Choral Music. Supplement to the CD Weser-Renaissance, 1998, cpo 99546-2
- ^ Wolfram Steude: Heinrich Schütz and the Thirty Years' War ( English ) Research Center "Westphalian Peace", Westphalian State Museum for Art and Cultural History, Münster. 2002. Retrieved July 8, 2014.