Musical exequies

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Musical exequies , title page 1636

The Musical Exequien SWV 279–281 (op. 7) are a sacred musical work for voices and basso continuo ( organ and violone ) by Heinrich Schütz . The work was created as an extended gospel motet as part of the Lutheran funeral mass (parts I and II) and as music for the funeral (part III) of Heinrich Posthumus Reuss on February 4th jul. / February 14, 1636 greg. . The then common Latin word ex [s] equiae means “funeral”; it creates no traditional connection with the Catholic burial liturgy , which is also often called exsequies .

history

Schütz composed his exequies in 1635/36 on the occasion of the death of his sovereign Heinrich Posthumus Reuss. They were heard for the first time at Reuss' funeral service and burial in the old Johanniskirche in Gera . The celebrations took place because of Reuss' admiration for the prophet Simeon and his death song on the Sunday after the presentation of the Lord , February 4th July. / February 14, 1636 greg. instead of.

During his lifetime the prince had put together a collection of Bible verses and song texts with which his coffin was to be labeled. Heinrich's widow gave the same collection of texts after his death on December 3rd July. / December 13th 1635 greg. to Schütz, who made it the basis of the first part of the exequies - before the sermon  . After the sermon on the text “Lord, if only I have you” ( Ps 73,25-26  Lut ), Schütz added the setting of this very text as a motet as the second part of the exequies . At the burial of the coffin in the family crypt under the church, the final five-part motet was the praise of Simeon Lord, now you let your servant go in peace .

The Musikalische Exequien appeared in print as Schütz 'Opus 7 in Dresden in 1636 .

Work description

The Musicalische Exequien are composed for vocal parts and basso continuo, whereby the three parts are scored differently. The first part has six voices (2 sopranos , alto , 2 tenors , bass , although a second bass is required in the alto part book). In the preface to the printed output contactor explains that the designated "Capella" partial sets more Ripieno may join at any singer's voice. The second part requires two partial ensembles each with soprano, alto, tenor and bass. In the third part, a 5-part “capella” (soprano, alto, 2 tenors, bass) contrasts with three solo voices (2 sopranos and baritone as two seraphim with the Beata Anima ), which can be set up as a distant choir - several times to up to to three different places in the performance space.

Sentence sequence

Motet Lord, if only I have you , sung by Cantus Polonicus
  • Part I: Concert in the form of a German funeral mass SWV 279 (instrumentation: vocal parts SSATTB, basso continuo)
  1. Intonation (tenor): I came naked from the womb
  2. Solos (Tenor, Quintus, Bassus): I'll go there again naked ( Hi 1,21b  Lut )
  3. Capella: Lord God, Heavenly Father
  4. Solos (cantus, sextus, tenor): Christ is my life, dying is my gain ( Phil 1,21  Lut / Joh 1,29b  Lut )
  5. Capella: Jesus Christ, God's Son
  6. Solos (Altus, Bassus): if we live, we live to the Lord ( Rom 14,8  Lut )
  7. Capella: Lord God, Holy Spirit
  8. Intonatio (tenor): So God loved the world that he gave his only begotten Son
  9. Solos (cantus, sextus, altus, tenor): so that all who believe in him are not lost ( Jn 3,16  Lut )
  10. Capella: He spoke to his dear son ( Martin Luther , now rejoice, dear Christians g'mein )
  11. Solos (Sextus, Quintus): The blood of Jesus Christ ( 1 Joh 1,7b  Lut )
  12. Capella: Through him we are forgiven ( Ludwig Helmbold )
  13. Solos (Cantus, Bassus, Altus): Our walk is in heaven ( Phil 3,20f  Lut )
  14. Capella: It's a valley of tears here ( Johann Leon )
  15. Solos (Tenor, Quintus): If your sin were blood red ( Isa 1,18b  Lut )
  16. Capella: His Word, His Baptism, His Supper (Ludwig Helmbold)
  17. Solo (Altus): Go my people ( Isa 26:20  Lut )
  18. Solos (Cantus, Sextus, Bassus): The righteous souls are in God's hands ( Weish 3,1-3  Lut )
  19. Solo (tenor): Lord, if only I have you
  20. Solos (alto, tenor, quintus, bassus ): When my body and soul faint ( Ps 73,25f  Lut )
  21. Capella: He is salvation and blessed light (Martin Luther, With Fried and Freud I go there )
  22. Solos (Bassus, Bassus-Altus): Our life lasts seventy years ( Ps 90,10a  Lut )
  23. Capella: Oh, how miserable is our time ( Johannes Gigas )
  24. Solo (tenor): I know that my Redeemer lives ( Hi 19.25f  Lut )
  25. Capella: Because you rose from death ( Nikolaus Herman )
  26. Solos (Cantus, Altus, Tenor, Bassus, Quintus, Sextus): Lord, I won't let you, you bless me because ( 1 Mos 32,27b  Lut )
  27. Capella: He spoke to me (Martin Luther, now you rejoice, dear Christians g'mein )
  • Part II: Motet Herr, if I only have you , SWV 280 (instrumentation: 8 voices for double choir SATB / SATB, basso continuo ad libitum ) ( Ps 73,25-26  Lut )
  • Part III: Canticum B. Simeonis Herr, now you let your servant go in peace , SWV 281 (Instrumentation: Favoritchor SSBar, Kapellchor SATTB, Basso continuo) ( Lk 2,29–32  Lut )

Discography (selection)

  • Music production Dabringhaus & Grimm (MDG, 2012): Stuttgarter Hymnus-Chorknaben, Musica Fiata, Rainer Johannes Homburg, Roland Wilson
  • cpo 2008/2010: Weser-Renaissance Bremen, Manfred Cordes
  • Harmonia Mundi France, 1987: La Chappelle Royale, Philippe Herreweghe
  • Ricarcar 2010: Vox Luminis
  • Coro 2006/1998: The Sixteen, Symphony of Harmony and Invention, Christophers
  • Raumklang 2010: Ensemble Amarcord
  • Carus 2011: Dresdner Kammerchor, Hans-Christoph Rademann

literature

Web links

Individual evidence

  1. ↑ heinrich-schuetz-haus.de
  2. ↑ audio samples
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