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Heinrich Schütz Chorwerke / Vocal Music Sächsisches Vocalensemble CYAN MAGENTA GELB SCHWARZ Booklet T 099 Seite 1 COVER Heinrich Schütz Chorwerke / Vocal Music Sächsisches Vocalensemble Matthias Jung Sächsisches Vocal ensemble CYAN MAGENTA GELB SCHWARZ TS Tonträger Heinrich Schütz (1585–1672) 8 Das ist je gewißlich wahr und ein teuer wertes Wort Chorwerke / Vocal Music (1. Timotheus 1, 15 –17) aus Geistliche Chormusik 1648, op.11 Nr. 20 (SWV 388) 4’00 Sächsisches Vocalensemble Matthias Jung 9 Selig sind die Toten, die in dem Herren sterben (Offenbarung des Johannes 14, 13 b) 1 Wie lieblich sind deine Wohnungen (Psalm 84) aus Geistliche Chormusik 1648, op.11 Nr. 23 (SWV 391) 3’41 aus Psalmen Davids 1619, op. 2 Nr. 8 (SWV 29) 6’11 bl Singet dem Herrn ein neues Lied (Psalm 98) 2 Die mit Tränen säen (Psalm 126, 5–6) aus Psalmen Davids 1619, op. 2 Nr.14 (SWV 35) 4’36 aus Geistliche Chormusik 1648, op.11 Nr.10 (SWV 378) 3’08 bm Wohl dem, der nicht wandelt im Rat der Gottlosen (Psalm 1) 3 Verleih uns Frieden genädiglich aus Psalmen Davids 1619, op. 2 Nr.7 (SWV 28) 4’53 Nachdichtung des „Da pacem, Domine” durch Martin Luther, 1529 aus Geistliche Chormusik 1648, op.11 Nr. 4 (SWV 372) 2’05 bn So fahr ich hin zu Jesu Christ Unbekannter Dichter im „Gesangbüchlein Geistlicher ... Psalmen”, Bonn 1575 4 Gib unsern Fürsten und aller Obrigkeit aus Geistliche Chormusik 1648, op.11 Nr.11 (SWV 379) 2’46 Gebetsstrophe nach 1.Timotheus 2,2 von Johann Walter, 1566 aus Geistliche Chormusik 1648, op.11 Nr. 5 (SWV 373) 1’52 bo Ich bin ein rechter Weinstock ( Johannes 15,1.2.5a.4 ) aus Geistliche Chormusik 1648, op.11 Nr.21 (SWV 389) 3’09 5 Ach Herr, straf mich nicht in deinem Zorn (Psalm 6, 2–11) aus Psalmen Davids 1619, op. 2 Nr. 3 (SWV 24) 4’08 bp Meine Seele erhebt den Herrn Deutsches Magnificat (Lukas 1,46–49 und 51–55) 6 Aus der Tiefe ruf ich, Herr, zu dir (Psalm 130) aus opus ultimum (Schwanengesang) Nr.13 (SWV 494) 6’10 aus Psalmen Davids 1619, op. 2 Nr. 4 (SWV 25) 3’42 bq Herr, nun lässest du deinen Diener 7 Also hat Gott die Welt geliebt (Johannes 3, 16) Deutsches Nunc dimittis II 1656 / Lukas 2, 29 – 31 aus Geistliche Chormusik 1648, op.11 Nr.12 (SWV 380) 2’15 SWV 433 2’51 Gesamtspielzeit / Total playing time 55’37 2 TACET 099 Seite 2 TACET 099 Seite 3 3 Heinrich Schütz (1585–1672) 8 Das ist je gewißlich wahr und ein teuer wertes Wort Chorwerke / Vocal Music (1. Timotheus 1, 15 –17) aus Geistliche Chormusik 1648, op.11 Nr. 20 (SWV 388) 4’00 Sächsisches Vocalensemble Matthias Jung 9 Selig sind die Toten, die in dem Herren sterben (Offenbarung des Johannes 14, 13 b) 1 Wie lieblich sind deine Wohnungen (Psalm 84) aus Geistliche Chormusik 1648, op.11 Nr. 23 (SWV 391) 3’41 aus Psalmen Davids 1619, op. 2 Nr. 8 (SWV 29) 6’11 bl Singet dem Herrn ein neues Lied (Psalm 98) 2 Die mit Tränen säen (Psalm 126, 5–6) aus Psalmen Davids 1619, op. 2 Nr.14 (SWV 35) 4’36 aus Geistliche Chormusik 1648, op.11 Nr.10 (SWV 378) 3’08 bm Wohl dem, der nicht wandelt im Rat der Gottlosen (Psalm 1) 3 Verleih uns Frieden genädiglich aus Psalmen Davids 1619, op. 2 Nr.7 (SWV 28) 4’53 Nachdichtung des „Da pacem, Domine” durch Martin Luther, 1529 aus Geistliche Chormusik 1648, op.11 Nr. 4 (SWV 372) 2’05 bn So fahr ich hin zu Jesu Christ Unbekannter Dichter im „Gesangbüchlein Geistlicher ... Psalmen”, Bonn 1575 4 Gib unsern Fürsten und aller Obrigkeit aus Geistliche Chormusik 1648, op.11 Nr.11 (SWV 379) 2’46 Gebetsstrophe nach 1.Timotheus 2,2 von Johann Walter, 1566 aus Geistliche Chormusik 1648, op.11 Nr. 5 (SWV 373) 1’52 bo Ich bin ein rechter Weinstock ( Johannes 15,1.2.5a.4 ) aus Geistliche Chormusik 1648, op.11 Nr.21 (SWV 389) 3’09 5 Ach Herr, straf mich nicht in deinem Zorn (Psalm 6, 2–11) aus Psalmen Davids 1619, op. 2 Nr. 3 (SWV 24) 4’08 bp Meine Seele erhebt den Herrn Deutsches Magnificat (Lukas 1,46–49 und 51–55) 6 Aus der Tiefe ruf ich, Herr, zu dir (Psalm 130) aus opus ultimum (Schwanengesang) Nr.13 (SWV 494) 6’10 aus Psalmen Davids 1619, op. 2 Nr. 4 (SWV 25) 3’42 bq Herr, nun lässest du deinen Diener 7 Also hat Gott die Welt geliebt (Johannes 3, 16) Deutsches Nunc dimittis II 1656 / Lukas 2, 29 – 31 aus Geistliche Chormusik 1648, op.11 Nr.12 (SWV 380) 2’15 SWV 433 2’51 Gesamtspielzeit / Total playing time 55’37 2 TACET 099 Seite 2 TACET 099 Seite 3 3 Heinrich Schütz – Kapellmeister of choir (the predecessor of the present Thoma- sound of the Renaissance he transferred the tua and Venice belonged to a completely diffe- the Saxon Electoral Court Orchestra nerchor) and therefore to musical instruction. musical portrayal of “affectations”, of emotio- rent spiritual world and thus to a different of Dresden The first great German-language work by nal states (“love”, “rage”, “pain”, “joy” and stylistic sphere; Schütz may well have experi- Schütz after he had studied in Venice under similar”) into polyphonic sacred music which enced his music and even admired it without The Saxon State Orchestra of Dresden, one of Giovanni Gabriele from 1609 to 1612 was the must be made audible accordingly. From the succumbing to it. He was a completer of the the top European orchestras today has just “Psalms of David” which appeared in Dresden humanistic world of the late 16th and early German late Renaissance and never stepped celebrated its 450th anniversary, and this is a in 1619, dedicated by the composer to his 17th centuries he made musical use of the over the threshold to Italian baroque. If one is good reason for illustrating and honouring its master, Prince Johann Georg I, Elector of Saxo- “rhetorical figures” with which one “adorned” to compare Schütz’ art with that of one of his past and present in speeches and writing, with ny, aimed at the court orchestra which he first a speech. In particular the “Hypotyposis” figure great contemporaries in the field of painting, score publications, concerts and CD recordings. supervised as “Organist and Director of Musi- was graphically portrayable, by means of which then with Rembrandt, who was fundamentally One of outstanding conductors of the old ca” and then as regular court Kapellmeister one could imitate in a musical form the non- quite different from his fellow-painter Rubens. Saxon Court Orchestra, which was founded in from about 1617 onwards. So here is a case of musical pictures and events mentioned in the If Schütz with his “Sacred Choral Music” fol- 1548 and was the predecessor of the Saxon court orchestral music-making on two different text. For example, the concerto “Sing to the lowed on from the polyphonic Renaissance State Orchestra, was Heinrich Schütz (1585– levels, on the one hand for scholars and on the Lord a new song” (SWV 35) is a real picture motets of the 16th century and the Renais- 1672), who from 1615 until his death served other for trained, highly professional singers book, in which one literally sees the low-lying sance madrigals, then the great multi-choir the Wettin electoral court, which from his time and musicians. And yet both collections strove ground, the flowing streams, the foaming sea, sacred concerti of his teacher Giovanni Gabrieli onward has been celebrated as “Lumen Ger- for a high artistic standard of composition the harsh judge and many more things. In the (the performances of which in St Mark’s Ca- maniae”, the light of Germany. Out of the which any performance today must do justice motet “I am a true vine” the vines really climb thedral in Venice made as much impression on many aspects under which Schütz’ works must to. up the pole, in “So I go thither” the body sinks him as his organ and particularly his compo- be compiled, the one with particular signifi- The same applies to the two motet works at down into the grave, and at the same time the sition lessons) formed the starting-point for the cance is that regarding the relationship be- the end of the CD: the “German Magnificat”, soul rises up. “Psalms of David”. With them he created tween the German language and music. In the song of praise by Mary “Meine Seele erhebt Schütz’ rank is a result of the inexhaustible something completely new, thanks to their Heinrich Schütz’ vocal works, language and den Herren/My soul doth magnify the Lord”, imaginative variety of such figures. At the same perfect setting to music of the Lutheran Bible, music entered into an intimate amalgamation with which Schütz completed and rounded off time this does not adequately characterise the and immediately aroused the admiration of his such as had never been achieved before, and not only his “Swan Song”, his last ever work, music which still deeply moves the attentive contemporaries. A number of witnesses wrote has since perhaps been reached but never but also his life’s work as a whole – it was listener today. of Schütz’ “penetrating” music. surpassed. finished in 1671 – and the “Nunc dimittis”, the Schütz’ subjective, individually human For the performance of the motets and Our CD exemplifies this with motets and song of praise by Simeon “Lord, now lettest “warming-up” of a musical “vocabulary” which concerti, our recording is restricted to the vocal multi-choral concerti.
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