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HEINRICH SCHÜTZ Lukas-Passion Ars Nova Copenhagen, Paul Hillier DACAPO 8.226019 HEINRICH SCHÜTZ (1585-1672) Lukas-Passion SWV 480 (1666) 1 Eingang 1:34 Lukas-Passion (1666) 2 Evangelist: Es war aber nahe das Fest der süßen Brot 14:03 Historia des Leidens und Sterbens unsers Herrn und Heilandes 3 Evangelist: Und er ging hinaus nach seiner Gewohnheit 9:17 Jesu Christi nach dem Evangelisten St. Lukas 4 Evangelist: Die Männer aber, die da Jesum hielten 3:19 5 Evangelist: Und der ganze Haufe stund ab 7:19 Evangelist: Johan Linderoth Jesus: Jakob Bloch Jespersen 6 Evangelist: Aber sie lagen ihm an mit großen Geschrei 11:09 Ars Nova Copenhagen 7 Evangelist: Da aber der Hauptmann sahe 3:54 Paul Hillier, conductor 8 Beschluß 2:07 Sopranos Total: 52:41 Louise Skovbæch Korsholm, Else Torp (Die Magd), Hilde Ramnefjell Dolva Altos Ellen Marie Brink Christensen, Rikke Lender, Linnea Lomholt (1. Schächer) Tenors Kasper Eliassen, Tomas Medici (1. Knecht, 2. Schächer), Poul Emborg (Petrus) Basses Asger Lynge Petersen (2. Knecht), Henrik Lund Petersen (Pilatus), Thomas Kiørbye Dacapo is supported by the Danish Arts Council Committee for Music HEINRICH SCHÜTZ (1585-1672) Lukas-Passion SWV 480 (1666) 1 Eingang 1:34 Lukas-Passion (1666) 2 Evangelist: Es war aber nahe das Fest der süßen Brot 14:03 Historia des Leidens und Sterbens unsers Herrn und Heilandes 3 Evangelist: Und er ging hinaus nach seiner Gewohnheit 9:17 Jesu Christi nach dem Evangelisten St. Lukas 4 Evangelist: Die Männer aber, die da Jesum hielten 3:19 5 Evangelist: Und der ganze Haufe stund ab 7:19 Evangelist: Johan Linderoth Jesus: Jakob Bloch Jespersen 6 Evangelist: Aber sie lagen ihm an mit großen Geschrei 11:09 Ars Nova Copenhagen 7 Evangelist: Da aber der Hauptmann sahe 3:54 Paul Hillier, conductor 8 Beschluß 2:07 Sopranos Total: 52:41 Louise Skovbæch Korsholm, Else Torp (Die Magd), Hilde Ramnefjell Dolva Altos Ellen Marie Brink Christensen, Rikke Lender, Linnea Lomholt (1. Schächer) Tenors Kasper Eliassen, Tomas Medici (1. Knecht, 2. Schächer), Poul Emborg (Petrus) Basses Asger Lynge Petersen (2. Knecht), Henrik Lund Petersen (Pilatus), Thomas Kiørbye Dacapo is supported by the Danish Arts Council Committee for Music HEARING Schütz IN A BACH WORLD there are intoned in a kind of chant whose Those moments of reflection represent response to the story just concluded. The melodic contours are modest and whose another significant difference.I n Bach’s focus remains on the narrative. It is always unfortunate when our familiarity largely unspecified rhythms are presumably passion settings the narrative is frequently in- Two elements in Schütz’s setting are more with one composer’s music gets in the way of meant to follow stylized speech. A few simple terrupted by commentary movements either closely related to Bach’s passion. The first hearing another’s. But for most of us in the formulas govern most of the Evangelist’s in the form of chorales (hymn stanzas almost is the presentation of the words of various 21st century our experience with J.S. Bach’s extensive music in Schütz’s St. Luke Pas- always presented with their associated characters. The direct speech of Jesus, Peter, two passions makes us likely to hear settings sion, formulas that emphasize recitation on melodies) or free poetry set as solo arias (and Pilate and others plays a large role in the tell- by other composers primarily in comparison one pitch with decoration at moments of sometimes as instrumentally-accompanied ing of the passion story, particularly in Luke’s to them. If we approach the passions of Hein- grammatical punctuation. In comparison recitatives). These movements, together with Gospel. In Schütz’s setting (as in Bach’s) these rich Schütz in particular with ears attuned to to Bach’s music the effect is stark and much framing ensemble pieces at the beginning words are assigned to particular singers. The Bach’s compositions we are likely to be puz- less obviously expressive. Schütz was cer- and end of the work, represent perhaps the liturgical tradition from which Schütz drew zled and maybe even disappointed, because tainly capable of writing expressive monodic most characteristic aspect of Bach’s pas- this practice used three people in total: one to the older composer’s approach and choice of music with basso continuo – in fact he com- sions. The arias reflect on the action in vivid sing the Evangelist’s words, one to sing those musical medium were very different. posed a passion-season work (The Seven Last and gripping terms with musical settings of Jesus, and a third to present all the other The structure of both Schütz’s and Bach’s Words) that draws largely on exactly this kind meant to evoke emotional reactions. The speaking characters. Schütz evidently used passions is governed by the musical recitation of writing. But his St. Luke Passion uses no carefully selected chorales are designed to distinct singers for the various roles (as did of the Gospel text. In Bach’s settings these instruments in deference to a tradition at the draw the congregational listener into the nar- Bach), and just as in the traditional liturgical words are presented by a musician represent- Dresden court (for which Schütz evidently ration by their use of familiar texts and tunes. manner of presentation, their words are ing the Evangelist who sings the narrative composed his passion settings) of silencing These commentary movements have no musically distinguished by range and by the accompanied by basso continuo instruments them during Holy Week. musical or emotional parallel in Schütz’s choice of a reciting note. It would be going in melodically and harmonically expressive This much plainer style to which Schütz passion. That work is introduced by a short too far to call Schütz’s passions dramatic, but music that emphasizes the emotional and turned would nonetheless have been ensemble number that announces the the delivery of the words of characters by spe- affective implications of the words. The clos- intimately familiar to listeners because presentation of the passion story according cific singers (not theE vangelist) does bring an est musical relatives of these Gospel settings recitation according to a melodic formula to Luke – essentially a liturgical formula, element of drama to the telling of the story. are actually the recitatives in Bach’s church was the usual way of presenting the passion neutral in its affect. The only other non- The other resemblance to Bach’s passions cantatas, in which Bach sets free poetic texts story in the liturgy. This kind of setting has Gospel movement is the last, an ensemble is in the presentation of words of groups and and heightens them with musical gestures. its own virtues; among other things, it puts setting of a chorale stanza that urges reflec- crowds. In Schütz’s St. Luke Passion these In the passion the words of the Evangelist are a strong emphasis on continuous narration tion on the passion story and on one’s own are set as short pieces for a four-part ensem- narrative prose, but Bach sets them much like in the words of the Gospel, in contrast to the mortality. But this piece is short, does not ble, today often sung by a chorus. They are the cantatas’ poetry for expressive effect. tendency in Bach’s passion settings to focus use the hymn melody associated with this labeled “Disciples,” “High Priests” and so Schütz’s St. Luke Passion takes an entirely on individual moments in the story and to text, and in its relatively neutral musical style on, and clearly stand out by their scoring different approach. The Evangelist’s words pause often for reflection on them. is not designed to provoke an emotional from the intoned narration and words of in- 4 5 HEARING Schütz IN A BACH WORLD there are intoned in a kind of chant whose Those moments of reflection represent response to the story just concluded. The melodic contours are modest and whose another significant difference.I n Bach’s focus remains on the narrative. It is always unfortunate when our familiarity largely unspecified rhythms are presumably passion settings the narrative is frequently in- Two elements in Schütz’s setting are more with one composer’s music gets in the way of meant to follow stylized speech. A few simple terrupted by commentary movements either closely related to Bach’s passion. The first hearing another’s. But for most of us in the formulas govern most of the Evangelist’s in the form of chorales (hymn stanzas almost is the presentation of the words of various 21st century our experience with J.S. Bach’s extensive music in Schütz’s St. Luke Pas- always presented with their associated characters. The direct speech of Jesus, Peter, two passions makes us likely to hear settings sion, formulas that emphasize recitation on melodies) or free poetry set as solo arias (and Pilate and others plays a large role in the tell- by other composers primarily in comparison one pitch with decoration at moments of sometimes as instrumentally-accompanied ing of the passion story, particularly in Luke’s to them. If we approach the passions of Hein- grammatical punctuation. In comparison recitatives). These movements, together with Gospel. In Schütz’s setting (as in Bach’s) these rich Schütz in particular with ears attuned to to Bach’s music the effect is stark and much framing ensemble pieces at the beginning words are assigned to particular singers. The Bach’s compositions we are likely to be puz- less obviously expressive. Schütz was cer- and end of the work, represent perhaps the liturgical tradition from which Schütz drew zled and maybe even disappointed, because tainly capable of writing expressive monodic most characteristic aspect of Bach’s pas- this practice used three people in total: one to the older composer’s approach and choice of music with basso continuo – in fact he com- sions.

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