HEINRICH SCHÜTZ Die Gesamteinspielung Box II

Total Page:16

File Type:pdf, Size:1020Kb

HEINRICH SCHÜTZ Die Gesamteinspielung Box II CCarus HEINRICH SCHÜTZ Die Gesamteinspielung Box II Dresdner Kammerchor Hans-Christoph Rademann Libretto C Heinrich Schütz (1585 – 1672) Carus Die Gesamteinspielung · Complete Recording Box II (Vol. 9–14) Vol. 9 Auferstehungshistorie (CD 12) .....................................................................Seite/page 6 Georg Poplutz, Tenore (Evangelist) · Felix Rumpf, Basso (Jesus) Gerlinde Sämann, Soprano · Marie Luise Werneburg, Soprano · Maria Stosiek, Alto · Stefan Kunath, Alto Tobias Mäthger, Tenore · Oliver Kaden, Tenore · Felix Schwandtke, Basso The Sirius Viols · Hille Perl, Viola da Gamba · Lee Santana, Tiorba · Ludger Rémy, Organo Dresdner Kammerchor · Instrumenta Musica · Hans-Christoph Rademann Vol. 10 Weihnachtshistorie (CD 13) ........................................................................Seite/page 19 Georg Poplutz, Tenore (Evangelist) Gerlinde Sämann, Soprano · Isabel Jantschek, Soprano · Marie Luise Werneburg, Soprano Stefan Kunath, Alto · Maria Stosiek, Alto · Tobias Mäthger, Tenore · Felix Schwandtke, Basso Dresdner Kammerchor · Dresdner Barockorchester · Hans-Christoph Rademann Vol. 11 Matthäuspassion (CD 14) ............................................................................Seite/page 29 Georg Poplutz, Tenore (Evangelist) · Felix Rumpf, Basso (Jesus) Ulrike Hofbauer, Soprano · Isabel Jantschek, Soprano · Stefan Kunath, Alto Tobias Mäthger, Tenore · Felix Schwandtke, Basso Margret Baumgartl, Karina Müller, Violino · Sarah Perl, Violone · Ludger Rémy, Organo Dresdner Kammerchor · Hans-Christoph Rademann DIGITAL BOOKLET CCarus Vol. 12 Symphoniae Sacrae III (CD 15–16) .............................................................Seite/page 49 Dorothee Mields, Soprano · Ulrike Hofbauer, Soprano · Isabel Jantschek, Soprano Maria Stosiek, Alto · David Erler, Alto · Stefan Kunath, Alto · Georg Poplutz, Tenore Tobias Mäthger, Tenore · Martin Schicketanz, Basso · Felix Schwandtke, Basso Dresdner Kammerchor · Dresdner Barockorchester · Hans-Christoph Rademann Vol. 13 Johannespassion (CD 17) ............................................................................ Seite/page 62 Jan Kobow, Tenore (Evangelist) · Harry van der Kamp, Basso (Jesus) Ulrike Hofbauer, Soprano · Marie Luise Werneburg, Soprano · Friedemann Condé, Tenore Lee Santana, Tiorba · Frauke Hess, Violone · Ludger Rémy, Organo Dresdner Kammerchor · Hans-Christoph Rademann Vol. 14 Symphoniae Sacrae I (CD 18–19) ................................................................Seite/page 76 Dorothee Mields, Soprano · Isabel Jantschek, Soprano · David Erler, Alto Georg Poplutz, Tenore · Tobias Mäthger, Tenore · Felix Schwandtke, Basso Hans-Christoph Rademann Printed music by Carus DIGITAL BOOKLET C Titel / title SWV Dat.* Sammlung / Collection CD Track Carus Ach Herr, du Schöpfer aller Ding 450 CD 13 4 Ach Herr, du Sohn Davids Anh. 2 CD 17 11 Adjuro vos, fi liae Jerusalem 264 1629 Symphoniae Sacrae I CD 18 4 Anima mea liquefacta est 263 1629 Symphoniae Sacrae I CD 18 3 Attendite, popule meus 270 1629 Symphoniae Sacrae I CD 18 1 Auferstehungshistorie 50 1623 CD 12 3–12 Benedicam Dominum 267 1629 Symphoniae Sacrae I CD 19 1 Buccinate in neomenia tuba 275 1629 Symphoniae Sacrae I CD 19 9 Cantabo Domino in vita mea 260 1629 Symphoniae Sacrae I CD 19 8 Cantate Domino canticum novum 463 CD 12 13 Christ ist erstanden 470 CD 12 2 Der Herr ist mein Hirt 398 1650 Symphoniae Sacrae III CD 15 1 Domine, labia mea aperies 271 1629 Symphoniae Sacrae I CD 19 6 Es ging ein Sämann aus 408 1650 Symphoniae Sacrae III CD 16 1 Es gingen zweene Menschen hinauf 444 CD 12 15 Exquisivi Dominum 268 1629 Symphoniae Sacrae I CD 19 2 Exultavit cor meum 258 1629 Symphoniae Sacrae I CD 18 9 Feget den alten Sauerteig aus 404 1650 Symphoniae Sacrae III CD 15 7 Fili mi, Absalon 269 1629 Symphoniae Sacrae I CD 19 4 Herr, wie lang willst du mein so gar vergessen 416 1650 Symphoniae Sacrae III CD 16 9 Heute ist Christus, der Herr, geboren 439 CD 13 3 Historia der Auferstehung … (Auferstehungshistorie) 50 1623 CD 12 3–12 Historia der Geburt Christi (Weihnachtshistorie) 435 1664 CD 13 6–21 Hodie Christus natus est 456 CD 13 2 Hütet euch, dass eure Herzen nicht beschweret werden 413 1650 Symphoniae Sacrae III CD 16 6 Ich hebe meine Augen auf zu den Bergen 399 1650 Symphoniae Sacrae III CD 15 2 Ich weiß, dass mein Erlöser lebet 457 CD 12 1 In dich hab ich gehoffet, Herr 446 CD 14 3 In lectulo per noctes 272 1629 Symphoniae Sacrae I CD 18 5 In te, Domine, speravi 259 1629 Symphoniae Sacrae I CD 19 5 Invenerunt me costudes civitatis 273 1629 Symphoniae Sacrae I CD 18 6 Johannespassion 481 CD 17 2–9 Jubilate Deo 276 1629 Symphoniae Sacrae I CD 19 10 Jubilate Deo omnis terra 262 1629 Symphoniae Sacrae I CD 19 7 Komm, heiliger Geist, Herre Gott 417 1650 Symphoniae Sacrae III CD 16 10 * Dat. = Datum/date (Jahr der Erstveröffentlichung / year of the print release) ** Schütz zugewiesen durch Bruno Grusnick / assigned to Schütz by Bruno Grusnick DIGITAL BOOKLET Alphabetisches Werkverzeichnis / Alphabetical index of all work titles C Textanfang (Titel) SWV Dat. Sammlung CD Track Carus Kyrie eleison, Christe eleison, Kyrie eleison (Litania) 458 CD 14 1 Kyrie eleison, Christe eleison, Kyrie eleison (Litania)** deest CD 17 1 Lasset uns doch den Herren, unsern Gott loben 407 1650 Symphoniae Sacrae III CD 15 10 Litania „Kyrie eleison, Christe eleison, Kyrie eleison“ 458 CD 14 1 Litania („Kyrie eleison“, Die deutsche Litanei)** deest CD 17 1 Magnifi cat 468 CD 13 1 Matthäuspassion 479 CD 14 4–19 Mein Sohn, warum hast du uns das getan 401 1650 Symphoniae Sacrae III CD 15 4 Meister, wir wissen, dass du wahrhaftig bist 414 1650 Symphoniae Sacrae III CD 16 7 Nun danket alle Gott 418 1650 Symphoniae Sacrae III CD 16 11 O bone Jesu, fi li Mariae 471 CD 13 5 O du allersüßester und liebster Herr Jesu 340 1646 CD 14 2 O Herr hilf, o Herr, lass wohl gelingen 402 1650 Symphoniae Sacrae III CD 15 5 O Jesu süß, wer dein gedenkt 406 1650 Symphoniae Sacrae III CD 15 9 O quam tu pulchra es 265 1629 Symphoniae Sacrae I CD 18 7 O süßer Jesu Christ, wer an dich recht gedenket 405 1650 Symphoniae Sacrae III CD 15 8 Paratum cor meum 257 1629 Symphoniae Sacrae I CD 18 2 Saul, Saul, was verfolgst du mich 415 1650 Symphoniae Sacrae III CD 16 8 Seid barmherzig, wie auch euer Vater barmherzig ist 409 1650 Symphoniae Sacrae III CD 16 2 Siehe, dieser wird gesetzt zu einem Fall 410 1650 Symphoniae Sacrae III CD 16 3 Siehe, es erschien der Engel des Herrn 403 1650 Symphoniae Sacrae III CD 15 6 Siehe, wie fein und lieblich 412 1650 Symphoniae Sacrae III CD 16 5 Surrexit pastor bonus 469 CD 12 14 Unser Herr Jesus Christus in der Nacht 495 CD 17 10 Uppsala-Magnifi cat (Magnifi cat) 468 CD 13 1 Vater unser, der du bist im Himmel 411 1650 Symphoniae Sacrae III CD 16 4 Veni de Libano 266 1629 Symphoniae Sacrae I CD 18 8 Veni, dilecte mi 274 1629 Symphoniae Sacrae I CD 18 10 Venite ad me 261 1629 Symphoniae Sacrae I CD 19 3 Weihnachtshistorie 435 1664 CD 13 6–21 Wo der Herr nicht das Haus bauet 400 1650 Symphoniae Sacrae III CD 15 3 DIGITAL BOOKLET Alphabetisches Werkverzeichnis / Alphabetical index of all work titles CCarus Vol. 9: Auferstehungshistorie · The Resurrection CD 12 1 Ich weiß, dass mein Erlöser lebet SWV 457 Ich weiß, dass mein Erlöser lebet. For I know that my Redeemer liveth, Und er wird mich hernach and that he shall stand aus der Erden auferwecken. at the latter day upon the earth: Und ich werde mit dieser And though after my skin meiner Haut umgeben werden worms destroy this body, und werde in meinem Fleisch Gott sehen. yet in my fl esh shall I see God: Denselben werd ich mir sehen, Whom I shall see for myself, und meine Augen werden ihn schauen, and mine eyes shall behold, ich und kein Fremder. Hiob 19,25–27 and not another. Translation: King James Bible 2 Christ ist erstanden SWV 470 Christ ist erstanden von der Marter alle, Halleluja. Christ is arisen, from torment delivered; Alleluia. Des sollen wir alle froh sein, So must we be rejoicing, Christ will unser Trost sein, Halleluja. Christ our comfort granting. Alleluia. Wär er nicht erstanden, If Christ were not risen, so wäre die Welt vergangen. the world would have no future; Seit dass er erstanden ist, but since he hath conquered death, so loben wir den Vater Jesu Christ. Halleluja. so praise we the Father of our Christ. Alleluia. Bayern/Österreich 12.–15. Jahrhundert Translation: Len Lythgoe DIGITAL BOOKLET Vol. 9: Auferstehungshistorie · The Resurrection · CD 12 C Auferstehungshistorie SWV 50 / The Ressurrection SWV 50 Carus Georg Poplutz (Evangelist) · Felix Rumpf (Jesus) Gerlinde Sämann (Maria Magdalena, Die drei Weiber) · Marie Luise Werneburg (Die drei Weiber) Isabel Jantschek (Die drei Weiber) · Stefan Kunath (Der Jüngling im Grabe) Tobias Mäthger (Die zwei Männer im Grabe, Die Hohenpriester, Geselle des Kleophas) Oliver Kaden (Die zwei Männer im Grabe, Zwei Engel, Kleophas) · Čeně, Svoboda (Zwei Engel) Felix Schwandtke (Die Hohenpriester) · Martin Schicketanz (Die Hohenpriester) 3 Introitus Introitus 1. Chorus: Die Auferstehung unsers Herren Jesu 1. Chorus: The joyous story of our Saviour’s Res- Christi, wie uns die von den vier Evangelisten be- urrection, as the four Evangelists in the scriptures schrieben wird. have written it. 4 Der Ostermorgen Easter Morning 2. Evangelist: Da der Sabbat vergangen war, Maria 2. Evangelist: And when the sabbath was past, Magdalena, und die andere Maria, welche genen- Mary Magdalene and the other Mary, who was net wird Jacobi und Salome, und Johanna, und the mother of James and of Salome and Joanna, andre mit ihnen, die mit Jesu kommen waren aus and others with them, which were come with Je- Galiläa, kauften und bereiteten die Spezerei, dass sus from Galilee, had bought and prepared sweet sie kämen und salbeten Jesum, denn den Sabbat spices, that they might come and anoint him, and über waren sie still nach dem Gesetze. Am Abend upon the sabbath did they rest, according to the aber der Sabbaten, welcher anbricht am Morgen law.
Recommended publications
  • The German Baroque Before Bach Dann Coakwell
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 3-2-2019 Faculty Collaborative Recital: The German Baroque Before Bach Dann Coakwell Brad Hougham Jennifer Kay Elisabeth Marshall Deborah Montgomery-Cove See next page for additional authors Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Coakwell, Dann; Hougham, Brad; Kay, Jennifer; Marshall, Elisabeth; Montgomery-Cove, Deborah; Pastore, Patrice; Webster, Marc; Hoffman, Heidi; Mehne, Wendy; Radice, Mark; and Schillinger, Christin, "Faculty Collaborative Recital: The German Baroque Before Bach" (2019). All Concert & Recital Programs. 5981. https://digitalcommons.ithaca.edu/music_programs/5981 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Authors Dann Coakwell, Brad Hougham, Jennifer Kay, Elisabeth Marshall, Deborah Montgomery-Cove, Patrice Pastore, Marc Webster, Heidi Hoffman, Wendy Mehne, Mark Radice, and Christin Schillinger This program is available at Digital Commons @ IC: https://digitalcommons.ithaca.edu/music_programs/5981 Faculty Collaborative Recital: The German Baroque Before Bach Dann Coakwell, tenor Brad Hougham, baritone Jennifer Kay, mezzo soprano Elisabeth Marshall, soprano Deborah Montgomery, soprano Patrice Pastore, soprano Marc Webster, bass Heidi Hoffman,
    [Show full text]
  • A Study of Performance Issues and an Edition of Alessandro Grandi’S Six Books of Concertato Motets
    A Study of Performance Issues And an Edition of Alessandro Grandi’s Six Books of Concertato Motets VOLUME I of II ANDREW JAMES PASSMORE DOCTOR OF PHILOSOPHY UNIVERSITY OF YORK MUSIC SEPTEMBER 2014 2 “The man that hath no music in himself, Nor is not moved with concord of sweet sounds, Is fit for treasons, stratagems, and spoils; The motions of his spirit are dull as night, And his affections dark as Erebus. Let no such man be trusted. Mark the music.” - William Shakespeare, The Merchant of Venice 3 ABSTRACT Alessandro Grandi (1586-1630) is a relatively unknown, yet significant figure in the development of seventeenth-century Italian sacred music. The dissemination of Grandi’s works, the number of reprints of his motets, and his inclusion in anthologies provide sufficient evidence that the substantial output of this composer is worthy of the public domain. If Grandi is to be performed, the creation of a reliable edition is essential. This submission is comprised of a scholarly edition of Grandi’s six books of concertato motets; a selection of ten motets with fully realised continuo parts which are intended to exemplify my research and enable others to apply these techniques to similar motets; an audio recording of a recital given in order to demonstrate the findings of my research; an accompanying study of related performance issues, including ornamentation, pitch, temperament, transposition, continuo style, figured bass, and instrumentation; and a historiographical study of the dissemination of the small-scale concertato motet across Europe, which has ultimately guided my choice of source material. Mine is the first complete edition of Grandi’s six books of concertato motets.
    [Show full text]
  • HEINRICH SCHÜTZ Die Gesamteinspielung Box III
    C Carus HEINRICH SCHÜTZ Die Gesamteinspielung Box III Dresdner Kammerchor Hans-Christoph Rademann Konkordanz Die nachfolgende Konkordanz möchte bei der The following concordance is intended to assist C Carus Suche nach bestimmten Werken innerhalb der in the search for specifi c works within the com- Gesamteinspielung behilfl ich sein. Im ersten Ver- plete recording. In the fi rst directory (according zeichnis (nach SWV-Nummern) werden die Samm- to SWV numbers), the collections, such as the lungen, wie die Psalmen Davids von 1619 oder die Psalms of David of 1619 or the Geistliche Chor- Geistliche Chor-Music von 1648 gemeinsam auf- Music of 1648, are listed together. It should be gelistet. Dabei ist zu beachten, dass die Strophen- noted that only a selection of the strophic songs lieder des sogenannten Becker-Psalter 1628/1661 of the so-called Becker-Psalter 1628/1661 was nur in Auswahl eingespielt wurden. Im Verzeichnis recorded. For the sake of orientation, the direc- nach SWV-Nummern werden zur Orientierung tory according to SWV numbers also lists those auch jene Einzelwerke aufgelistet, die nicht aufge- individual works that have not been recorded, nommen wurden, sei es weil sie nur fragmentarisch either because they have only survived as frag- überliefert sind, sei es weil sie inzwischen einem ments, or because they have in the meantime anderen Komponisten zugeschrieben wurden bzw. been attributed to another composers, or be- begründete Zweifel an der Zuschreibung an Schütz cause there are well-founded doubts as to their bestehen (jeweils angegeben). attribution to Schütz (indicated in each case). Im zweiten Verzeichnis nach Textanfängen bzw.
    [Show full text]
  • Passamezzo Moderno Across the Alps: the Italian Baroque Moves North
    The UC Davis De partment of Music Presents Passamezzo Moderno Across the Alps: The Italian Baroque Moves North Jonathan Davis, harpsichord and organ David Granger, dulcian Edwin Huizinga, violin Adriane Post, violin with guests Linda Tsatsanis, soprano John Lenti, theorbo PROGRAM Salve, O Regina from Seconda raccolta de’ sacri canti/ab admodum reverendo Claudio Monteverdi D. Laurentio Calvo in lucem editae (Venice, 1624) (1567–1643) Sonata undecima a due from Sonate, symphonie, canzoni, pass’emezzi, baletti, corenti, Biagio Marini gagliarde & retornelli…opera ottava (Venice, 1626) (1597–1663) Herr, wenn ich nur dich habe from Opella nova, ander Theil (Leipzig, 1626) Johann Hermann Schein (1586–1630) Sonata a tre sopra il Ballo del grand ducca from Il quarto libro Giovanni Battista Buonamente de varie sonate, sinfonie, gagliarde, corrente,e brandi per sonar…(Venice, 1626) (d. 1642) Exultavit cor meum in Domino, SWV 258 from Symphoniae Sacrae I, Heinrich Schütz Opus Ecclesiasticum Secundum, opus 6 (Venice, 1629) (1585–1672) Sonata ottava from Sonate concertate in stil moderno, libro secondo (Venice, 1629) Dario Castello (fl. 1621–44) Herr unser Herrscher, wie herrlich is dein Nam, SWV 343 Schütz from Symphoniae Sacrae II, opus 10 (Dresden, 1647) Sonata Giardino corrupto from Canzoni Sonatae (Nuremberg, 1653) Johann Erasmus Kindermann (1616–55) Aus der Tiefe ruf’ ich, Herr, zu dir (Psalm 130) from Geistliche Harmonien (Dresden, 1665) Christoph Bernhard (1628–92) 12:05 pm, Thursday, 19 November 2009 Ramsey Rancheria Grand Lobby, Mondavi Center This concert is being recorded professionally for the university archive. Please remain seated during the music, remembering that distractions will be audible on the recording.
    [Show full text]
  • Sven Hiemke Heinrich Schütz Geistliche Chormusik
    Sven Hiemke Heinrich Schütz Geistliche Chormusik Bärenreiter Kassel · Basel · London · New York · Praha Auch als eBook erhältlich (epub: isbn 978-3-7618-7035-8 . epdf: isbn 978-3-7618-7034-1) Aufgrund der unterschiedlichen technischen Gestaltungsmöglichkeiten von eBook und gedrucktem Buch ergeben sich für Abbildungen, Notenbeispiele, Tabellen und ähnliche Elemente geringfügige Differenzen bei der Seitenzuordnung. Bibliografi sche Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografi e; detaillierte bibliografi sche Daten sind im Internet über www.dnb.de abrufbar. © 2015 Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG, Kassel Umschlaggestaltung: +christowzik scheuch design unter Verwendung einer Abbildung von akg-images Lektorat: Jutta Schmoll-Barthel Innengestaltung und Satz: Dorothea Willerding Notensatz: Tatjana Waßmann, Winnigstedt Korrektur: Daniel Lettgen, Köln Druck und Bindung: Beltz Bad Langensalza GmbH, Bad Langensalza isbn 978-3-7618-2206-7 www.baerenreiter.com Inhalt Vorwort . 7 I. Tradition 1. Überzeitlich . Zwischen »alter« und »neuer Manier«. 10 2. Beispielhaft . Wider den Dilettantismus . 15 3. Geordnet . Aufbau und Konzeption . 19 II. Handwerk 1. Voraussetzungen . »Nothwendige Requisita«. 26 2. Sprache . »In die Music übersetzet« . 33 3. Kontroverse . Der Streit zwischen Scacchi und Siefert . 38 4. Aufführungspraxis . »Nicht alle Zeit einerley« . 43 III. Kommentare 1. Die fünfstimmigen Motetten . 51 Es wird das Zepter von Juda nicht entwendet werden (SWV 369) 51 . Er wird sein Kleid in Wein waschen (SWV 370) 52 . Es ist erschienen die heilsame Gnade Gottes (SWV 371) 53 . Verleih uns Frieden genädiglich (SWV 372) 56 . Gib unsern Fürsten und aller Obrigkeit (SWV 373) 57 . Unser keiner lebet ihm selber (SWV 374) 59 . Viel werden kommen von Morgen und von Abend (SWV 375) 61 .
    [Show full text]
  • Heinrich Schütz's Weihnachtshistorie Trombones for the Three Kings?
    Heinrich Schutz's Weihnachtshistorie:Trombones for the Three Kings? Item Type text; Electronic Dissertation Authors Johnson, Leilani Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 08:40:42 Link to Item http://hdl.handle.net/10150/193573 HEINRICH SCHÜTZ'S WEIHNACHTSHISTORIE TROMBONES FOR THE THREE KINGS? by Leilani Johnson _______________ Copyright © Leilani Johnson 2006 Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 6 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Leilani Johnson Entitled Heinrich Schütz's Weihnachtshistorie: Trombones For The Three Kings and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________ Date: Bruce Chamberlain _______________________________________________________ Date: Elizabeth Schauer _______________________________________________________ Date: John T. Brobeck Final approval and acceptance of this document is contingent upon the candidate's submission
    [Show full text]
  • Music for Trombone and Voice from the Hapsburg Empire: an Historical Overview with Tenor Trombone Transcriptions
    Abstract Title of dissertation: MUSIC FOR TROMBONE AND VOICE FROM THE HAPSBURG EMPIRE: AN HISTORICAL OVERVIEW WITH TENOR TROMBONE TRANSCRIPTIONS Wayne W. Wells, Doctor of Musica l Arts, 2005 Dissertation directed by: Professor Gregory Mill er School of Music Compositions featuring voice and obbligato trombone reached a n artistic peak in the courts and monasteries of 18th century Austria due to the convergence of s everal factors. These factors included the influence of Giovanni Gabri eli and the many northern Italian composers who worked at the Austrian courts, the long history of religious connotations of the trombone in Germany and Austria , the high level of trombone playing in the courts of 18th century Vienna and Salzburg , and the unique ability of the trombone to blend with voices. This document explores the rich history of the trombone and charts the evolution of soloistic trombone writing in vocal music, from the innovations of large scale works by Gabrieli and Schütz to the highly virtuosic obbligato writing of composers in 18th century Austrian monasteries and the courts of Vienna and Salzburg. This exploration takes place through discussion of general trends in trombone writing as well as by examination of specific selected pieces that illustrate interesting or unique stylistic features. The document accompanies recordings of two recitals of Austrian and German music for trombone and voice from the 17th and 18th centuries. The r ecitals include several transcriptions of music originally written for alto trombone and alto voice into keys that would be suitable for performance by tenor trombone and tenor voice. This was done with the goal of sparking interest in this repertoire by less experienced trombonists.
    [Show full text]
  • Music and Lutheran Devotion in the Schütz Era
    Music and Lutheran Devotion in the Schütz Era Mary E. Frandsen n the sixteenth century, musical settings of two sorts of German texts – chorales and scripture verses – Iemerged as a distinctively Lutheran musical response to the Reformation. Both types of pieces can be regarded as consequences of Luther’s calls for congregational participation in worship, and for worship resources in the vernacular. The resulting vast repertoires of »Choralbearbeitungen« and »Spruchmotetten« have come to be closely associated with Lutheranism, and rightly regarded as fundamental to its musical identity. But the music inventories of Lutheran courts, Latin schools, and city churches reveal that the sixteenth-century repertoire also included numerous Latin motets, many of which flowed from the pens of such Catholic composers as Josquin, Clemens non papa, and Lasso1. Many of these texts were also drawn from the Bible, and thus this Latin repertoire also contributed significantly to the body of settings of scripture in Lutheran use. Early in the seventeenth century, however, Lutheran composers began to expand the range of their textual options by engaging musically with devotional texts. These took the form of prayers – personal supplications that give voice to the individual Christian’s ardent expressions of love for Christ in par- ticular2. With these prayers, a third type of text – the devotional text – entered the Lutheran repertoire. Musical settings of these Christocentric prayers quickly gained a permanent place in the repertoire of sacred music, and came to constitute a considerable body of music; from the opening years of the century until the emergence of Pietism around 1680, between 700 and 800 settings of devotional texts circu- lated among Lutherans, mostly in the form of motets and sacred concertos3.
    [Show full text]