Heinrich Schütz on Music Theory Print

Becker Psalter

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Content#

Becker included in his Psalter earlier Lutheran paraphrases of psalms, such as “Aus tiefer Not schrei ich zu dir”, “Ach Gott, vom Himmel sieh darein”, “Erbarm dich mein”, “Ein feste Burg ist unser Gott” and “An Wasserflüssen Babylon”. The 1602 publication, titled Der Psalter Dauids Gesangweis, was without melodies and meant to be sung to the tunes of other well-known Lutheran hymns.

Schütz#

Heinrich Schütz welcomed the theological intentions of Becker’s metrical versions of the psalms, and wrote four-part settings which he published in 1628 as Psalmen Davids: Hiebevorn in Teutzsche Reimen gebracht durch D. Cornelium Beckern. The collection was reprinted in 1640, and appeared in a revised and enlarged version in 1661. In number of prints and editions it was Schütz’s most successful work from the 17th to the early 18th century.

Cantiones sacrae (Schütz)

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History#

Schütz composed the pieces during the first years of the Thirty Years’ War, when he was in the service of the Protestant Elector of Saxony Johann Georg I, who tried to stay neutral. The texts are mostly taken from a prayerbook by Andreas Musculus, , first published in 1553 and often reprinted. Subtitled "" (Church hymns and chants from the collection of David’s psalms), it is based on psalms, the Song of Songs, the Gospels, and passages by Bernard of Clairvaux, “significantly designed for intimate and private devotion”. Some texts, then believed to be by Augustine such as meditations on the Passion, are now known to be by later writers such as Bernard and Anselm of Canterbury. Schütz set the texts for four voices (SATB) and basso continuo. He conceived the pieces for voices a cappella, but the publisher requested a basso part. The , following the lowest voice, may have been added by a pupil. Schütz published the collection as his (Fourth work) in Freiberg in 1625: forty pieces at age forty. In his foreword, he notes that the publisher “wrested” () the accompaniment from him, while he regarded a as “vain and clumsy” (). Schütz dedicated the work to the Catholic Prince Hans Ulrich von Eggenberg, an influential politician, whom he first met in 1617, when Eggenberg accompanied Emperor Ferdinand of Habsburg on a visit to Saxony. The composer has been described as “universal” (), and as his "" (first sacred work), also his first publication on Latin texts. Musicologist Matteo Messori notes:

Christ ist erstanden (Schütz)

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History#

In 1619, Schütz took up his office as Hofkapellmeister at the court of the Elector of Saxony, Johann Georg I., in Dresden, succeeding Rogier Michael. Publication and recordings –> Christ ist erstanden is part of the complete edition of the composer’s works by Carus-Verlag, begun in 1992 as the Stuttgart Schütz Edition and planned to be completed by 2017. The edition uses the of the .

Christmas Story (Schütz)

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History and words#

Christmas Story is a Historia, a setting of the Gospel intended to be performed during a service instead of the Gospel reading. The original title read: Historia der freuden- und gnadenreichen Geburt Gottes und Marien Sohnes Jesu Christi (Historia of the joyful und blessed birth of Jesus Christ, son of God and Mary). Schütz had composed a Resurrection Story (Auferstehungshistorie) already in 1623, when he had taken the position of Kapellmeister at the court of the Elector of Saxony. The music was probably first performed in a Christmas service at the court chapel of Johann Georg II, Elector of Saxony, in Dresden in 1660. Schütz mentions the elector in the long title: “wie dieselbe auf Anordnung Johann Georgs des Anderen vocaliter und instrumentaliter in die Musik versetzet ist durch Heinrich Schütz” (as set to the music for voices and instruments on an order by Johann Georg the Second). The text is almost exclusively taken from the Bible in the translation by Martin Luther, quoting both Luke and Matthew, framed by a choral Introduction and Beschluss (Conclusion). The biblical narration is based on and . The text of the conclusion is a translation of the Christmas sequence “Grates nunc omnes” by Johann Spangenberg (1545). The narrator is the Evangelist. Other characters appear in eight sections termed Intermedium (interlude): the angel to the shepherds, the hosts of angels, the shepherds, the wise men, priests and scribes, Herod, an angel to Joseph (twice). The composer agreed to a publication of the recitatives in 1664, along with the text of the other parts. According to the postscript, probably written by Alexander Hering, a Kantor in Dresden, Schütz believed that his work could only be performed well by “fürstlichen Kapellen” (ducal chapels), but he offered a copy of the music for sale on request. This publication later appeared in his Sämtliche Werke (Complete works), Volume IX, in Leipzig, published by Julius Spitta 1885 to 1894. Arnold Schering discovered the parts at the Uppsala University Library in 1908. He published them in Volume XVII of the complete works.

Dafne (Opitz-Schütz)

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Development#

Opitz was already a friend of Schütz and in all wrote twelve German madrigal texts for him. In 1625 and 1626 Opitz visited the Dresden court, to work with Schütz on a Sing-Comoedie based on the model of Jacopo Peri’s Dafne. Opitz rewrote the libretto after Rinuccini, translating it into Alexandrine verse, and his libretto was so highly regarded that it was later adapted back into Italian by later Italian librettists. Opitz and Schütz’ were probably attracted by religious content of the work, rather than the purely pagan mythology of Dafne or Euridice. The electoral secretary to the Saxon Court, Johann Seusse also exerted influence on the project.

Die sieben Worte Jesu Christi am Kreuz

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History#

Schütz wrote the work in Weissenfels around 1645, and revised it in 1655 to 1657. It was possibly composed for Protestant liturgy, such as the court of Margrave Christian Ernst von Brandenburg-Bayreuth, not the Catholic court in Dresden, or perhaps not for liturgy at all but for private devotion at court. The work was also performed in Leipzig. The oratorio is still in a fairly strict North German form, though more free than his four passion settings. The cover of a manuscript bears a poem which illustrates the meaning of the meditation: “Lebstu der Weltt, so bistu todt/ und kränckst Christum mit schmertzen / Stirbst’ aber in seinen Wunden roth / So lebt er in deim Hertzen.” (Lovest thou the World, then art thou dead, and the Lord must bear the Hurt / But dost thou die red in his Wounds, Then he liveth in thy Heart. )

Geistliche Chormusik

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History#

Schütz assembled a collection of 29 motets, which were assigned numbers 369 to 397 in the SWV, in 1648, the year that ended the Thirty Years’ War. The original title was which indicates that Schütz planned at least a second part. The collection contains earlier and new works and a German arrangement of a motet by Andrea Gabrieli. In an extended foreword, Schütz describes the work as examples of composition in counterpoint without basso continuo, following the model of his teacher Giovanni Gabrieli in stile antico, writing: (sacred choir music / with 5 6 and 7 voices / to be used both vocally and instrumentally / set / by / Heinrich Schützen / … the general bass can be used at the same time if liked and wanted / but is not necessary). Schütz dedicated the collection to Leipzig, addressing the mayor and the town council and mentioning especially the choir, known now as the Thomanerchor. The dedication, dated “Dreßden, am 21. April 1648”, is his first not to court and nobility.

Jauchzet dem Herren, alle Welt, SWV 36

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History#

Schütz studied the art of Venetian polychoral style in Venice with Giovanni Gabrieli. After his return to Germany, he first worked in Kassel, and then took up office in Dresden in 1619, as Hofkapellmeister at the court of the Elector of Saxony, Johann Georg I., succeeding Rogier Michael. On 1 June, he married Magdalena, the daughter of Christian Wildeck, a court official. Planned well, the collection Psalmen Davids, of polychoral psalm settings in German, appeared the same day, dedicated to the Elector. He set Psalm 100 four two four-part choirs, using echo effects. A manuscript of an early version of this psalm setting dates back to 1614/15.

Magnificat (Schütz)

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Magnificat#

The Magnificat or Song of Mary is one of the three New Testament canticles, the others being Nunc dimittis and Benedictus. Mary sings the song on the occasion of her visit to Elizabeth, as narrated in the Gospel of Luke (). Magnificat, a regular part in Catholic vesper services, was also used in the Lutheran church, in vespers and for Marian feasts. Schütz set the Magnificat text once in Latin and five times in German, Meine Seele erhebt den Herren (My soul magnifies the Lord), also called German Magnificat. Schütz composed them at different times for different forces, occasions and purpose. Some belong in the context of a larger collection. Two of the settings in German are lost.

Musikalische Exequien

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Recordings#

There have been many recordings, making the Exequien the most recorded work of 17th-century German vocal music, including: * Heinrich Schütz Choir, Munich, conducted by Karl Richter (Archiv Produktion, 1955) * Dresdner Kreuzchor, conducted by Rudolf Mauersberger (Berlin) * Westfälische Kantorei, conducted by Wilhelm Ehmann (Cantate) * Chiaroscuro, conducted by Hans-Martin Linde (EMI) * Knabenchor Hannover, conducted by Heinz Hennig (Ars Musici) * Madrigal Ensemble, conducted by Stoyan Kralev (Forlane) * The Schutz Academy, conducted by Howard Arman (Berlin) * Chapelle Royale, conducted by Philippe Herreweghe (Harmonia Mundi) * Monteverdi Choir, conducted by John Eliot Gardiner, (Archiv Produktion) * Alsfelder Vokalensemble, Himlische Cantorey, I Febiarmonici, conducted by Wolfgang Helbich (Naxos) * Weser Renaissance Bremen, conducted by Manfred Cordes (cpo) * Motettenchor Stuttgart, conducted by Günter Graulich (Carus) * Cappella Augustana, conducted by Matteo Messori (Brilliant Classics) * La Chapelle Rhénane, conducted by Benoît Haller (K617) * Akadêmia, conducted by Françoise Lasserre with La Fenice, conducted by Jean Tubéry (Pierre Verany/Arion) * Amarcord & Cappella Sagittariana Dresden, conducted by Norbert Schuster (Raumklang) * American Bach Soloists, conducted by Jeffrey Thomas (own label) * Vox Luminis, conducted by Lionel Meunier (Ricercar) – winner of Gramophone Awards 2012 * Dresdner Kammerchor, conducted by Hans-Christoph Rademann (Carus) * La Petite Bande, conducted by Sigiswald Kuijken (Accent) * Theatre of Early Music, Schola Cantorum, conducted by Daniel Taylor (Analekta) * Ensemble Sagittarius, conducted by Michel Laplénie (Editions Hortus) * BachPlus, conducted by Bart Naessens (Etcetera) * Voces Suaves, conducted by Johannes Strobl (Arcana) * Stuttgart Hymnus Boys Choir, conducted by Rainer Johannes Homburg & Musica Fiata, conducted by Roland Wilson (MD&G) * The Sixteen & The Symphony of Harmony and Invention, conducted by Harry Christophers (CORO)

Psalmen Davids

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History#

In 1619, Schütz took up his office as Hofkapellmeister at the court of the Elector of Saxony, Johann Georg I., in Dresden, succeeding Rogier Michael. On 1 June, he married Magdalena, the daughter of Christian Wildeck, a court official. Planned well, the Psalmen Davids appeared the same day, dedicated to the Elector. Schütz mentions in the introduction: “daß er etzliche Teutsche Psalmen auf Italienische Manier komponiert habe, zu welcher er von seinem lieben und in aller Welt hochberühmten Praeceptore Herrn Johan Gabrieln / … / mit fleiß angeführet worden … war” (that he composed several German psalms in Italian manner, to which he was induced intensely by his dear preceptor Giovanni Gabrieli, highly famous in all the world).

Symphoniae sacrae I

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History#

Schütz composed the first collection during his second study trip to Venice. During his first visit he studied the Venetian polychoral style with Giovanni Gabrieli. Returning in 1628 after Gabrieli’s death, he studied with his successor at St Mark’s Basilica, Claudio Monteverdi. Schütz was in the service of the Protestant Elector of Saxony Johann Georg I, and dedicated the collection to the Elector’s son, crown prince Johann Georg II, then 16 years old. The texts are mostly taken from the Bible, most of them setting excerpts from psalms and from the Song of Solomon. Schütz set the texts as concertos for various combinations of one to three voices, instruments (both strings and winds) and basso continuo. Schütz published the collection in 1629 in Venice as his , his sixth work, and his second work in Latin. In his Latin foreword, he mentions Gabrieli, but not Monteverdi. The composer has been described as “universal” (), and after his published a second work in Latin. The musicologist Matteo Messori notes: Schütz later composed two more collections titled as Op. 10 and Op. 12. The general title was common at the time and was used by many composers, including his teacher Giovanni Gabrieli who used it for his larger concertos.

Weib, was weinest du

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Publication and recordings#

Weib, was weinest du was published in 1968 by Bärenreiter as part of the Neue Schütz-Ausgabe. The piece is part of the complete edition of the composer’s works by Carus-Verlag, begun in 1992 as the Stuttgart Schütz Edition and planned to be completed by 2017. The edition uses the of the .

External links#

- Weib, was weinest du autograph, Open Repository Kassel