das Melancholisch, Schwermütige der Zeit um den Dreissigjährigen Krieg schimmert immer wieder durch. Die Musik ergreift Seele, Geist und Herz. Ich kann den wunderbaren Tönen nicht entfliehen und muss Heu mini .. immer wieder hören und sehen.
These Schütz's motets belong to his Cantiones Sacrae collection; another of the Schütz's great collections of sacred music. The motets contained in it have a madrigalistic expression. The vocal clearness in this performance it's outstanding. Thank you!
As of this date, I have heard so many different vocal ensembles, but this particular one of the most outstanding, since it can seem to be more challenging to work with a small group such as this, as to a larger one, as each voice is more exposed; so that the challenge is more to each singer, but these individuals clearly know what they are doing, and there's hardly any one better at presenting this or any other performance than Avroklassiek...Thank You!....
Thanks so much for this timely posting! Exquisite voices and musicianship! Our select group does the Heu next month, and I hope to one day sing the Quid--Schutz is lovely to hear sung so well! Very nice, avroklassiek! Good balance, clarity, separation and sonority.
SWV 65, Psalmus 65 Heu mihi, Domine, quia peccavi nimis in vita mea, quid faciam miser, ubi fugiam, nisi ad te, Deus meus, dum veneris in novissimo die, miserere mei. Polish text: Panie, do Ciebie się uciekam, niech nigdy nie doznam zawodu, wybaw mnie w Twojej sprawiedliwości
Great stuff. Schütz intended this to be sung acapella though. Yes, he wrote the continuo part, which appears in every score you can purchase, but he wrote the piece (as he did all of his cantiones sacrae of 1625) as acapella works and did not want continuo. He was not fond of the new continuo "fad". His publisher, however, was fond of the fad because that's what was selling at the time. They would not publish it without the added continuo, so Schütz wrote it in grudgingly. Beautiful sound!
Not quite. Schütz didn't like the "lazy" organist who would just play their chords alongside polyphonic music. He wanted them to do the hard work and play an organ part, which is a reduced version of the full score, doubling the voices as much as possible with two hands.
I think what you say is true only for some of the pieces of this collection. While such a statement can be found in M. Bukofzer's "Music in the Baroque Era", according to Joshua Rifkin, who addresses Schutz's output in a more detailed way (in "the New Grove North European Baroque Masters"), some of the Cantiones are composed in the modern concertato style, where basso continuo is indispensable. See for example SWV 85-7.
![J.S. Bach: Motet BWV 227 'Jesu, meine Freude' - Vocalconsort Berlin [HD]](http://i.ytimg.com/vi/a4SKrGYMp7A/mqdefault.jpg)
![J.S. Bach: Motet BWV 227 'Jesu, meine Freude' - Vocalconsort Berlin [HD]](/img/tr.png)
Perfekte Leistung dieses perfekt komponierten Meisterstücks mit himmlischen Stimmen aller Sänger. Einfach wunderschön!
das Melancholisch, Schwermütige der Zeit um den Dreissigjährigen Krieg schimmert immer wieder durch. Die Musik ergreift Seele, Geist und Herz. Ich kann den wunderbaren Tönen nicht entfliehen und muss Heu mini .. immer wieder hören und sehen.
These Schütz's motets belong to his Cantiones Sacrae collection; another of the Schütz's great collections of sacred music. The motets contained in it have a madrigalistic expression. The vocal clearness in this performance it's outstanding. Thank you!
What a humble conductor, as he joins to the choir at the end, great singers, congratulation!!!
As of this date, I have heard so many different vocal ensembles, but this particular one of the most outstanding, since it can seem to be more challenging to work with a small group such as this, as to a larger one, as each voice is more exposed; so that the challenge is more to each singer, but these individuals clearly know what they are doing, and there's hardly any one better at presenting this or any other performance than Avroklassiek...Thank You!....
Great music, duh-immaculate performance and clearly so deeply felt, thank you.
Thanks so much for this timely posting! Exquisite voices and musicianship! Our select group does the Heu next month, and I hope to one day sing the Quid--Schutz is lovely to hear sung so well! Very nice, avroklassiek! Good balance, clarity, separation
and sonority.
Amazing performance. Lovely voices all! I really love these particular works by Schutz especially Quid Commisisti.
wie schön,,, wunderschöne stimmen-
SWV 65, Psalmus 65
Heu mihi, Domine,
quia peccavi nimis in vita mea,
quid faciam miser,
ubi fugiam, nisi ad te,
Deus meus, dum veneris in novissimo die,
miserere mei.
Polish text:
Panie, do Ciebie się uciekam,
niech nigdy nie doznam zawodu,
wybaw mnie w Twojej sprawiedliwości
bravissimi!! beautiful rendition!! superb!!
Das ist wunderschön.
Of great beauty! Thanks for sharing! Devine...:)
Fantastic, amazingly beautiful....!
These guys are not bad at all! I drew a lot of pleasure from their efforts.
Quelle merveille!
Great stuff. Schütz intended this to be sung acapella though. Yes, he wrote the continuo part, which appears in every score you can purchase, but he wrote the piece (as he did all of his cantiones sacrae of 1625) as acapella works and did not want continuo. He was not fond of the new continuo "fad". His publisher, however, was fond of the fad because that's what was selling at the time. They would not publish it without the added continuo, so Schütz wrote it in grudgingly.
Beautiful sound!
Not quite. Schütz didn't like the "lazy" organist who would just play their chords alongside polyphonic music. He wanted them to do the hard work and play an organ part, which is a reduced version of the full score, doubling the voices as much as possible with two hands.
💙💙💙
Thrilling each performance 😀
exceptionnel!
que maravilla!!
thank you!!
Endlich mal ein guter Chor bei Utube.
I think what you say is true only for some of the pieces of this collection. While such a statement can be found in M. Bukofzer's "Music in the Baroque Era", according to Joshua Rifkin, who addresses Schutz's output in a more detailed way (in "the New Grove North European Baroque Masters"), some of the Cantiones are composed in the modern concertato style, where basso continuo is indispensable. See for example SWV 85-7.
version malheureusement beaucoup plus inféodée au métronome qu'aux affects du textes.....Dommage