Heinrich Schütz (1585-1672): Double Choir Motets
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- เผยแพร่เมื่อ 31 พ.ค. 2024
- 00:00 Psalm 8: Herr unser Herrscher
Choir SSAT, chitarrone, organ, violone
Choir ATBB, chitarrone, organ, violone
2 cornetti & 3 sackbuts
04:41 Psalm 6: Ach Herr, straf mich nicht in deinem Zorn
Choir SATB, cornetto, 3 sackbuts, chitarrone, organ, violone
Choir SATB, 3 crumhorns, bassoon, chitarrone, regal, violone
10:21 Unser Herr Jesus Christus
2 choirs SATB a capella
19:11 Psalm 96: Cantate Domino canticum novum
Choir SATB, cornetto, 3 sackbuts, chitarrone, organ, violone
Choir SATB, 3 crumhorns, bassoon, chitarrone, regal, violone
22:29 Psalm 122: Ich freu mich des
Choir SATB, 2 cornetti, 2 sackbuts, chitarrone, organ, violone
Choir SATB, 2 cornetti, 2 sackbuts, chitarrone, organ, violone
28:22 Psalm 84: Wie lieblich sind deine wohnungen
Choir SATB a capella
Choir TTBB a capella
36:54 Deutsches Magnificat
2 choirs SATB a capella
Heinrich Schütz Choir
Symphoniae Sacrae Chamber Ensemble
Charles Spinks, chamber organ
Christopher Hogwood, regal
Roger Norrington, director
Art: An imaginary church interior (1645), by Bartholomeus van Bassen (c.1590-1652)
The use of two or more spatially separated choirs is an important aspect of Schütz's music and a technique that reappears intermittently from his first published work (¨Italian Madrigals¨, Venice, 1611) to his final work, printed in Dresden in 1671 when the composer was eighty-six. Apart from his final work (which is dealt with in greater detail below), the major source of works for two and more choirs are the "Psalms of David", published on the composer's wedding day (June 1st, 1619), though advance complimentary copies had been circulated to influential personages with the wedding invitations to boost the wedding gifts - and apparently with some success. Six of twenty-six settings are not from Psalms at all and the anticipated second volume implied in the title ("Psalms of David together with other motets and concerted works... Part 1...") never materialized. All of the collection are in eight or more parts, for two, three or four choirs. The advent of the Thirty Years War made publication of works on this grand scale unrealistic and Schütz published none such again until his third book of "Sacred Symphonies" of 1650 in which ripieno ensembles are used to add weight to the solo voices and violins in many of the motets. To this collection belongs the famous setting of Saul's conversion for three choirs, "Saul, was verfolgst du mich?". In addition Schütz's ¨opus primum¨, the "Italian Madrigals", ends with a dedicatory madrigal to his sponsor for two four-part ensembles, and two of his major works, the "Resurrection Story" (1623) and the "Musikalische Exequien" (1636) contain parts for double-choir. Nor are his published works the only ones to employ polychorality. The "Uppsala" Magnificat for three vocal and two instrumental choirs and a setting of the Pentecostal sequence "Veni, Sancte Spiritus" (c.1614) for four mixed vocal and instrumental choirs are among the better known of many manuscript survivals.
The present disc concentrates upon works for two choirs. The recordings were made in the former baroque church St John's Smith Square in Westminster, London. Deliberately the recording has aimed at producing almost complete separation of the ensembles and it is recommended that listeners experiment wherever practicable by spacing speakers even wider apart than usual and by sitting between rather than in front of them to recapture the sense of separation and fusion that is the very essence of this music. In general the instrumentation used to double the voices has been opposing bands of cornetti with sackbuts (narrow-bore trombones) against crumhorns and bassoon, with violones, chitarrones (wire-strung 'arch' lutes with extended neck), organs and a regal (portable reed organ) as continuo instruments.
HERR, UNSER HERRSCHER
This setting of Psalm 8 is from the ¨Psalms of David¨. The two vocal choirs are obbligato and the five-part choir of wind instruments an optional extra. Typical of the whole collection is the juxtaposition of chordal blocks to long note-values (as in the opening phrases) with syllabic blocks to shorter notes ("Was ist der Mensch", etc.) with melismatic extensions and pictorial colourations of such words as "krönen" (to crown) and "gehet" (walketh).
ACH HERR, STRAF MICH NICHT IN DEINEM ZORN
A setting of Psalm 6 from the ¨Psalms of David¨. The techniques referred to above for the setting of Psalm 8 are again heard to good effect, especially in the abrupt transition from "Herr, wie lang" (Lord, how long) to "Wende dich, Herr" (Turn thee, O Lord) and the savage articulation of "und zu Schanden werden plötzlich" (and put to shame suddenly). In contrast lengthy phrases are made to denote such concepts as "gnädig" (mercy) and "müde von Seufzen" (weary of my groaning).
UNSER HERR JESUS CHRISTUS
This setting of the Institution of the Lord's Supper was not discovered until after compilation of the first edition of the ¨Schütz-Werke-Verzeichnis¨ in 1960. It would appear to be the forerunner to, rather than an adaptation of, a four-part setting of the same text in the ¨Twelve Sacred Songs¨ published in 1657. The work has survived in incomplete form in two manuscript sources, but between the two the work can be completely reconstructed. It is a wonderfully mystical setting, with much use of text repetition to build up climaxes, both choirs throughout being involved in closely-knit dialogue with each other.
CANTATE DOMINO CANTICUM NOVUM
In 1615 Gabrieli's second book of "Symphoniae Sacrae Venetiis" was posthumously published. The present motet is a manuscript survival and is virtually identical with Gabrieli's setting of Psalm 96. The manuscript cover is entitled "Cantate Domino @ 8. H.S.C."; its questionable ascription to Schütz by Spitta rested on the autograph initials being similar to those on two other works by Schütz, one of which has not survived and the other source being unconvincing. Were Gabrieli not a teacher of Schütz and a lifelong influence on his work, the present piece would have little ¨raison d'être¨ in the context of this record. It is, however, short and gay - with characteristically Gabrielian flourishes in all eight parts on the first syllable of "omnis".
ICH FREU MICH DES
Psalm 122 is probably best known to an English-speaking audience in Parry's Coronation setting, and a few will know Purcell's setting. Schütz's interpretation of the Psalm (also from the 1619 collection of ¨Psalms of David¨) keeps the whole work in a gay triple time, motivated by the theme of 'gladness' in the opening line, even in the verse devoted to the "peace of Jerusalem". Only in the doxology is there a passing transition into common time before the triple asserts itself again until immediately before the final cadence.
WIE LIEBLICH SIND DEINE WOHNUNGEN
If the previous work was more familiar via Parry, Psalm 84 is surely more familiar via Brahms. The present setting is one of the most inspired of all the 1619 collection. If some may be dismissed as rhetorical or bombastic, this motet is full of delicate touches, as in the darting melisma on "Vogel" (sparrow), unexpected shifts of harmony, as in the opening sequence of chords: B flat - E flat - G; C - F - A (the recording transposes up a tone) and the electrifying eight-part declamation that punctuates the latter half of the work.
DEUTSCHES MAGNIFICAT
Schütz's ¨opus ultimum¨ was a mammoth setting of Psalm 119 (all 176 verses!), and settings of Psalm 100 and the Magnificat, all for double-choir. Of all this music only the Magnificat has survived in its entirety in a separate source, composed, as the copyist informs us "in his 86th year, this being the conclusion and his swansong". The composer's age is irrelevant, for we are confronted with a work of considerable vigour and grandeur. With it "the wheel is come full circle" and the same double-choir technique that rounded off his first publication now dominates his last. Schütz's 'swansong' is as much a tribute to Gabrieli, his Venetian teacher, as to his Maker.
Derek McCulloch, 1970
Argo (ZRG 666) 1970
HERR, UNSER HERRSCHER (Psalm 8)
Herr, unser Herrscher, wie herrlich ist dein Nam in allen Landen! Da man dir danket im Himmel. Aus dem Munde der jugen Kinder und Säuglinge hast du eine Macht zugerichtet um deiner Feinde willen, dass du vertilgest den Feind und den Rachgierigen.
Denn ich werde sehen die Himmel, deiner Finger Werk, den Monden und die Sterne, die du bereitest. Was ist der Mensch, dass du sein gedenkest, und des Menschen Kind, dass du dich sein annimmst? Du wirst ihn lassen ein kleine Zeit von Gott verlassen sein, aber mit Ehren und Schmuck, wirst du ihn krönen.
Du wirst ihn zum Herren machen über deiner Hände Werk. Alles hast du unter seine Füsse getan, Schaf und Ochsen allzumal, darzu auch die wilden Tier, die Vögel unter dem Himmel und die Fisch im Meer, und was im Meer gehet. Herr, unser Herrscher, wie herrlich ist dein Nam in allen Landen!
Ehre sei dem Vater und dem Sohn und auch dem heilgen Geiste; wie es war im Anfang, jetzt und immerdar, und von Ewigkeit zu Ewigkeit, Amen!
O Lord our Governor, how excellent is thy Name in all the world: thou that hast set thy glory above the heavens! Out of the mouth of very babes and sucklings hast thou ordained strength, because of thine enemies: that thou mightest still the enemy, and the avenger.
For I will consider thy heavens, even the works of thy fingers: the moon and the stars, which thou hast ordained. What is man that thou art mindful of him: and the son of man, that thou visitest him? Thou shalt have him forsaken of God for a while: to crown him with glory and worship.
Thou makest him to have dominion of the works of thy hands: and thou hast put all things in subjection under his feet. All sheep and oxen: yea, and the beasts of the field: The fowls of the air, and the fishes of the sea; and whatsoever walketh through the paths of the seas. O Lord, our Governor: how excellent is thy Name in all the world!
Glory be to the Father, and to the Son: and to the Holy Ghost; As it was in the beginning, is now, and ever shall be: world without end. Amen.
ACH HERR, STRAF MICH NICHT (Psalm 6)
Ach Herr, straf mich nicht in deinem Zorn und züchtige mich nicht in deinem Grimme. Herr, sei mir gnädig, denn ich bin schwach; heile mich, Herr; meine Gebeine sind erschrocken, und meine Seele ist sehr erschrocken. Ach du Herr, wie lang!
Wende dich, Herr, und errette meine Seel, hilf mir um deiner Güte willen. Denn im Tode gedenket man dein nicht: wer will dir in der Hölle danken? Ich bin so müde von Seufzen: Ich schwemme mein Bett die ganze Nachtund netze mit meinen Tränen mein Lager. Meine Gestalt ist verfallen von Trauern und ist alt worden,denn ich alltenthalben geängstet werde.
Weichet von mir, alle Übeltäter; denn der Herr hört mein Weinen, der Herr hört mein Flehen, mein Gebet nimmt der Herr an. Es müssen alle meine Feinde zu Schanden werden und sehr erschrekken, und zu Schanden werden plötzlich.
Ehre sei dem Vater und dem Sohn und auch dem heilgen Geiste, wie es war im Anfang jetzt und immerdar, und von Ewigkeit zu Ewigkeit. Amen.
O Lord, rebuke me not in thine indignation: neither chasten me in thy displeasure. Have mercy upon me, O Lord, for I am weak: O Lord, heal me, for my bones are vexed. My soul also is sore troubled: but, Lord, how longwilt thou punish me?
Turn thee, O Lord, and deliver my soul: O save me for thy mercy's sake.For in death no man remembereth thee: and who will give thee thanks in the pit? I am weary of my groaning: every night wash I my bed: and water my couch with my tears. My beauty is gone for very trouble: and worn away because of all mine enemies.
Away from me, all ye that work vanity: for the Lord hath heard the voice of my weeping. The Lord hath heard my Petition: the Lord will receive my prayer. All mine enemies shall be confounded, and sore vexed: they shall beturned back, and put to shame suddenly.
Glory be to the Father, and to the Son: and to the Holy Ghost; As it was in the beginning, is now and ever shall be: world without end. Amen.
UNSER HERR JESUS
Unser Herr Jesus Christus in der Nacht, da er verraten ward, nahm er das Brot, danket und brach's und gab's seinen Jüngern und sprach: Nehmet hin, und esset, das ist mein Leib, der für euch gegeben wird. Solch's tut zu meinem Gedächtnis.
Desselbigengleichen nahm er auch den Kelch nach dem Abendmahl, dankt und gab ihnen den, und sprach: Nehmet ihn und trinket alle daraus. Dieser Kelch ist das Neue Testament in meinem Blut,das für euch vergossen wird, zur Vergebung der Sünden.Solch's tut, so oft ihr's trinkt, zu meinem Gedächtnis.
Our Lord Jesus Christ, in the same night that he was betrayed,took Bread, and, when he had given thanks, he brake it, and gave it to his disciples, saying: Take, eat, this is my Body which is given for you. Do this in remembrance of me.
Likewise after supper he took the Cup, and, when he had given thanks, he gave it to them, saying: Drink ye all of this, for this is my Blood of the New Testament, which is shed for you and for many for the remision of sins. Do this as oft as ye shall drink it, in remembrance of me.
CANTATE DOMINO (Psalm 96)
Cantate Domino canticum novum,
Cantate Domino omnis terra,
Cantate Domino et benedicite Nomine eius,
Annunciate de die in diem salutare eius,
Cantate Domino canticum novum,
canticum novum omnis terra.
O sing unto the Lord a new song:
sing unto the Lord, all the whole earth.
Sing unto the Lord, and praise his Name:
be telling of his Salvation from day to day.
O sing unto the Lord a new song:
sing unto the Lord, all the whole earth.
ICH FREU MICH DES (Psalm 122)
Ich freu mich des, das mir geredt ist,dass wir werden ins Haus des Herren gehen.Und dass unsre Füsse werden stehen,Jerusalem.
Jerusalem ist gebauet, dass eine Stadt sei, da man Zusammenkommen soll. Da die Stämme hinaufgehen sollen, nämlich die Stämme des Herren, zu predigen dem Volk Israel, zu danken dem Namen des Herren. Denn daselbst sitzen die Stühle zum Gerichte, Stühle des Hauses Davids.
Wünschet Jerusalem Glück, es müsse wohlgehen denen, die dich Heben. Es müsse Friede sein inwendig deinen Mauern, und Glück in deinen Palästen. Um meiner Brüder und Freunde willen, will ich dir Friede wünschen. Um des Hauses willen des Herren unsers Gotteswill ich dein Bestes suchen.
Ehre sei dem Vater und dem Sohn und auch dem Heilgen Geiste. Wie es war im Anfang, jetzt und immerdar und von Ewigkeit zu Ewigkeit, Amen.
I was glad when they said unto me:We will go into the house of the Lord: Our feet shall stand in thy gates: O Jerusalem.
Jerusalem is built as a city: that is at unity in itself. For thither the tribes go up,even the tribes of the Lord: to testify unto Israel, to give thanks unto the Name of the Lord. For there is the seat of judgement: even the seat of the house of David.
Pray that Jerusalem flourish; they shall prosper that love thee. Peace be within thy walls: and plentiousness within thy palaces. For my brethren and companions sakes, I will wish thee prosperity. Yea, because of the house of the Lord our God: I will seek to do thee good.
Glory be to the Father, and to the Son: and to the Holy Ghost; As it was in the beginning, is now, and ever shall be: world without end. Amen.
WIE LIEBLICH (Psalm 84)
Wie lieblich sind deine Wohnungen. Herre Zebaoth! Mein Seel verlanget und sehnet sich nach den Vorhöfen des Herren; mein Leib und Seele freuen sich in dem lebendigen Gott.
Denn der Vogel hat ein Haus funden, und die Schwalbe ihr Nest, dass sie Junge hecken, nämlich deine Altar, Herre Zebaoth,mein König und mein Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar, Sela.
Wohl den Menschen, die dich für ihre Stärke halten und von Herzen dir nachwandeln, die durch das Jammertal gehen und graben daselbst Brunnen. Und die Lehrer werden mit viel Segen geschmücket; sie erhalten einen Sieg nach dem andern, dass man sehen muss, der rechte Gott sei zu Zion.
Herr Gott Zebaoth, höre mein gebet; vernimm's Gott Jakobs, Sela! Gott, unser schild', schau doch; siehe an das reich deines gesalbten. Denn ein tag in deinen vorhöfen ist besser denn sonst tausend.
Ich will lieber der Tür hüten in meines Gottes Hause,denn lange wohnen in der Gottlosen Hütten. Denn Gott der Herr ist Sonn und Schild, der Herr gibt Gnad und Ehre; er wird kein Gutes mangeln lassen den Frommen. Herr Zebaoth, wohl dem Menschen, der sich auf dich verlässt!
O how amiable are thy dwellings:thou Lord of hosts! My soul hath a desire and longing to enter into the courts of the Lord: my heart and my flesh rejoice in the living God.
Yea, the sparrow hath found her an house,and the swallow a nest where she may lay her young, even thy altars O Lord of hosts, my King and my God. Blessed are they that dwell in thy house, they will be always praising thee, Sela.
Blessed is the man whose strength is in thee, in whose heart are thy ways. Who going through the vale of misery use it for a well, and the pools are filled with water. They will go from strength to strength, so that all must see that the true God dwelleth in Sion.
O Lord God of Hosts hear my prayer. Hearken, O God of Jacob. Alleluia! Behold, O God our Defender, and look upon the face of thine anointed. For one day in thy courts is better than a thousand.
I had rather be a doorkeeper in the house of my God than to dwell in the tents of ungodliness. For the Lord God is a light and defence; the Lord will give grace and worship, and no good thing shall be withheld from them that live a godly life. O Lord God of hosts: blessed is the man that putteth his trust in thee.
DEUTSCHES MAGNIFICAT
Meine Seele erhebt den Herren, und mein Geist freuet sich Gottes, meines Heilandes. Denn er hat die Niedrigkeit seiner Magd angesehen; siehe, von nun an, werden mich selig preisen alle Kindeskind; Denn er hat grosse Ding an mir getan, der da mächtig ist und des Name heilig ist.
Er übet Gewalt mit seinem Arm, und zerstreuet, die hoffärtig sind, in ihres Herzens Sinn. Er stösset die Gewaltigen vom Stuhl und erhöhet die Niedrigen. Die Hungerigen füllet er mit Gütern; und lässet die Reichen leer. Er denket der Barmherzigkeit und hilft seinem Diener Israel auf, wie er geredt hat unsern Vätern, Abraham und seinem Samen ewiglich.
Ehre sei dem Vater und dem Sohn und auch dem heilgen Geiste, wie es war im Anfang, jetzt und immerdar, und von Ewigkeit zu Ewigkeit, Amen!
My soul doth magnify the Lord and my spirit hath rejoiced in God my Saviour. For he hath regarded the lowliness of his handmaiden. For behold, from henceforth all generations shall call me blessed. For he that is mighty hath magnified me and holy is his Name.
He hath shewed strength with his arm; he hath scattered the proud in the imagination of their hearts. He hath put down the mighty from their seat and hath exalted the humble and meek. He hath filled the hungry with good things and the rich he hath sent empty away. He remembering his mercy hath holpen his servant Israel as he promised to our forefathers, Abraham and his seed, for ever.
Glory be to the Father, and to the Son and to the Holy Ghost. As it was in the beginning, is now, and ever shall be: world without end. Amen.
This setting of Schutz'z Herr Unser Herrscher is the one I sang in (Sir) Roger Norringtons Heinrich Schutz choir in the 1970s. Such a joyous piece to sing which stayed in my head for half a century. Schutz's time in Venice had a profound effect on him and as a singer just a wonderfully thrilling experience that gave me lifetime passion for his music.
This is wonderful, but unfortunately interrupted by commercials in the MIDDLE of pieces rather than between them. SO offensive!
Grandioso!