This is a purely liturgical piece, sang on last Sunday before Easter (Palm Sunday). Up to now it is read , or sang if possible, in place of the daily Evangelium. during catholic Mass. Schütz rendering of Matthäus Passion is close to gregorian chant, without instrumental support; Schütz had splendid capability of instrumental use, so it was not due to lack of capabilities but in order to respect the liturgic spirit. His rendering of the voices is traditional, but filled with emotion. Schütz was uniquely capable of filling the text with music thad agreed with the dramatic content of the text. Therefore, this Passion, in spite of its apparent rigidity, is filled with musical tension and music that describes the subjectivity of each passage. He is a direct antecesor of Bach in the dramatic capability and musical variety and drama of this magnificent text.
Probably, Schütz's most difficult musical work to appreciate due to his austerity. Firstly, I didn't like it. But with more listenings I find a work that in its own style it's great. It's a very reflective setting of Matthäus Passion and regarded among the finest achievements of Schütz. Also, it's said that influenced in Bach's great Passions. If I'm sincere I can't to say that it's among my favourite sacred musical works. But I know that it's a very suitable work for intimate moments. Thank you!
Citare gli autori del brano è il giusto riconoscimento della loro professionalità e passione per la buona musica. Non farlo significa mortificare mortificare il loro impegno
Una obra muy delicada. Para escuchar varias veces.
This is a purely liturgical piece, sang on last Sunday before Easter (Palm Sunday). Up to now it is read , or sang if possible, in place of the daily Evangelium. during catholic Mass. Schütz rendering of Matthäus Passion is close to gregorian chant, without instrumental support; Schütz had splendid capability of instrumental use, so it was not due to lack of capabilities but in order to respect the liturgic spirit. His rendering of the voices is traditional, but filled with emotion. Schütz was uniquely capable of filling the text with music thad agreed with the dramatic content of the text. Therefore, this Passion, in spite of its apparent rigidity, is filled with musical tension and music that describes the subjectivity of each passage. He is a direct antecesor of Bach in the dramatic capability and musical variety and drama of this magnificent text.
NB: sung… & Schütz’s rendering… I feel it is a direct influence on Bach’s masterpiece of the same name.
@@mckavitt13 I completely agree.
Probably, Schütz's most difficult musical work to appreciate due to his austerity. Firstly, I didn't like it. But with more listenings I find a work that in its own style it's great. It's a very reflective setting of Matthäus Passion and regarded among the finest achievements of Schütz. Also, it's said that influenced in Bach's great Passions. If I'm sincere I can't to say that it's among my favourite sacred musical works. But I know that it's a very suitable work for intimate moments. Thank you!
Citare gli autori del brano è il giusto riconoscimento della loro professionalità e passione per la buona musica. Non farlo significa mortificare mortificare il loro impegno
Simple, austere, and beautiful solos, alternating with simple, non-austere, and beautiful choruses
Hearing Pears sing the part of the evangelist inspired Britten whilst composing Death in Venice.
Sehr schöne Aufnahme, tolle Musik ohnehin. Schreiben Sie doch mal, welches Ensemble und welcher Leiter das eingespielt haben.
servus jungs
was geht was geht was geht
moin moin
Moin leute trymacs hier
G sthet für gönneeennnn
ich hab ganix gemakt ganix
Hans-Peter Blochwitz : Tenor
Walter Heldwein : Baß
쉿츠 - 마테 수난곡 [passion] 수난곡 =성경의 가사 중 예수가 체포되어 십자가에 못 박히기까지 받은 수난을 다룬 극음악
루터교 음악형식 中 성격의 가사에 음악을 붙이는 것을 [히스토리아]라고 하며 그 중 수난을 다룬 내용을 [수난곡]이라 한다.
Like if this sounds dull after listening to Bach's St. John Passion
Most things do, but this is a wondrous work in its own way.
i think it's beautiful and actually it fits more the athmosphere of passionfriday
I dunno, it's like comparing Beethoven's 9th and Haydn's 104th. There's a crossover, but they're really different beasts altogether.
Not at all. Just finished minutes ago listening to Bach’s St. John and just before that his St. Matthew Passions.