Heinrich Schütz (1585-1672): Symphoniae Sacrae (excerpts)

Symphoniae Sacrae I (Op. 6; Venice, 1629) 00:00 Cantabo Domino in vita mea SWV 260 (1) 05:59 Jubilate Deo omnis terra SWV 262 (2) 12:09 Venite ad me SWV 261 (3) Symphoniae Sacrae II (Op. 10; Dresden, 1647) 20:39 Zweierlei bitte ich, Herr, von dir SWV 360 (4) 27:16 Der Herr ist mein Licht und mein Heil SWV 359 (5) Symphoniae Sacrae III (Op. 12; Dresden, 1650) 33:31 Siehe, es erschien der Engel des Herren SWV 403 (6) 39:01 Mein Sohn, warum hast du uns das getan? SWV 406 (7) Friedemann Jäckel, soprano (Maria); Michael Cramer, alto (Jesus); Theo Adam, bass (Joseph) 47:42 Vater unser, der du bist im Himmel SWV 411 (8) 54:15 O süßer Jesu Christ SWV 405 (9) 1:01:44 Seid barmherzig SWV 409 (10) 1:09:16 Saul, Saul, was verfolgst du mich SWV 415 (11) 1:13:15 Hütet euch, daß eure Herzen SWV 413 (12) 1:19:54 Herr, wie lang willt du mein so gar vergessen SWV 416 (13) 1:27:27 Lasset uns doch den Herren, unsern Gott, loben SWV 407 (14) 1:34:45 Meister, wir wissen, daß du wahrhaftig bist SWV 414 (15) 1:41:12 Nun danket alle Gott SWV 418 (16) Peter Schreier, tenor I (1,3-5) Hans-Joachim Rotzsch, tenor II (4,5) Theo Adam, bass (2,7) Friedemann Jäckel, soprano (member of the Dresdner Kreuzchor) (7) Michael Cramer, alto (member of the Dresdner Kreuzchor) (7) Dresdner Kreuzchor (6-16) Capella Fidicinia, Leipzig: Thekla Waldbaur, recorder I (soprano flute in c) (9,15,16) Reiner Gebauer, recorder II (soprano flute in c) (9,15,16) Günter Angerhöfer, fagotto (9,10,15) Reinhold Krause, zink (14-16) Georg Fleischer, alto posaune (14-16) Heinz Müller, tenor posaune (14-16) Eberhard Uhlig, bass posaune (14-16) Franz Genzel, violino I (1-8,10-14,16) Wolfgang Gräntzel, violino II (1-8,10-14,16) Peter Klug, treble viola da gamba (6-10) Hans-Peter Linde, alto viola da gamba I (6-10,13) Friedemann Starke, alto viola da gamba II (6,7,13) Doris Linde, alto viola da gamba II-III (8-10,13) Hans Grüß, tenor viola da gamba (6-10,13) Wilhelm Neumann, violone (1-16) Hans Otto, organ (1-16) Rudolf Mauersberger, conductor Art: Church interior, by Esaias van de Velde (1587–1630) and Bartholomeus van Bassen (c.1590–1652) The "Symphoniae Sacrae", in three parts, span the entire mature creative period of the "father of our modern music". The first part, from 1629, which Schütz had brought back from his second stay in Italy, is an exploration of the art of Claudio Monteverdi. It takes up the "Nuove musiche", as Schütz wrote, "the new / and today's customary manner of music". A "Symphonia sacra" is a sacred concerto (concertising was the new thing) for voice and instruments, which are used in a colourful variety in the first part, surrounding Latin texts. In the title of the second part from 1647, the concertante character is emphasised by the indication of the instrumentation: "Worinnen zu befinden sind Deutsche Concerten / Mit 3, 4, 5. Nemlich einer zwo / dreyen Vocal und zweien Instrumental-Stimmen / Alß Violinen oder dergleichen" ("In which are to be found German Concertos / With 3, 4, 5. namely one two / three vocal and two instrumental parts / As violins or the like¨). In contrast, the third part from 1650, with its combination of choir and solo, represents a further enhancement, a culmination of concertising, above all in the expansion of the musical apparatus. For now it says: ¨Worinnen zu befinden sind Deutsche Concerten Mit 5. 6. 7. 8. Nehmlich / Dreyen / Vieren / Fünffen / Sechß Vocal- und zweyen Instrumental-Stimmen / Alß Violinen / oder dergleichen / Sambt etlichen Complementen / welche aus dem Indice des allhier beygefügten geduppelten Bassi Continui auch ersehen / und nach Beliebung mitgebraucht werden können¨("In which are to be found German concertos with 5. 6. 7. 8. namely / three / four / five / six vocal and two instrumental parts / as violins / or the like / together with several complements / which can also be seen from the index of the double bassi continui added here / and can be used according to taste").