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Heinrich SCHÜTZ (1585 - 1672): Kleine Geistliche Konzerte II, Symphoniae Sacrae II & Occasional works

[I] Kleine Geistliche Konzerte II (SWV 306-337) [Schütz Edition, Vol. 17]
Gerlinde Sämann^a, Isabel Schicketanz^b, Maria Stosiek^c, soprano; David Erler, alto^d; Tobias Mäthger^e, Georg Poplutz^f, tenor; Tobias Berndt^g, Felix Schwandtke^h, bass; Renate Pank, Nina Lehniger, Katharina Holzhey, Ilemi Kemonah Martinez, viola da gambaⁱ; Matthias Müller, viola da gamba, violoneⁱ; Stefan Maass, theorbo^j; Ludger Rémy, virginal, organ^k
rec: April 12 - 18, 2016, Leipzig, MDR Augustusplatz (Chorprobensaal)
Carus - 83.271 (2 CDs) (© 2018) (1.57'35")
Liner-notes: E (abridged)/D; lyrics - translations: E
Cover & track-list
Scores
Spotify

Allein Gott in der Höh sei Ehr (SWV 327)^abefjkl; Aufer immensam (SWV 337)^adefgjkl; Bone Jesu, verbum Patris (SWV 313)^abjkl; Die Furcht des Herren (SWV 318)^efjl; Die Seele Christi heilige mich (SWV 325)^dfgjkl; Die Stimm des Herren (SWV 331)^adfgjkl; Habe deine Lust an dem Herren (SWV 311)^abjl; Herr, ich hoffe darauf (SWV 312)^bckl; Herr, wann ich nur dich habe (SWV 321)^bcejkl; Hodie Christus natus est (SWV 315)^afjkl; Ich beuge meine Knie (SWV 319)^ghjkl; Ich bin die Auferstehung (SWV 324)^efhjkl; Ich bin jung gewesen (SWV 320)^ghjkl; Ich liege und schlafe (SWV 310)^gkl; Ich ruf zu dir, Herr Jesu Christ (SWV 326)^abcgjkl; Ich will den Herrn loben allezeit (SWV 306)^ajkl; Ist Gott für uns, wer mag wider uns sein (SWV 329)^adfgjkl; Joseph, du Sohn David (SWV 323)^abgkl; Jubilate Deo (SWV 332)^adehjkl; Meister, wir haben die ganze Nacht gearbeitet (SWV 317)^efjkl; O Jesu nomen dulce (SWV 308)^fkl; O misericordissime Jesu (SWV 309)^fl; Quemadmodum desiderat (SWV 336)^adefghjkl; Rorate coeli desuper (SWV 322)^abgjkl; Sei gegrüßet, Maria (SWV 333)^abdehijkl; Veni, Sancte Spiritus (SWV 328)^abefjl; Verbum caro factum est (SWV 314)^abjkl; Wann unsre Augen schlafen ein (SWV 316)^bhkl; Was hast du verwirket (SWV 307)^dl; Was betrübst du dich (SWV 335)^acdfgjkl; Wer will uns scheiden von der Liebe Gottes (SWV 330)^bdehjkl

[II] Symphoniae Sacrae II (SWV 341-367) [Schütz Edition, Vol. 18]
Dorothee Mields^a, Isabel Schicketanz^b, soprano; David Erler, alto^c; Tobias Mäthger^d, Georg Poplutz^e, tenor; Felix Rumpf^f, Felix Schwandtke^g, bass
Instrumental ensemble
Dir: Hans-Christoph Rademann
rec: July 20 - 26, 2017, Radeberg, Stadtkirche 'Zum Heiligen Namen Gottes'
Carus - 83.274 (2 CDs) (© 2017/18) (2.13'46")
Liner-notes: E (abridged)/D; lyrics - translations: E
Cover, track-list & booklet
Scores
Spotify

Der Herr ist mein Licht a 4 (SWV 359)^de; Der Herr ist meine Stärke a 3 (SWV 345)^a; Die so ihr den Herren fürchtet a 5 (SWV 364)^ceg; Drei schöne Dinge seind a 5 (SWV 365)^deg; Es steh Gott auf a 4 (SWV 356)^de; Freuet euch des Herren a 5 (SWV 367)^cdg; Frohlocket mit Händen a 3 (SWV 349)^e; Herr, neige deine Himmel a 5 (SWV 361)^fg; Herr, nun lässest du deinen Diener a 3 (SWV 352)^g; Herr, unser Herrscher a 3 (BWV 343)^a; Herzlich lieb hab ich dich, o Herr a 3 (SWV 348)^c; Hütet euch, daß eure Herzen a 3 (SWV 351)^g; Ich werde nicht sterben a 3 (1. Teil) (SWV 346)^b - Ich danke dir, Herr a 3 (2. Teil) (SWV 347)^a; Iss dein Brod mit Freuden a 4 (SWV 358)^bf; Lobet den Herrn, alle Heiden a 5 (SWV 363)^cdg; Lobet den Herrn in seinem Heiligthum a 3 (SWV 350)^e; Mein Herz ist bereit a 3 (SWV 341)^d; Meine Seele erhebt den Herren a 3 (SWV 344)^a; Singet dem Herren ein neues Lied a 3 (SWV 342)^e; Verleih uns Frieden gnädiglich a 4 (1. Teil) (SWV 354)^de - Gib unsern Fürsten a 4 (2. Teil) (SWV 355)^ab; Von Aufgang der Sonnen a 4 (SWV 362)^fg; Von Gott will ich nicht lassen (SWV 366)^abg; Was betrübst du dich a 4 (SWV 353)^ab; Wie ein Rubin in feinem Golde leuchtet a 4 (SWV 357)^ac; Zweierlei bitte ich, Herr a 4 (SWV 360)^de

Katja Johanning, recorder; Anna Schall, recorder, cornett; Friederike Otto, Gebhard David, cornett; Sebastian Krause, Julia Nagel, Fernando Günther, sackbut; Clemens Schlemmer, dulcian; Margret Baumgartl, Karina Müller, violin; Matthias Müller, violone; Andreas Arend, theorbo; Beate Röllecke, organ; Michael Metzler, percussion

[III] "Madrigale & Hochzeitsmusiken" (Madrigals & Wedding music) [Schütz Edition, Vol. 19]
Dorothee Mields^a, Isabel Schicketanz^b, soprano; David Erler, alto^c; Tobias Mäthger^d, Georg Poplutz^e, tenor; Felix Schwandtke^f, bass
Dresdner Kammerchor; Instrumental ensemble
Dir: Hans-Christoph Rademann
rec: June 20 - 24, 2018, Radeberg, Stadtkirche 'Zum Heiligen Namen Gottes'
Carus - 83.277 (© 2018) (78'42")
Liner-notes: E (abridged)/D - lyrics - translations: E
Cover, track-list & booklet
Scores
Spotify

Ach, wie soll ich doch in Freuden leben (SWV 474); Die Erde trinkt für sich (SWV 438); Freue dich des Weibes deiner Jugend (SWV 453); Glück zu dem Helikon (SWV 96); Haus und Güter erbet man von Eltern (SWV 21); Ich beschwöre euch, ihr Töchter zu Jerusalem (SWV 339); Itzt blicken durch des Himmels Saal (SWV 460); Lässt Salomon sein Bette nicht umgeben (SWV 452); Liebster, sagt in süßem Schhmerzen (SWV 441); Nachdem ich lag in meinem öden Bette (SWV 451); Saget den Gästen (SWV 459); Siehe, wie fein und lieblich ist's (SWV 48); Stehe auf, meine Freundin (SWV 498); Wie denn der Adler sich aus seiner Klippe schwingt (SWV 434); Wohl dem, der ein Tugendsam Weib hat (SWV 20)

[DK] Birgit Jacobi-Kircheis, Nicola Zöllner, Sandra Bernhardt, soprano; Franziska Neumann, Maria Stosiek, contralto; Jonathan Mayenschein, alto; Christian Aretz, Georg Güldner, Claudius Pobbig, tenor; Gustav Augart, Georg Preißler, Philipp Schreyer, bass
Friederike Otto, Anna Schall, Thomas Friedlaender, cornett; Sebastian Krause, Julia Nagel, Masafumi Sakamoto, sackbut; Clemens Schlemmer, dulcian; Margret Baumgartl, Wolfgang von Kessinger, violin; Juliane Laake, Frauke Hess, Sarah Perl, viola da gamba Matthias Müller, violone; Andreas Arend, Stephan Rath, Magnus Andersson, lute, theorbo; Beate Röllecke, organ

With the three productions under review here we are near the end of a major project, concerning the recording of the entire oeuvre of Heinrich Schütz, the main composer in 17th-century Germany. The volumes 17 and 18 include two of the better-known parts of his output, the second parts of the Little Sacred Concertos and the Symphoniae Sacrae respectively. Volume 19 brings together occasional compositions, among them a number of pieces written for weddings, and these are among Schütz's least-known works.

The former two were published in 1639 and 1647 respectively. They both include pieces for solo voices and basso continuo, in the Symphoniae Sacrae with additional instruments. In both, Schütz avoided works for large scorings, which has everything to do with the fact that these works were written during the Thirty Years War, which had a devastating effect on society in every respect. In the prefaces to his two volumes of the Kleine Geistliche Konzerte, Schütz stated that he would have preferred larger-scale works, but that in the current situation the performance of such pieces would be impossible and that publishers were not interested in printing such works. How much the war affected performance practice is documented by the fact that the chapel in Dresden shrank from 39 musicians in 1632 to ten in 1639.

The second volume of the Kleine Geistliche Konzerte is devoted to the Danish Count Frederik (1609-1670), who was to become King of Denmark as Frederik III in 1648. There were close ties between Schütz and Denmark. Through the Danish-born Hedevig, widow of the Saxon Elector Christian II, Schütz came into contact with the court in Copenhagen. It resulted in a stay of two years (1633 to 1635) at the Danish court, where he was closely involved in the musical arrangements of the wedding of Prince Elect Christian, Frederik's older brother. These two years were a period of great creativity in the career of Schütz, and it seems likely that the Kleine Geistliche Konzerte, whose first volume was printed in1636, were written during those two years. The structure of the two collections is the same: they open with pieces for a solo voice and close with concertos for five voices. Whereas the concertos in the first volume were all on German texts, in the second Schütz also includes pieces in Latin. In addition, three pieces can be sung on either a German or a Latin text (for instance Wann unsre Augen schlafen ein / Quando se claudunt lumina, SWV 316).

All the pieces are written in the declamatory style, which was propagated in Italy by Giulio Caccini. That is especially the case in the pieces for one and two voices. The more voices are added, the more important becomes the use of counterpoint and compositional devices such as imitation and harmony. These works have some of the traits of earlier works, such as the Cantiones Sacrae. However, all the pieces require the performers to focus on the text and its affetti and bring out their emotional content. From that perspective the performances, directed by Ludger Rémy, are rather disappointing. I was not overly enthusiastic about the performance of the first volume, and this second volume does not give reason to be more positive. Georg Poplutz is one of the best German tenors in early music, but here I find him disappointing, using quite some more vibrato than elsewhere. I have never particularly liked the voice and way of singing of Tobias Berndt, but especially in this kind of repertoire he seems to be out of place. He uses too much vibrato and his voice does not blend particularly well with the others. Gerlinde Sämann is a very fine singer, but here she is a bit bland. Overall, there is a lack of dynamic differentiation and the performances should have be much more speech-like.

To me, the Kleine Geistliche Konzerte are among the least convincing parts of this Schütz Edition.

Eight years after the second volume of the Kleine Geistliche Konzerte, Schütz published the second volume of his Symphoniae Sacrae. The first volume dates from 1629 and was the fruit of Schütz's second sojourn in Italy. There are two connections between this collection and the second volume of the Kleine Geistliche Konzerte. They were both printed during the Thirty Years War, with all its consequences regarding the scoring, and they are both dedicated to a member of the Danish royal family. In the case of the Symphoniae Sacrae II, the dedicatee is Crown Prince Christian, for whose wedding Schütz had been in Copenhagen. His first sojourn there was followed by a second, from 1642 to 1644. It is ironic that this allowed him to escape the effects of the Thirty Years War, but that he had to leave Denmark because of another military conflict: in 1644, war broke out between Denmark and Sweden.

However, his two years in Copenhagen turned out to be fruitful once again, as he composed the sacred concertos he published in 1647 as the second part of his Symphoniae Sacrae. Like the concertos of the first volume, they are based on the monodic principle as translated to sacred music by the likes of Claudio Monteverdi and Alessandro Grandi. There has been speculation whether Schütz and Monteverdi did meet during the former's stay in Italy in 1627/28. Such a meeting is not documented, but there can be no doubt that Schütz was acquainted with Monteverdi's oeuvre. In Es steh Gott auf (SWV 356), he quotes two of Monteverdi's Scherzi musicali of 1632: Zefiro torna and Armato il cor, as he explicitly states in his preface. Another important source of inspiration was Grandi, for a number of years Monteverdi's colleague at St Mark's in Venice. Partly due to the fact that Monteverdi did not allow him to write large-scale sacred works, Grandi rather focused on the genre of the sacred concerto for solo voices, mostly with two obbligato instruments. This is also the form Schütz uses in his Symphoniae Sacrae, as the collection's title indicates. The instrumental parts are for two violins or other instruments ("Violinen oder derogleichen"). This allows for the participation of instruments such as cornetts. Only in Meine Seele erhebt den Herren, the setting of the German version of the Magnificat, Schütz specifies the instrumental scoring: this piece requires an alternation of different pairs of instruments: recorders and sackbuts, in addition to the violins and cornetts.

The team of singers in this production is partly different from that in the Kleine Geistliche Konzerte. Dorothee Mields delivers more expressive and dynamically differentiated performances than Gerlinde Sämann, and Georg Poplutz is in much better form here than in the previous recording. David Erler also makes a better impression. With Felix Schwandtke and Felix Rumpf the bass parts are cast pretty well. Isabel Schicketanz and Tobias Mäthger are good complements to the team. These concertos receive a much more declamatory and speech-like treatment than the sacred concertos. The way Schütz illustrates the text is not lost on the performers. The instruments are well played and overall there is a good balance between the voices and the instruments.

However, there are some issues here as well. First, two concertos are linked, through the addition of Erster Teil (first part) and Anderer Teil (second part). This suggests that the line-up should be the same. That is mostly not the case here. Verleih uns Frieden, for instance, is performed by Georg Poplutz and Tobias Mäthger, with two cornetts, whereas the second part, Gib unsern Fürsten, is allocated to Dorothee Mields and Isabel Schicketanz, with two violins. I find that rather odd as it breaks up the intended unity between the two parts. It is by no means a coincidence that these concertos are linked this way: the same goes for Schütz's settings of these texts in his Geistliche Chor-Music of 1648. Second: in two pieces Hans-Christoph Rademann decided to add percussion. The first is Lobet den Herrn in seinem Heiligtum, a setting of Psalm 150. The second is Es steh Gott auf, whose text are three verses from Psalm 68, which opens with the words: "Let God arise, let his enemies be scattered". This decision seems a mistake: Schütz does not require percussion, and - like in comparable music, for instance battaglias for strings - it is the challenge to the interpreters to create a kind of battle scene or to illustrate musical instruments with the limited means the composer requires. Including percussion is a lazy way out and a form of musical populism.

These two issues are blots on an otherwise rather good account of the Symphoniae Sacrae II.

Volume 19 includes a considerable number of pieces which Schütz composed during the early stages of his career. Most of them are occasional works, in many cases written for weddings of people with whom Schütz was acquainted.

It opens with Siehe, wie fein und lieblich ist's, which he wrote in 1619 at the occasion of the wedding of his brother Georg. It is a setting of Psalm 133, and the images used in the text are eloquently depicted in the music. Schütz included a reworked version of this piece in the third volume of the Sacrae Symphoniae of 1650. He turned also to biblical texts in other pieces. Freue dich des Weibes deiner Jugend is a setting of two verses from Proverbs 5: "Rejoice with the wife of thy youth". Two verses from the same book of the Old Testament (ch 18 and 19) are set in Haus und Güter erbet man von Eltern. It does not surprise that these two concertos are opulently scored; the latter is for three groups of forces: two sopranos and bass, a choir of tenor and three sackbuts or bassoons and a choir of another tenor with three cornetts or violins, whereas the basso continuo requires a choir of lutes and harpsichord. Another polychoral piece is Wohl dem, der ein tugendsam Weib hat, whose text is taken from Ecclesiasticus, a deuterocanonical book from the Old Testament. The latter two pieces (SWV 20 and 21) are written for weddings in 1618.

As one may expect, several pieces are settings of texts from the Song of Solomon. In Ich beschwöre euch, ihr Töchter zu Jerusalem and Stehe auf, meine Freundin, Schütz turns to the original text in Martin Luther's translation. Schütz calls the former a Dialogus; its date of composition is not known. It is scored for six voices (with three sopranos) and basso continuo. The latter piece is in two choirs. In other cases Schütz set poems by Martin Opitz, adaptations of episodes from the Song of Songs in Salomons Hohes Lied (1627). Opitz was the leading poet at the time, who in 1624 published an influential book about poetry: Buch von der Deutschen Poeterey, in which he wanted to demonstrate that it was possible to write poems in German, as poets usually wrote in Latin. The texts of Itzt blicken durch des Himmels Saal, Nachdem ich lag in meinem öden Bette, Lässt Salomon sein Bette nicht umgeben, Liebster sagt in süßem Schmerzen and Ich beschwöre euch, ihr Töchter zu Jerusalem are all taken from this collection. Other poems by Opitz are set in Die Erde trinkt für sich and Glück zu dem Helikon. The latter piece is notable as it has the form of a canon of alto and tenor. The author of the text of Ach, wie soll ich doch in Freuden leben has remained unknown; it is one of Schütz's earliest works, and according to Oliver Geisler, the author of the liner-notes, it dates from the time before he went to Venice to study with Giovanni Gabrieli. If that is correct, this piece shows that he was aware of the principle of polychorality before his Venetian sojourn, as this piece is for three groups, including a choir of lutes.

This is a quite fascinating disc, as most of the programme is hardly known and seldom performed. Most of these pieces are probably available in only a few recordings. Thanks to the excellent performances of the singers and instrumentalists, this is certainly one of the best parts of this project.

Johan van Veen (© 2020)

Relevant links:

Tobias Berndt
David Erler
Georg Poplutz
Felix Rumpf
Felix Schwandtke
Gerlinde Sämann
Dresdner Kammerchor

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