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Heinrich SCHÜTZ (1585 - 1672): "Weihnachtshistorie"
Vox Luminis
Dir: Lionel Meunier
rec: July 3 - 7, 2024, Gedinne (B), Église Notre-Dame
Ricercar - RIC 467 (© 2024) (74'01")
Liner-notes: E/D/F; lyrics - translations: E/F
Cover, track-list & booklet
Scores Hammerschmidt
Scores Schütz
Spotify
Andreas HAMMERSCHMIDT (c1611-1675):
Alleluia, freuet euch, ihr Christen alle [1];
Ehre sei Gott in der Höhe [1];
Freude, Freude, große Freude [2];
Machet die Tore weit [3];
Michael PRAETORIUS (1571-1621):
Es ist ein Ros entsprungen;
Heinrich SCHÜTZ:
Historia der freuden- und gnadenreichen Geburth Gottes und Marien Sohnes, Jesu Christi (SWV 435);
Magnificat (SWV 468);
O bone Jesu, fili Mariae (SWV 471);
Sources:
Andreas Hammerschmidt, [1] Musicalische Andachten, Vierter Teil, 1646;
[2] Musicalische Andachten, Fünfter Teil, 1653;
[3[ VI. Stimmige Fest und Zeit Andachten für das Chor, 1671
Victoria Cassano, Tessa Roos, Erika Tandiono, Zsuzsi Tóth, soprano;
Jan Kullmann, André Pérez Muíño, Vojtech Semerad, Korneel Van Neste, alto;
Olivier Berten, Christopher Fischer, Philippe Froeliger, Raphael Höhn, Florian Sievers, tenor;
Joachim Höchbauer, Lionel Meunier, Sebastian Myrus, Sönke Tams Freier, bass
Martin Bolterauer, Clement Gester, recorder, cornett;
Simen Van Mechelen, Joren Elsen, Claire McIntyre, Joost Swinkels, sackbut;
Rudolf Lörinc, Russell Gilmour, trumpet;
Anaïs Ramage, bassoon;
Johannes Frisch, Birgit Goris, violin, viola;
Joshua Cheatham, Ricardo Rodriguez Miranda, Lies Wyers, Alex Baker, viola da gamba;
James Munro, violone;
Simon Linné, theorbo;
Anthony Romaniuk, harpsichord;
Marc Meisel, Kris Verhelst, organ
The Weihnachtshistorie by Heinrich Schütz is comparable to Johann Sebastian Bach's Christmas Oratorio: in both works the text of the Gospels is in the centre. There are also meaningful differences: Bach's work includes free poetry, whereas Schütz confines himself to the biblical narrative. Although Bach's oratorio is better known and more frequently performed and recorded, there is certainly no lack of recordings of Schütz's Weihnachtshistorie. Given that German music of the 17th century, and especially the oeuvre of Heinrich Schütz, take an important place in the repertoire of Vox Luminis, it was only a matter of time before they would record this monument.
The first version of the Weihnachtshistorie had its premiere in 1660; the second version, as it is performed in our time, was printed in 1664. It is rather the subject which inspired Schütz to compose one of his most exuberant and dramatic works. It opens with an introduction (Introduktion oder Eingang), and closes with a conclusion (Beschluß). The account of the events is allocated to a solo voice (tenor), accompanied by basso continuo. The various episodes are then set as Intermedia. Here solo voices sing the roles of characters which figure in the story: the Angel, the heavenly host, the shepherds, the wise men, the priests and scribes, and Herodes. These Intermedia have the form of sacred concertos; the voices are accompanied by instruments, dependent on the characters they represent. The Angel, for instance, is supported by two viole da gamba which, according to a commentator, "can certainly be interpreted as the angels' wings". "In particular, the swinging musical pendulum figure with which the Angel's intermedia begin suggest such an interpretation". Through musical means the three interventions of the Angel - the proclamation of Jesus' birth to the shepherds, and his two warnings to Joseph - are clearly connected. It doesn't come as a surprise to hear recorders in the Intermedium III in which the shepherds go to Bethlehem to pay homage to the new-born King. Herod (Intermedium VI) is supported by two instruments for which Schütz offers the alternatives Clarin vel Cornettino, meaning trumpets or cornetts, traditionally associated with royalty; here trumpets are used.
Schütz gave an instruction for the performance of the part of the Evangelist. "And if the intelligent director knows how to choose and use a good, light tenor voice for the part of the Evangelist, whose words (without giving any beat with the hand) may only be sung according to the beat in normal speech rhythm." This part should be sung in a rather 'objective' manner, although probably not as much as in the Passions. There are various moments when the melodic flow expresses the events which are described. The most emotional episode is the description of Herod's murder of the children of Bethlehem. The closing phrase is also a passage of notable expression: "And the child grew and waxed strong in spirit, filled with wisdom, and the grace of God was upon him".
Obviously the Evangelist plays a crucial role in this work. Florian Sievers sings this part very well, finding the right approach, avoiding being too 'engaged', without being too distantiated - just as Schütz indicated. Unfortunately he is not entirely free of vibrato, which is regrettable. I also think that the tempo could have been a bit swifter. Erika Tandiono is impressive in the role of the Angel, and Richard Myrus does exactly what the role of Herodes asks for. The ensemble is excellent, as is the playing of the instrumentalists. The use of a large organ in the basso continuo is one of the assets of this performance.
Heinrich Schütz has been called Musicus poeticus in German musicology, and rightly so. The text is always in the centre, and Schütz uses all the means in vogue in his time to depict elements in the text. His Magnificat (SWV 468) is a perfect example. It has been preserved in the so-called Düben-Sammlung in the library of the University of Uppsala, and is scored for four solo voices, two four-part capellae and an instrumental ensemble of three strings (two violins, violone) and three sackbuts. Schütz fully explores the contrasts within the text, for instance with rhythmical means; fanfare motivs are effectively explored.
O bone Jesu, fili Mariae is a setting of a text by Bernard of Clairvaux; the various sections are alternatively set for tutti and solo voices. The closing episode is reminiscent of the oratorios of Giacomo Carissimi, and a token of the Italian influence in Schütz's oeuvre.
Vox Luminis has previously paid attention to the oeuvre of Andreas Hammerschmidt, and it can only be appreciated that four of his works are included here. He was not a pupil of Schütz, but strongly influenced by him, and the pieces performed here attest to that. Machet die Tore weit is a rather modest piece for six voices on verses from Psalm 24. The elements of a dialogue in this psalm are realized by contrasting higher and lower voices. Freude, Freude, große Freude is also scored for six voices, but then written in a "madrigalian manner", which is demonstrated in the two sections in the middle which have the character of a lullaby. Their intimacy contrasts strongly with the opening and closing sections, where the full ensemble bursts for joy.
Alleluia, freuet euch ihr Christen and Ehre sei Gott in der Höhe are most close to Schütz' oeuvre, as Hammerschmidt, like the Musicus poeticus, contrasts a group of favoriti and a capella. In the former each section for the favoriti is followed by the refrain "Freude, Freude über Freude" (Joy, joy upon joy). In the latter we again find a form of dialogue between the two groups. As this piece was included in a collection published in 1646, during the Thirty Years War, the closing announcement of "peace on earth" may have had a special meaning for the composer.
The two separate pieces by Schütz and the four works by Hammerschmidt constitute the first half of the programme. It closes with a real evergreen, Michael Praetorius' setting of Es ist ein Ros entsprungen. We first get an instrumental performance, and then the two stanzas that Praetorius has set are sung. Vox Luminis rightly avoids the additional stanzas that date from the 19th century.
These pieces receive wonderful performances. This is Vox Luminis at their very best. The singing and playing is of the highest level and the spirit of Christmas is perfectly conveyed. These recordings once again underline the quality of the oeuvre of Hammerschmidt, who is in the process of being taken as seriously as he deserves to be.
Although I expressed some reservation with regard to Schütz's Weihnachtshistorie, overall this is a fine addition to the impressive discography of this ensemble. It deserves to be in everyone's collection of Christmas discs.
Johan van Veen (© 2024)
Relevant links:
Vox Luminis