Page 26 - October.indd

Heinrich Schütz (1585–1672): Choral Composer Extraordinaire

pieces, nos. 13 (SWV 65 and 16 (SWV 68) and the so- in such formal documents of the time). More import-
called “Table Graces,” (SWV 88–93), five brief prayers ant, however, is the contradictory statements it contains.

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set in a homophonic style. First, the composer states that the works are most appro-
priately performed a cappella (i.e., without basso contin-
uo); yet the 1648 print (like the Cantiones sacrae) includes
Geistliche Chor-Music (SWV 369–97) an optional continuo part as well as allowing doubling
In 1648, the same year in which the Peace of West- of the voices colla parte. The title page describes the con-
phalia ended the Thirty Years War, Heinrich Schütz tinuo as being included “according to advice and desire,
published a collection of twenty-nine choral works but not from necessity.” Schütz also recommends that
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dedicated to the city of Leipzig, the famed choir of organists should write out a supporting organ score or
St. Thomas Church, and in memory of his friend, the tablature, an exercise less important for aesthetic eff ect
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Thomaskantor Johann Hermann Schein (1586–1630). than for greater accessibility as German church music.
As is the case in many seventeenth-century collections, Early in the document, Schütz both acknowledges the
this one is organized by the number of voice parts success and popularity of the Italian-based style music
needed. The fi rst twelve motets are for fi ve voices, with continuo, and advises the young musician not to
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the next twelve for six voices, and the fi nal five for seven adopt this style automatically, preferring that they be-

voices. The two groups of twelve motets seem similarly come experienced in handling the modes, various types
organized as to the feasts in which they were to serve: of fugue and double counterpoint, and especially the
both have motets for Advent, Christmas, Epiphany, mastery of self-sufficient polyphonic vocal music, the

and All Saints Day arranged in that sequence. They approach Schütz himself had to pursue in his study with
differ in the number of motets per feast (e.g., the col- Gabrieli.

lection opens with two á 5 motets for Advent, while the Four of the final six pieces show a distinctly diff erent

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second group has three (nos. 13–15). The fi rst group approach to scoring, analogous to those motets found at
concludes with a setting of John 3:16, a text appointed the conclusion of the “Psalms of David.” Motets 24, 26,
as the Gospel for the Monday after Pentecost (Also hat 28, and 29 use a mixture of vocalists and unspecifi ed
Gott die Welt geliebt, SWV 80); its counterpart in group instruments:
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two is the motet Ich bin ein rechter Weinstock (SWV 390).
Easily the most frequently performed and best SWV 392: Was mein Gott will, dass g’scheh allzeit
known of this set are two pieces intended for All Saints (A, T, four lower instruments)
Day: Die mit Thränen säen (SWV 378) and the Selig sind
die Toten (SWV 391), and the setting of John 3:16. Like SWV 394: Sehet an den Feigenbaum á7
Grote’s edition of the Cantiones sacrae, Wilhelm Kam- (Instr., S, Instr., T, 3 lower instruments)
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lah uses haphazard transposition to adapt the range
to allow performance by modern choral ensembles. At SWV 396: Auf dem Gebirge hat man ein Geschrei gehört

least two of the motets originate much earlier than the (2 A, five lower instruments)
collection’s date of publication: Das ist je gewisslich wahr
(SWV 389) was composed as a memorial to Bach’s SWV 397: Du Schalksknecht
friend, the Thomaskantor Johann Hermann Schein (d. (T + six lower instruments)
1630), and Der Engel sprach zu den Hirten (SWV 395), a
seven-voice, German-texted version of Andrea Gabri- The popularity of Die mit Thränen säen and Selig sind
eli’s Latin Christmas motet, Angelus ad pastores ait, which die Toten require no further discussion here. There are,
Schütz likely copied during his study with Giovanni however, three other works that are not only perform-
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Gabrieli in Venice. able but are also a joy to sing, and thus deserve some
Schütz’s preface to the publication is grammatically discussion:

obtuse and fi lled with flowery language (as was normal

24 CHORAL JOURNAL October 2022 Volume 63 Number 3