Heinrich Schütz: Symphoniae Sacrae, 1629
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Music CD Cover
Performer: Harry van der KampComposer: Heinrich Schutz
Performer: Concerto Palatino
Performer: Barbara Borden
Performer: Nele Gramß
Performer: Douglas Nasrawi
Performer: John Potter
Edition: Music CD
CD Release Date: 1999-01-01
Music Label: Accent Records
Soundtracks:
Music CD 1
- Domine, labia mea aperies, SWV 271
- Cantabo Domino in vita mea, SWV 260
- Fili mi, Absolon, SWV 269
- Paratum cor meum, Deus, SWV 257
- Anima mea liquifacta est, Prima Pars- SWV 263
- Adjuro vos, filiae Jerusalem, Secunda Pars- SWV 264
- Jubilate Deo omnis terra, SWV 262
- In lectulo per noctes, Prima Pars- SWV 272
- In venerunt me custodes civitatis, Secunda Pars- SWV 273
- O quam tu pulchra es, amica mea, Prima Pars- SWV 265
- Veni de Libano, amica mea, Secunda Pars- SWV 266
- In te, Domine, speravi, SWV 259
- Benedicam Dominum in omni tempore, Prima Pars- SWV 268
- Exquisivi Dominum, Secunda Pars- SWV 268
- Attendite, popule meus, SWV 270
- Venite ad me omnes qui laboratis, SWV 261
- Veni, dilecte mi, SWV 274
- Exultavit cor meum in Domino, SWV 258
- Buccinate in neomenia tuba, Prima Pars- SWV 275
- Jubilate Deo, Secunda Pars- SWV 276
Free Music Notes for Heinrich Schütz: Symphoniae Sacrae, 1629
Free Music Review: The Rapture Is at Hand
Hit: 5 Stars
Last night I had the strangest dream: In my sleep, Steve Jobs came to me and commissioned me to pre-program an iPod for every living human being with the music most likely to induce Rapture. I thought hard about an assortment, but then decided that all the works of a single composer would generate a more rapturous state of mind. Ah, but which composer? I pondered over Ockeghem, Monteverdi, Bach, Beethoven, Shostakovich, and Chuck Berry, until it occurred to me that my own experience of Rapture should be my guide, at which point the choice was obvious: Heinrich Schuetz! Still in my dream, I loaded the Psalmen Davids, the Musikalishe Exequien, the Passions and Christmas Oratorio, the Geistliche Chormusik, and of course all of the Symphoniae Sacrae on my iPod prototype. Lo, as soon as Father Jobs had done his job and placed a Schuetz-loaded iPod in every person's pocket, the whole of humanity stopped its fighting and flittering and levitated rapturously into the empyrean.
On the basis of my dream, I wish to nominate Bruce Dickey, the leader of Concerto Palatino, for the NOBEL PEACE PRIZE. Certainly none of the other recent winners have been nearly as eloquent. I presume that Bruce would share the booty with the other members of Palatino, and perhaps even reserve a portion for the singers on this magnificent double CD of the Symphoniae Sacrae of 1629.
The Symphoniae Sacrae are essentially "chamber oratorios" - miniature masterworks for one or two voices accompanied by a few instruments and light continuo. Voices, instrumental timbres, and texts are exquisitely matched for maximum dramatic affect. Everything has to be as transparent as a mountain brook; not a single note or pitch can be masked. The instrumental parts, especially the cornetto and trombone parts, are among the most demanding and idiomatic in the repertoire of brass. That, of course, is where Bruce Dickey, Charles Toet, and the other Palatinos become necessary. Check the listings of Schuetz performances by ensembles with various names, and chances are you'll find Bruce in the band.
The trombone (sacquebuche, sackbutt) is probably the wind instrument that has changed least in its history; it's largely a special-effects tool in the modern orchestra, but its role in late Renaissance and early Baroque was huge. The trombone playing on these two CDs is as elegant as you'll ever hear.
The "cornetto" never seems to have changed at all. It was perfectly itself from first appearance until disapperance. Basically, it's a wooden antelope horn with finger holes and a tiny trumpet-like mouthpiece. It's expressive and flexible, it has a huge range and can be played "faster" even than a recorder flute, it has superb dynamics, but unfortunately it's durned hard to play, which partially accounts for its elimination from later Baroque ensembles.
There are also violins to be heard on some of the Symphoniae, but they clearly play second fiddle to the cornetti. And pay close attention, everyone, to the bassoon (dulcian, curtal) that cavorts through several tracks.
I'm surprised that I've never reviewed this performance. I've had it in my collection since it was first produced - before there was an amazon.com. IMNSHO it's still one of the most enjoyable CDs of early Baroque music available.
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