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Heinrich Schutz
 
 
 

Heinrich Schütz, c. 1650–60 (Leipzig), by Christoph Spetner
 
 
Heinrich Schütz, Latin Henricus Sagittarius (born Oct. 8, 1585, Köstritz, Saxony [now in Germany]—died Nov. 6, 1672, Dresden), composer, widely regarded as the greatest German composer before Johann Sebastian Bach.

In 1599 he became a chorister at Kassel, where the landgrave of Hesse-Kassel provided him with a wide general education. In 1608 Schütz entered the University of Marburg to study law, but in 1609 he went to Venice, where for three years he studied music at the landgrave’s expense; his chief teacher there was Giovanni Gabrieli. In Venice Schütz wrote his first known works, a set of Italian madrigals for five voices (published 1611). In 1613 he returned to Germany and went to Leipzig to resume his legal studies. Shortly afterward the landgrave offered him the post of second organist at the court in Kassel. In 1614 he went to Dresden to supervise the music for the christening of the son of the elector of Saxony, and in 1617 the landgrave gave him a permanent post in the electoral chapel. In 1628 Schütz again visited Venice, where Claudio Monteverdi was now the chief musical figure; it is possible that Schütz studied with him. Three years after his return to Dresden, Schütz left the elector’s court, which was being seriously affected by plague and by the turmoils of the Thirty Years’ War. From 1633 to 1635 he was chapelmaster to the royal court of Copenhagen. From 1635, apart from one further visit to the Danish court, he remained, in spite of his frequent pleas for dismissal, in the elector’s service at Dresden.

After the early set of madrigals, almost all of Schütz’s known works are vocal settings of sacred texts, with or without instruments. Of his known secular works, Dafne (performed 1627), the first German opera, and compositions for the marriage of Johann Georg II of Saxony in 1638 were lost. Schütz’s special achievement was to introduce into German music the new style of the Italian monodists (as typified in Monteverdi’s work) without creating an unsatisfactory hybrid. His music remains extremely individual and German in feeling. After the Latin of Symphoniae sacrae I (published 1629), he used the vernacular. The first German requiem was his Musikalische Exequien (published 1636) for soloists and choir, in which the writing for solo voice or duet is often florid in the Italian manner, while the choral sections are firmly based on German chorale tradition. The final section is for double choir, recalling Schütz’s studies with the earlier Venetian composers. Other principal works from the middle of his life are two sets of Kleine geistliche Konzerte (published 1636, 1639) for solo voice and continuo, Geistliche Chormusik (published 1648), and Symphoniae sacrae II and III (published 1647, 1650) for various combinations of voices and instruments. In all of these works, Schütz’s strong dramatic sense has been noted.

The Christmas Oratorio (from a publication of 1664) for soloists, choir, and instruments foreshadows his austere last works. These are a cappella Passions, settings of the text of the Gospels according to Matthew, Luke, and John. In these works even the sparing vocal figuration of the Christmas Oratorio is absent. The plain scriptural text is delivered by the soloist in a kind of recitative, generally syllabic, while the words of the Jews, high priests, etc., are set as brief polyphonic choruses.

Encyclopædia Britannica
 
 
 


Title page of Schütz' Psalmen Davids

 
 

Schutz was born in Kostritz in modern-day Germany and received a musical education. First a choirboy, he went in 1609 to study with Giovanni Gabneli in Venice, where he was exposed to Italian musical influences. He moved to Dresden in spring 1617, married the daughter of a court official, and rose in influence as the director of the leading musical centre of Protestant Germany, under the patronage of Johann Georg I, Elector of Saxony.

April 1627 was spent at the Elector's castle at Hartenfels celebrating the marriage of the Elector's daughter. On 12 April, Schutz premiered his pastoral tragicomedy Daphne. The score has not survived but Daphne is considered the first German opera and initiated a great tradition in Germany. After the marriage, Schutz visited Italy and spent time with Monteverdi in Venice.

In 1635 Prince Heinnch of Reuss, Schutz's patron and friend, died. The Prince left precise details of the music he wanted for his funeral, and Schutz responded by writing his largest and most important funeral work, the Musicalische Excquien. The work is in several sections and calls for various combinations of soloists and choirs with a cello and harpsichord accompaniment.

The financial pressures caused by the Thirty Years' War led to a serious depletion of the Dresden court's resources. Schutz was therefore pleased to travel to Copenhagen when asked by the Crown Prince of Denmark to arrange the music for his wedding m 1634. He rose to become Kapellmeister, and after a similar post in Hanover returned to Dresden in 1645.

Now approaching 60, Schutz sought retirement. This was denied, but he was allowed to work only six months of each year for the following decade. He sought full retirement on three further occasions, complaining of the shameful state of the court musicians, which failed to inspire him. Eventually, Elector Gcorg died in 1656 and his replacement granted the release Schutz so richly deserved. Schutz continued to compose during retirement, concentrating as he had throughout his life on sacred music. Christmas story, based on Gospel texts, was first performed m 1660; and around 1665 he wrote the St John Passion, one of three Passions from late in Schutz's life, which in line with liturgical practice in Dresden feature unaccompanied voices. It is considered one of the pinnacles of the composer's work and influenced Bach when he came to write his great Passion settings. At the end of his life Schutz suffered from failing eyesight and hearing, and in his eighty-fourth year he died following a stroke. His compositions managed to amalgamate the ornate-ness of the Italian Baroque with the more sober music traditions of Germany: a grafting of styles that was a vital part of Schutz's great contribution to German music.

 
 

Works

The following are major published works; most of these contain multiple pieces of music; single published works are listed in the complete work list, as are major unpublished works such as the Seven Last Words, and the Passions (according to Matthew, Luke, and John). There are over 500 total surviving individual pieces by Schütz.

Il primo libro de madrigali (first book of madrigals) (opus 1, Venice, 1611)
Psalmen Davids (Book 1) (opus 2, Dresden, 1619)
Historia der ... Aufferstehung ... (The Resurrection) (opus 3, Dresden, 1623)
Cantiones sacrae (opus 4, Freiburg im Breisgau, 1625)
Becker Psalter (opus 5, Freiburg im Breisgau, 1628, revised 1661)
Symphoniae sacrae (Book 1) (opus 6, Venice, 1629)
Musikalische Exequien (opus 7, Dresden, 1636)
Kleine geistliche Konzerte (Book 1) (opus 8, Leipzig, 1636)
Kleine geistliche Konzerte (Book 2) (opus 9, Leipzig, 1639)
Symphoniae sacrae (Book 2) (opus 10, Dresden, 1647)
Geistliche Chor-Music (opus 11, Dresden, 1648)
Symphoniae sacrae (Book 3) (opus 12, Dresden, 1650)
Zwölf geistliche Gesänge (opus 13, Dresden, 1657)
Historia, der ... Geburt ... Jesu Christi (The Nativity), (Dresden, 1664)
Königs und Propheten 119er Psalm ... (Psalm 119, Psalm 100, and German Magnificat: "Swan Song"] (opus ultimum, Dresden, 1671)

 
 
 
 
Ich will dem Herrn lobsingen allezeit
 
 
Jonas: Peccavimus, Domine (final chorus)
 
 
Erhore mich, wenn ich rufe
 
 
O suber, o freundlicher, o gutiger Herr
 
 
Passacaglia d-moll fur Orgel
 
 
Verleih uns Frieden
 
 
 
 
 
Heinrich Schutz - Psalmen Davids
 
 
 
 
 
 
 
 
Heinrich Schutz - Psalmen Davids - Danket dem Herren, denn er ist freundlich, SWV 45
 
Soloists: Elisabeth Scholl, Annette Labusch, sopranos
Elisabeth Popien, alto
Gerd Türk, Wilfried Jochens, Jörn Lindemann, tenors

Chorus: Cantus Cölln

Orchestra: Concerto Palatino

Conductor: Konrad Junghänel

 
 
 
 
 
 
 
 
Schütz - Die sieben Worte Jesu Christi am Kreuz(4/1)
 
Adorate Vegyeskar, vezényel: Dombó Dániel (Budapest, Jáki Kápolna, 2009. 03. 29.)
 
 
 
 
 
Schütz - Die sieben Worte Jesu Christi am Kreuz(4/2) - Adorate Vegyeskar
 
vezényel: Dombó Dániel,
szólót énekel:
Halmos Eszter (szoprán),
Bácsi Zoltán (tenor), Bedics Imre (tenor),
Weidemann Ádám (basszus)
 
 
 
 
 
Schütz - Die sieben Worte Jesu Christi am Kreuz(4/3) - Adorate Vegyeskar
 
vezényel: Dombó Dániel,
szólót énekel:
Halmos Eszter (szoprán),
Bácsi Zoltán (tenor), Bedics Imre (tenor),
Weidemann Ádám ( basszus)
 
 
 
 
 
Schütz - Die sieben Worte Jesu Christi am Kreuz(4/4) - Adorate Vegyeskar
 
 
 
 
 
 
 
 
Heinrich Schutz - Kleine geistliche Concerte
 
Cappella Augustana
Anna Mikołajczyk (A), Kira Boreczko-Dal (B) sopranos
Maciej Gocman (C), Luca Dellacasa (D) altos & tenors
Walter Testolin (E), Matteo Bellotto (F), Garrick Comeaux (G) basses

Basso continuo
Nicola Dal Maso violone in G • Alessandro Orsaria (I) organ
Matteo Messori spinettone, organ & direction

Heinrich Schütz - Kleine geistliche Concerte SWV 282--305
I. Eile mich, Gott, zu erretten (A, I) 3'46
II. Bringt her dem Herren, ihr Gewaltigen (A, I) 2'49
III. Ich danke dem Herrn von ganzem Herzen (C, I) 4'17
IV. O süßer, o freundlicher, o gütiger Herr Jesu Christe (D, I) 4'12
V. Der Herr ist groß (A, B, I) 2'16
VI. O lieber Herre Gott (B, A, I) 3'07
VII. Ihr heiligen, lobsinget dem Herren (B, A, I) 2'05
VIII. Erhöre mich, wenn ich rufe (B, A, I) 2'06
IX. Wohl dem, der nicht wandelt im Rat der Gottlosen (A, C, I) 2'56
X. Schaffe in mir, Gott, ein reines Herz (B, D) 2'16
XI. Der Herr schauet vom Himmel (A, E) 2'20
XII. Lobet den Herren, der zu Zion wohnet (C, D, I) 1'58
XIII. Eins bitte ich vom Herren (C, D, I) 2'04
XIV. O hilf, Christe, Gottes Sohn (D, C) 2'16
XV. Fürchte dich nicht (F, E, I) 2'16
XVI. O Herr hilf (A, B, C, I) 1'48
XVII. Das Blut Jesu Christi (A, B, E) 2'23
XVIII. Die Gottseligkeit (A, B, E, I) 1'48
XIX. Himmel und Erde vergehen (F, G, E, I) 2'11
XX. Nun komm' der Heiden Heiland (B, A, F, E) 2'28
XXI. Ein Kind ist uns geboren (A, C, D, E, I) 3'07
XXII. Wir gläuben all an einen Gott (B, A, D, E) 3'07
XXIII. Siehe, mein Fürsprecher ist im Himmel (A, C, D, E, I) 3'40
XXIV. Ich hab mein Sach Gott heimgestellt (B, A, C, D, E, I) 12'38

 
 
 
 
 
 
 
 
Schütz - Selig sind die Toten - The Cambridge Singers
 
 
 
 
 
 
 
Heinrich Schütz - Ich bin eine rufende Stimme (Herreweghe)
 
 
 
 
 
 
 
 
Cantate Domino by Heinrich Schutz
 
 
 
 
 
 
 
 
Jauchzet dem Herren - Heinrich Schutz
 
 
 
 
 
 
 
 
HEINRICH SCHÜTZ - WEIHNACHTSHISTORIE - WILHELM EHMANN ( 1959 )
 
Heinrich SCHÜTZ
HISTORIA DER GEBURT JESU CHRISTI SWV 435 ( Weihnachtshistorie )
Dresde 1664

Hertha Flebbe - Hans Joachim Rotzsch - Hans-Olaf Hudemann
Westfäliche Kantorei
Direction WILHELM EHMANN
enregistré en septembre 1959

 
 
 
 
 
 
 
 
Schütz - Magnifikat "Christmas Story"
 
 
 
 
 
 
 
Heinrich Schütz - Madrigalen Italien, SWV 1-18
 
Concerto Vocale. Jill Feldman, Isabelle Poulenard, sopranos. René Jacobs, haute-contre. Lynton Atkinson, Ian Honeyman, tenors. Michael Schopper, bass. Konrad Janghänel, théorbe. Direction, René Jacobs.

Heinrich Schütz - Madrigalen Italien, SWV 1-18
I. O primavera
II. O dolcezze amarissimi d'amore
III. Selve beate
IV. Alma afflitta
V. Così morir debb'io
VI. D'orrida selve alpine
VII. Ride la primavera
VIII. Fuggi o mio core
IX. Feritevi, viperetti mordaci
X. Fiamma ch'allaccia
XI. Quella dama son io
XII. Mi salute costei
XIII. Io moro, ecco ch'io moro
XIV. Sospir che del bel petto
XV. Dunque addio
XVI. Tornate o cari baci
XVII. Di marmot siete
XVIII. Giunto è pur

 
 
 
 
 
 
 
 
Heinrich Schütz - 12 Motets
 
Heinrich Schütz - 12 Motets
1. Hodie Christus (Natus Est, voices & organ) P. Esswood, K. Smith, J. Griffett, M. George)
2. Fili Mi Absalon (solo motet with sackbuts, organ & violone. M. George)
3. Auf Dem Gebirge (motet for two solo voices & sackbuts. K. Smith & P. Esswood)
4. Heu Mihi Domine (voices & organ)
5. Ich Danke dir Herr (solo motet with sackbuts, strings organ & violone. I. Partridge)
6. Der Engel Sprach (motet for three solo voices. K. Smith, J. Griffett & M. George)
7. O Quam Tu Pulchra Es (motet for two solo voices, strings & organ. I. Partridge, M. George)
8. Die Seele Christi, Heilige Mich (motet for four solo voices & organ. K. Smith, P. Elliott, B. Etheridge, M. George)
9. Was Mein Gott Will (duet with violins. Paul Esswood, James Griffett)
10. Exultavit Cor Meum (solo motet with strings, organ & lute. P. Esswood)
11. Selig Sind Die Todten (voices & organ)
12. Auf Dem Gebirge (duet with violins)
 
 
 
 
 
 
 
Heinrich Schutz - Cantiones sacrae quatuor vocum
 
Capella Augustana. Matteo Messori

Heinrich Schütz - Cantiones sacrae quatuor vocum SWV 53--93
I. Prima pars: O bone, o dulcis, o benigne Jesu 3'02
II. Secunda pars: Et ne despicias humiliter te petentem 1'49
III. Deus misereatur nostri 2'17
IV. Prima pars: Quid commisisti, o dulcissime puer 3'42
V. Secunda pars: Ego sum tui plaga doloris 2'28
VI. Tertia pars: Ego enim inique egi 4'11
VII. Quarta pars: Quo, nate Dei, quo tua descendit humilitas 2'12
VIII. Quinta et ultima pars: Calicem salutaris accipiam 2'13
IX. Prima pars: Verba mea auribus percipe Domine 2'26
X. Secunda pars: Quoniam ad te clamabo Domine 2'02
XI. Prima pars: Ego dormio et cor meum vigilat 3'48
XII. Secunda pars: Vulnerasti cor meum, filia charissima 3'30
XIII. Tertia pars: Heu mihi, Domine, quia peccavi nimis in vita mea 3'27
XIV. In te, Domine, speravi 2'21
XV. Dulcissime et benignissime Christe 3'17
XVI. Sicut Moses serpentem in deserto exaltavit 2'32
XVII. Spes mea, Christe Deus 3'05
XVIII. Turbador, sed non perturbabor 1'44
XIX. Prima pars: Ad Dominum cum tribularer clamavi 2'56
XX. Secunda pars: Quid detur tibi aut quid apponatur tibi ad linguam dolosam 1'54
XXI. Prima pars: Aspice, pater, piissimum filium 3'22
XXII. Secunda pars: Nonne hic est, mi Domine, innocens ille 1'34
XXIII. Tertia pars: Reduc, Domine Deus meus, oculos maiestatis tuae 3'26
XIV. Prima pars: Supereminet omnem scientiam, o bone Jesu 3'40
XXV. Secunda pars: Pro hoc magno mysterio pietatis 1'58
XXVI. Prima pars: Domine, non est exaltatum cor meum 2'43
XXVII. Secunda pars: Si non humiliter sentiebam 2'31
XXVIII. Tertia pars: Speret Israel in Domino 1'28
XXIX. Cantate Domine canticum novum 2'55
XXX. Inter brachia Salvatoris 3'38
XXXI. Veni, rogo, in cor meum 3'22
XXXII. Ecce advocatus meus apud te 3'43
XXXIII. Prima pars: Domine, ne in furore tuo arguas me 2'55
XXXIV. Secunda pars: Quoniam non est in morte 2'52
XXXV. Tertia pars: Discedite a me omnes qui operamini iniquitatem 2'58
XXXVI. Prima pars: Oculi omnium in te sperant Domine 1'01
XXXVII. Secunda pars: Pater noster 2'30
XXXVIII. Tertia pars: Domine Deus, pater coelestis 1'23
XXXIX. Prima pars: Confitemini Domino, quoniam ipse bonus 1'49
XXXX. Secunda pars: Pater noster (Repetatur) 2'29
XL. Tertia pars: Gratias agimus tibi, Domine Deus Pater 1'45

 
 
 
 
 
 
 
 
Heinrich Schutz - Symphoniae Sacrae I, Op. 6
 
Capella Augustana. Matteo Messori

Heinrich Schütz - Symphoniae Sacrae I, Op. 6
I. Paratum Cor Meum, Deus
II. Exultavit Cor Meum in Domino
III. In Te, Dome, Speravi
IV. Cantabo Domino in vita Mea
V. Venite ad me omnes qui Laboratis
VI. Jubilate deo omnis terra
VII. Prima pars - anima mea liquafacta est
VIII. Secunda pars - adjuro vos, filiae hierusalem
IX. Prima pars - O quam tu pulchra es, amica mea
X. Secunda pars - Veni de libano, amica mea
XI. Prima pars - benedicam dominum in omni tempore
XII. Secunda pars - exquisivi dominum et exaudavit me
XIII. Fili mi, Absalom
XIV. Attendite, popule meus, legem meam
XV. Domine, labia mea aperies
XVI. Prima pars - In lectulo per noctes quem diligent anima mea quaesivi
XVII. Secunda pars - Invenerunt me custodies civitatis
XVIII. Veni, dilecte mi, in hortum meum
XIX. Prima pars - buccinate in neomenia tuba
XX. Secunda pars - Jubilate deo in chordis et organo

 
 
 
 
 
 
 
Heinrich Schutz - Symphoniae Sacrae II, Op. 10
 
Capella Augustana. Matteo Messori

Heinrich Schütz - Symphoniae Sacrae II, Op. 10
I. Mein Herz ist bereit, Gott (A) 3'43
II. Singet dem Herren ein neues Lied (B) 4'26
III. Herr unser Herrscher, wie herrlich ist dein Nam (A) 5'13
IV. Meine Seele erhebt den Herren (B, J, K -- violins & viole, L, M, P, O -- flautini, U) 8'26
V. Der Herr ist meine Stärke (B) 2'57
VI. Erster Teil: Ich werde nicht sterben, sondern leben (A) 4'27
VII. Anderer Teil: Ich danke dir, Herr, von ganzem Herzen (B) 3'58
VIII. Herzlich lieb hab ich dich, o Herr (C) 5'15
IX. Frohlocket mit Händen und jauchzet dem Herren (E) 4'22
X. Lobet den Herrn in seinem Heiligtum (D) 4'22
XI. Hütet euch, dass eure Herzen nicht beschweret werden (F) 5'14
XII. Herr, nun lässest du deinen Diener im Friede fahren (F) 3'55
XIII. Was betrübst du dich, meine Seele? (B, A) 6'16
XIV. Erster Teil: Verleih uns Frieden genädiglich (B, A) 4'04
XV. Anderer Teil: Gib unsern Fürsten und aller Obrigkeit (A, B) 3'51
XVI. Es steh Gott auf (A, B) 6'13
XVII. Wie ein Rubin in feinem Golde leuchtet (A, C) 2'50
XVIII. Iss dein Brot mit Freuden (A, G) 4'10
XIX. Der Herr ist mein Licht und mein Heil (D, E) 5'30
XX Zweierlei bitte ich, Herr, von dir (D, E) 6'17
XXI. Herr, neige deine Himmel und fahr herab (G, E) 4'41
XXII. Von Aufgang der Sonnen (G, E) 5'26
XXIII. Lobet den Herrn, alle Heiden (C, D, G) 3'37
XXIV. Die so ihr den Herren fürchtet (C, D, F) 5'05
XXV. Drei schöne Dinge seind (D, E, F) 8'42
XXVI. Von Gott will ich nicht lassen (B, A, F) 8'14
XXVII. Freuet euch des Herren, ihr Gerechten (C, E, F) 5'54

 
 
 
 
 
 
 
Heinrich Schutz - Symphoniae sacrae I - 1629 - Venice
 
Book 1 "venite ad me omnes qui laboratis" Matt` 11:28
Peter Pearce-Tenor
Violins-Immanuel Hurvitz,Nona Lydel
Cello-Terrene Faille
Organ- Georg Melcolm
 
 
 
 
 
 
 
 
Heinrich Schütz - Symphoniae Sacrae III, Op. 12
 
Heinrich Schütz - Symphoniae Sacrae III, Op. 12
I. Der Herr ist mein Hirt
II. Ich hebe meine Augen auf zu den Bergen
III. Wo der Herr nicht das Haus bauet
IV. Mein Sohn, warum has du uns das getan?
V. O Herr, hilf, o Herr, laß wohl gelingen
VI. Siehe, es erschien der Engel des Herrn
VII. Feget den alten Sauerteig aus
VIII. O süßer Jesu Christ
IX. O Jesu süß, wer dein gedenkt
X. Lasset uns doch den Herren, unseren Gott, loben
XI. Es ging ein Sämann aus
XII. Seid barmherzig
XIII. Siehe, dieser wird gesetzt
XIV. Vater unser, der du bist
XV. Siehe, wie fein und lieblich ist's
XVI. Hütet euch
XVII. Meister, wir wissen
XVIII. Saul, Saul, was verfolgst
XIX. Herr, wie lange willst du
XX. Komm, Heiliger Geist, Herre Gott
XXI. Nun danket alle Gott
 
 
 
 
 
 
 
 
Heinrich Schütz - Musicalia ad chorum sacrum, das ist: Geistliche Chor-Music, op. 11 SWV 369-397
 
CAPPELLA AUGUSTANA:
Astrid Werner (a), Stanislava Mihalcová (b), Gabriela Eibenová (c), Ivana Bilej Broukowá (d), - canti
Maciej Gocman (e) - altus
Tobias Hunger (f), Michael Schaffrath (g) - tenores
Walter Testolin (h), Bogdan Makal (i) - bassi
Arno Paduch (l) - cornetto
Sebastian Krause (m) (altus & tenor), Kentaro Wada (n) (tenor), Bernhard Ziesch (o) (tenor), Ercole Nisini (p) (tenos & bassus), Volkmar Jäger (q) (bassus), Sebastiano Ricci (r) (tenor) - trombones
MATTEO MESSORI - organ and direction
 
 
 
 
 
 
 
 
Heinrich Schütz - Schwanengesang
 
1. Psalm 119. Aleph und Beth. "Wohl denen, die ohne Wandel leben" SWV 482 2. Psalm 119. Gimel und Daleth. "Tue wohl deinem Knechte, daß ich lebe" SWV483
3. Psalm 119. He und Vav. "Zeige mir, Herr, den Weg deiner Rechte" SWV 484
4. Psalm 119. Dsaïn und Chet. "Gedenke deinem Knechte an dein Wort" SWV 485
5. Psalm 119. Thet und Jod. "Du tust Guts deinem Knechte" SWV 486
6. Psalm 119. Caph und Lamed. "Meine Seele verlanget nach deinem Heil" SWV487
7. Psalm 119. Mem und Nun. "Wie habe ich dein Gesetze so lieb" SWV 488
8. Psalm 119. Samech und Aïn. "Ich hasse die Flattergeister" SWV 489 : 46:08~
9. Psalm 119. Pe und Zade. "Deine Zeugnisse sind wunderbarlich" SWV 490
10. Psalm 119. Koph und Resch. "Ich rufe von ganzem Herzen" SWV 491
11. Psalm 119. Schin und Tav. "Die Fürsten verfolgen mich ohn Ursach" SWV 492
12. Psalm 100. "Jauchzet dem Herren, alle Welt" SWV 493 : 1:13:32~
13. Deutsches Magnificat. "Meine Seele erhebt den Herren" SWV 494 : 1:21:46~

Paul Hillier ( con )
The Tapiola Chamber Choir

 
 
 
 
 
 

Daphne Chased by Apollo, by Giovanni Battista Tiepolo, 1744.
 
 
DAFNE 1. Akt (Excerpts)
 
Rekonstruktion der Partitur der ersten deutschen Oper (im dreißigjährigen Krieg verschollen) nach Musik von Heinrich Schütz von Reinhard Seehafer; Regie: Myriam Hoyer; Kammerorchester der Europa Philharmonie; Dirigent: Takahiro Nagasaki; Dafne: Julla Schmidt, Apollo: Johannes Weiß, Ovidius: David Erler
Venus: Steffi Lehmann, 1. Hirt: Ulrike Staude, 2. Hirt: Jana Frey, 3. Hirt: Markus Ullmann, 4. Hirt: Jörg Hempel
 
 
 
 
 
DAFNE 2. Akt (Excerpts)
 
 
 
 
 
DAFNE 3. Akt (Excerpts)
 
 
 
 
 
     
  Classical Music Timeline

Instruments Through the Ages

Classical Music History - Composers and Masterworks
     
 
 
 

 
 
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