Schütz- Musicalische Compagney - Lamenti Et Concerti (1996)

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Schütz- Musicalische Compagney - Lamenti Et Concerti (1996)

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Musicalische Compagney - Lamenti & Concerti: Liebe und Klage in der Musik von Heinrich Schütz (1585-1672)
EAC+LOG+CUE | FLAC: 231 MB | Full Artwork | 5% Recovery Info
Label/Cat#: MDG "Gold" # 310 0230 | Country/Year: Germany 1996
Genre: Classical | Style: Baroque

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Schütz- Musicalische Compagney - Lamenti Et Concerti (1996)

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Schütz- Musicalische Compagney - Lamenti Et Concerti (1996)

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"Die klare motivische und textliche Artikulation und große Ausdruckskraft der fünf Top-Sänger der Alte-Musik-Szene sowie das akzentuierte Spiel des Ensembles Musicalische Compagney beleuchten treffend die expressiv-individuellen Züge der Musik Schützens." E. Pinter in FonoForum 10 / 96

Heinrich Schütz (8 October (JC), 1585 – 6 November 1672) was a German composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach and often considered to be one of the most important composers of the 17th century along with Claudio Monteverdi. He wrote what is traditionally considered to be the first German opera, Dafne (Opitz-Schütz), performed at Torgau in 1627, of which the music has since been lost. He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July with Johann Sebastian Bach and George Frideric Handel. He was buried in the Dresden Frauenkirche but his tomb has been destroyed.

Schütz's compositions show the influence of his teacher Gabrieli (displayed most notably with Schütz's use of resplendent polychoral and concertato styles) and of Monteverdi. Additionally, the influence of the Netherlandish composers of the 16th century is prominent in his work. His best known works are in the field of sacred music, ranging from solo voice with instrumental accompaniment to a cappella choral music. Representative works include his three books of Symphoniae sacrae, the Psalms of David (Psalmen Davids), the Sieben Worte Jesu Christi am Kreuz (the Seven Last Words on the Cross) and his three Passion settings. Schütz's music, while starting off in the most progressive styles early in his career, eventually grew into a style that is simple and almost austere, culminating with his late Passion settings. Practical considerations were certainly responsible for part of this change: the Thirty Years' War had devastated the musical infrastructure of Germany, and it was no longer practical or even possible to put on the gigantic works in the Venetian style which marked his earlier period.

The unique composition "Es steh Gott auf" (SWV 356) is in many respects comparable to Monteverdi.[4]

Schütz was one of the last composers to write in a modal style. His harmonies often result from the contrapuntal alignment of voices rather than from any sense of "harmonic motion"; contrastingly, much of his music shows a strong tonal pull when approaching cadences. His music includes a great deal of imitation, but structured in such a way that the successive voices do not necessarily enter after the same number of beats or at predictable intervallic distances. Schütz's writing often includes intense dissonances caused by the contrapuntal motion of voices moving in correct individual linear motion, but resulting in startling harmonic tension. Above all, his music displays extreme sensitivity to the accents and meaning of the text, which is often conveyed using special technical figures drawn from musica poetica, themselves drawn from or created in analogy to the verbal figures of classical rhetoric.

Almost no secular music by Schütz has survived, save for a few domestic songs (arien) and no purely instrumental music at all (unless one counts the short instrumental movement entitled "sinfonia" that encloses the dialogue of Die sieben Worte), even though he had a reputation as one of the finest organists in Germany.

Schütz was of great importance in bringing new musical ideas to Germany from Italy, and as such had a large influence on the German music which was to follow. The style of the North German organ school derives largely from Schütz (as well as from the Dutchman Jan Pieterszoon Sweelinck); a century later this music was to culminate in the work of J.S. Bach. After Bach, the most important composer to be influenced by Schütz was Brahms, who is known to have studied his works. wikipedia

”The Musicalische Compagney tackle this imaginative selection with enthusiasm. "… The recording is clean and efficient, and the accoustic, which is richly but not overpoweringly vibrant, is appropriate." Gramophone

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Schütz- Musicalische Compagney - Lamenti Et Concerti (1996)

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