Heinrich Schütz (1585-1672): 24-28 December

[doversoul1]

Donald Macleod explores the life and music of German early Baroque master Heinrich Schütz. Today he dips a toe into the fertile archival territory of Schütz’s own writings.
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https://www.bbc.co.uk/programmes/m0001qgg

[BBMmk2]

Thanks for the thumbs up for this. I don't know much about this composer but looks a worthwhile time to get to know his music better and the man too.

[ferneyhoughgeliebte]

Wonderful news; thanks, dovers.

[vinteuil]

Wonderful news; thanks, dovers.

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.. yes indeed. For those wanting to deepen their acquaintance with Schütz (hello Brassbandmaestro - and happy Christmas!) the Cappella Augustana / Matteo Messori series on Brilliant is eminently recommendable -

http://amzn.eu/d/a3nly6T

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[ferneyhoughgeliebte]

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.. yes indeed. For those wanting to deepen their acquaintance with Schütz (hello Brassbandmaestro - and happy Christmas!) the Cappella Augustana / Matteo Messori series on Brilliant is eminently recommendable -

http://amzn.eu/d/a3nly6T

- these quite marvellous recordings were my own introduction to this music, and they remain my favourites.

(Well ... strictly speaking, "my proper introduction to this Music"; as a callow youth, I heard the Pears/Norrington recording of the Christmas Story, which at that age I found incomprehensible and dreary.)

[Richard Barrett]

Yes! Schütz is one of my favourite composers. There's a depth of spiritual intensity in his work which very little other music has.

[Quarky]

Auf dem Gebirge - Friday 12 pm.

Trombones plus counter tenors. DMC called it unprecedented. It certainly seemed to me, from my limited knowledge, a new technique of fully integrating voice and instruments, the instruments not being merely accompaniment or a separate voice.

Was this I wonder a Schuetz invention, or just a well known technique that was infrequently used?

[Richard Barrett]

Was this I wonder a Schuetz invention, or just a well known technique that was infrequently used?

It's also a feature of much of the larger-scale music of Giovanni Gabrieli, with whom Schütz studied, and who no doubt derived it from the music of his uncle Andrea Gabrieli, with whom he studied, where the division of notated voices between voices and instruments isn't specified but can often be inferred by the nature of the parts, and is known to have been a feature of his performances. Returning to "Auf dem Gebirge", the instruments aren't specified as trombones, although trombones would seem to be an obvious choice given the ranges of the instrumental parts and the expressive nature of the music.

[Quarky]

It's also a feature of much of the larger-scale music of Giovanni Gabrieli, with whom Schütz studied, and who no doubt derived it from the music of his uncle Andrea Gabrieli, with whom he studied, where the division of notated voices between voices and instruments isn't specified but can often be inferred by the nature of the parts, and is known to have been a feature of his performances. Returning to "Auf dem Gebirge", the instruments aren't specified as trombones, although trombones would seem to be an obvious choice given the ranges of the instrumental parts and the expressive nature of the music.

Many thanks ; that is enlightening.