Geistliche Chormusik: Motet "Selig sind die Toten" SWV 391
Heinrich Schütz (1585-1672) was a German composer and organist, generally r… Read Full Bio ↴Heinrich Schütz (1585-1672) 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 first half of the seventeenth century along with Claudio Monteverdi. He wrote what is thought to be the first German opera, Dafne, performed at Torgau in 1627; the music has since been lost, however. He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28th July, with Johann Sebastian Bach and George Frideric Handel. He was buried in the Dresden Frauenkirche.
Schütz's compositions show the influence of his teacher Giovanni Gabrieli (displayed most notably in Schütz's use of resplendent polychoral and concertato styles) and of Monteverdi. Additionally, the influence of the Dutch composers of the sixteenth century is also 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. Schütz's music, while starting off in the most progressive styles early in his career, eventually grows into a style that is simple and almost austere, culminating in 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.
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 great 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.
Schütz's compositions show the influence of his teacher Giovanni Gabrieli (displayed most notably in Schütz's use of resplendent polychoral and concertato styles) and of Monteverdi. Additionally, the influence of the Dutch composers of the sixteenth century is also 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. Schütz's music, while starting off in the most progressive styles early in his career, eventually grows into a style that is simple and almost austere, culminating in 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.
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 great 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.
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Geistliche Chormusik: Motet "Selig sind die Toten" SWV 391
Heinrich Schütz Lyrics
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The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
Jeffrey Dexter
Once again, VOCES8 provides a stunning example of a Schütz motet, leaving no doubt that they are amongst the very best choral ensembles in the world. Stunning dynamic contrasts, German diction, intonation, and sensitivity to style. Wunderschön.
mcgitarz
Blessed are Voces8...who bring hope and joy to so many spirits...like mine
Hugh Dunkley
Amen!
Alastair Size15s
A magnificent display of seemingly effortless control and deftness mastery of dynamics. Your ability to blend the touching with impressive power is a joy to listen to - to experience.
Thank you for all your hard work and the hard work put into record, mixing and mastering a performance for those who couldn't be there to experience it in person.
kadeh77
Incredible! This has always been one of my favorite pieces by Schütz. I have listened to a lot of versions but this is clearly the best! Especially because I could actually understand the text. Great articulation as always, Voces8!
Nathan Henke
This is, simply put, the single most BEAUTIFUL rendition of this masterpiece. Such a satisfying and MARVELOUS performance!!
Steve Schwartz
Wow! Just wow. This is perfect choral singing. Aside from beauty of tone, the clarity of texture stands out. Diction, rhythm, dynamic control not only from the group, but from each individual part. Wow, again.
Anja Huebel
I agree, but also the sound engineering is outstanding
Stephan Dippon
Thank you so much for this music, my favorite motet of Heinrich Schütz on the evening before "Volkstrauertag". This is the day for the remembrance of the victims of both world wars and all victims of the Nazis.
"Sie ruhen" - @Jonathan: Wonderful, the sound of rest and the other voices like angels above.
If there are pieces, which can Show us the eternity - this is one of them.
Brian Smetzer
How is it that nothing they do is ever less than stellar? After all these years following them, I still run across new recordings and not a single one disappoints.