Schütz Kleiner geistlichen Concerten
View record and artist detailsRecord and Artist Details
Composer or Director: Heinrich Schütz
Label: PGM
Magazine Review Date: 11/1997
Media Format: CD or Download
Media Runtime: 56
Mastering:
DDD
Catalogue Number: PGM109
Tracks:
| Composition | Artist Credit |
|---|---|
| Kleiner geistlichen Concerten, Erster Theil, Movement: Eile mich, Gott, zu erretten, SWV282 |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Erster Theil, Movement: Bringt her dem Herren, SWV283 |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Erster Theil, Movement: O süsser, o freundlicher, SWV285 |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Erster Theil, Movement: ~ |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Erster Theil, Movement: O Herr hilf, SWV297 |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Erster Theil, Movement: Wir gläuben all an einen Gott, SWV303 |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Anderer Theil, Movement: Was betrübst du dich, SWV335 |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Anderer Theil, Movement: Ich will den Herren loben allezeit, SWV306 |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Anderer Theil, Movement: O Jesu, nomen dulcem SWV308 |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Anderer Theil, Movement: O misericordissime Jesu, SWV309 |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Anderer Theil, Movement: Hodie Christus natus est, SWV315 |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Anderer Theil, Movement: Meister, wir haben die ganze Nacht gearbeitet, SWV |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Anderer Theil, Movement: Ich ben die Auferstehung, SWV324 |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Anderer Theil, Movement: Die Seele Christi heilige mich, SWV325 |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Anderer Theil, Movement: ~ |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
| Kleiner geistlichen Concerten, Anderer Theil, Movement: Veni Sancte Spiritus, SWV328 |
Heinrich Schütz, Composer
Christine Gummere, Cello Eric Milnes, Organ Heinrich Schütz, Composer New York Baroque Vocal Ensemble |
Author: Jonathan Freeman-Attwood
Much is made of the political circumstances in which Schutz wrote his small-scale works, not least because the composer rarely pulls his punches. In the preface to the first part of Kleiner geistlichen Concerten, published in 1636, Schutz refers to an insufficiency, brought about by war, of singers and players and – laying the ground for more graphic detail in the second volume – the parlous state of the Dresden Court. If we are to believe him, these works should represent little more than time-biding recreation, created “so that the talent God granted me ... might not lie fallow but bring forth something, however small”. The truth is that Schutz’s fastidious and committed text setting resulted in one of the baroque period’s most direct and intimately affecting collections of its type.
After a somewhat inauspicious start in the realms of seventeenth-century German vocal music (see my Buxtehude review, 6/97), PGM’s Schutz promises a little more. The polyphonic settings, quasi-madrigalian in the case of Wir glauben all an einen Gott, are largely heard to good effect, though the ensemble suffers from intermittent dips in intonation and clear penetrating declamation is too often passed over in favour of a more subdued representation of the text. Such is the case inO Jesu, nomen dulcem, a tender and intense monody, sung by Daniel Pincus but lacking fervour and emotional involvement. The most Italianate solo work, Eile mich, Gott, is also tame and prosaic in comparison with the urgent, touching and sophisticated dramatic nuance of Agnes Mellon’s reading for Phillipe Herreweghe. There really is no comparison here or in O susser, o freundlicher where the clear shortage of good American ‘period’ tenors is all too evident.'
After a somewhat inauspicious start in the realms of seventeenth-century German vocal music (see my Buxtehude review, 6/97), PGM’s Schutz promises a little more. The polyphonic settings, quasi-madrigalian in the case of Wir glauben all an einen Gott, are largely heard to good effect, though the ensemble suffers from intermittent dips in intonation and clear penetrating declamation is too often passed over in favour of a more subdued representation of the text. Such is the case in
Schütz Kleiner geistlichen Concerten
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