Schütz Secular Works
View record and artist detailsRecord and Artist Details
Composer or Director: Heinrich Schütz
Genre:
Vocal
Label: CPO
Magazine Review Date: 7/1998
Media Format: CD or Download
Media Runtime: 71
Mastering:
DDD
Catalogue Number: CPO999 518-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Freue dich des Weibes deiner Jugend |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
| Liebster, sagt in süssem Schmerzen |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
| Nachdem ich lag in meinem öder Bette |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
| Glück zu dem Helikon |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
| Haus und Güter erbat man von Eltern |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
| Tugend ist der beste Freund |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
| Teutoniam dudum belli atra pericla |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
| Wie wenn der Adler |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
| Siehe, wie feine und lieblich ists |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
| Vier Hirtinnen, gleich jung, gleich schön |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
| Lässt Salomon sein Bette nicht umgeben |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
| (Die) Erde trinkt für sich |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
| Wohl dem, der ein Tugendsam Weib hat |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
| Itzt blicken durch des Himmels Saal |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
| Syncharma Musicum (En novus Elysius) |
Heinrich Schütz, Composer
Heinrich Schütz, Composer Manfred Cordes, Conductor Weser-Renaissance (Bremen) |
Author: Jonathan Freeman-Attwood
The last year or so has seen some important new Schutz releases with the majority of music drawn from the composer’s celebrated publications, Symphoniae sacrae, Geistliche Chor-Musik and Kleiner geistlichen Concerten. Here we have the type of disc that fills in the cracks, a discovery of several unrecorded byways of Schutz’s miscellaneous secular oeuvre. Of course, the seventeenth century being what it is, secular and sacred are deliberately dovetailed into a cultural pea soup: these works – so different from the thoroughly Mediterranean Op. 1 Madrigals – are embedded in the literary morality of the age (how typical and reverently set is the text of Haus und Guter: “house and goods are inherited from one’s parents, but a pious and virtuous wife is from the Lord. He who finds a wife, he finds something good and receives blessings from the Lord”) and are not entirely profane.
Weser-Renaissance Bremen under Manfred Cordes are quite admirable in capturing the essential Affekt of the movement. There is a pleasing lightness of touch from the soloists (especially the soprano) and the instrumental consort does not attempt, as is so mistakenly regarded these days as the ideal, to ape the vocal lines at every turn in a wash of homogeneity; there are many distinctive virtuosic commentaries, as in Tugend ist der beste Freund, which Cordes (enhanced by the excellent recorded sound) allows to breathe naturally. Noble intensity and harmonius accord are the order of the day in the splendidly uplifting concerto Teutoniam dudum, which through its extraordinary structural clarity immediately delights the listener with a celebration of the cessation of hostilities after the miserable Thirty Years’ War. Most impressive, though, is the sympathetic and gentle treatment of the words from Weser-Renaissance, beautifully complemented by the soft articulation of the winds, especially inSiehe, wie fein and the domestic charm of Wohl dem, der ein Tugendsam. This is chamber music-making from the heart, tempered convincingly by the intellect and affectionately delivered. Highly recommended.'
Weser-Renaissance Bremen under Manfred Cordes are quite admirable in capturing the essential Affekt of the movement. There is a pleasing lightness of touch from the soloists (especially the soprano) and the instrumental consort does not attempt, as is so mistakenly regarded these days as the ideal, to ape the vocal lines at every turn in a wash of homogeneity; there are many distinctive virtuosic commentaries, as in Tugend ist der beste Freund, which Cordes (enhanced by the excellent recorded sound) allows to breathe naturally. Noble intensity and harmonius accord are the order of the day in the splendidly uplifting concerto Teutoniam dudum, which through its extraordinary structural clarity immediately delights the listener with a celebration of the cessation of hostilities after the miserable Thirty Years’ War. Most impressive, though, is the sympathetic and gentle treatment of the words from Weser-Renaissance, beautifully complemented by the soft articulation of the winds, especially in
Schütz Secular Works
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