Meine Seele erhebt den Herren, for double chorus & continuo ('German Magnificat,' Der Schwanengesang), SWV 494
Herr, nun l?ssest du deinen Diener, for soprano, alto, 2 tenors, bass & continuo ad lib, SWV 432-433: Herr, nun l?ssest du deinen Die
Herr, nun l?ssest du deinen Diener, motet for bass, 2 violins & continuo, SWV 352 (Op. 10/12) (2 versions)
Herr, nun l?ssest du deinen Diener, for soprano, alto, 2 tenors, bass & continuo ad lib, SWV 432-433: Herr, nun l?ssest du deinen Die
Vater unser, der du bist im Himmel, motet for soprano, mezzo-soprano, 2 tenors, bass, 2 violins & continuo SWV 411 (Op. 12/14)
Musikalische Exequien (Funeral Music), for double chorus & continuo, SWV 279-281 (Op. 7): Konzert (in Form einer deutschen Bergr?nis-
Musikalische Exequien (Funeral Music), for double chorus & continuo, SWV 279-281 (Op. 7): Motette 'Herr, wenn ich nur Dich habe', SWV
Musikalische Exequien (Funeral Music), for double chorus & continuo, SWV 279-281 (Op. 7): Canticum B Simeonis 'Herr, nun l?ssest du d
Heinrich Schütz often is referred to as the "father of German music"--an influential predecessor of J.S. Bach. As the works on this disc show, Schütz's music had by the 1630s (the composer's "middle period") reac... more »hed a high level of refinement while retaining an assured and accessible functionality. Schütz even indulged a Saxon prince's desire not to miss his own funeral music by setting the prince's chosen texts in advance of the aristocrat's death (Part I of Musikalische Exequien)--including parts for the prince himself to sing! This recording features works from Schütz's middle and late periods, all of which are for six-part or double choir. Although the music shows none of the complexity and elaborate ornamentation of the later Baroque, it is remarkable for its brilliant harmonic colors and skillfully woven vocal textures. The Sixteen's own voices are perfectly blended and balanced for this music, with some surprising and exceptional contributions from Simon Birchall and his fellow basses. --David Vernier« less
Heinrich Schütz often is referred to as the "father of German music"--an influential predecessor of J.S. Bach. As the works on this disc show, Schütz's music had by the 1630s (the composer's "middle period") reached a high level of refinement while retaining an assured and accessible functionality. Schütz even indulged a Saxon prince's desire not to miss his own funeral music by setting the prince's chosen texts in advance of the aristocrat's death (Part I of Musikalische Exequien)--including parts for the prince himself to sing! This recording features works from Schütz's middle and late periods, all of which are for six-part or double choir. Although the music shows none of the complexity and elaborate ornamentation of the later Baroque, it is remarkable for its brilliant harmonic colors and skillfully woven vocal textures. The Sixteen's own voices are perfectly blended and balanced for this music, with some surprising and exceptional contributions from Simon Birchall and his fellow basses. --David Vernier