Heinrich Schütz - Eine protestantische Marienvesper

[@lchtrmn]

Some of the finest Schütz performances of the concerted works. Kudos to the vocalists and instrumentalists. The articulation and voice leading is wonderful. The best performance of “Wir Glauben” I’ve heard in decades. Right up there with Wilhelm Ehmann’s reference performances .

[@ercolenisini]

Thank you so much 🙏

[@mcburcke]

Beautifully done! It is so good to hear this wonderful, rarely-performed piece by Schütz. Excellent interpretation by the musicians.

[@henrikjrgensen4161]

A very interesting programme! It would have been nice to have a more detailed programme so that you could see where the single pieces were taken from. Also, the borrowings from Monteverdi ("Es steht Gott auf", Sonata sopra Santa Maria) should have been made clear. (Schütz wrote "Es steht Gott auf" with themes taken from two madrigals by Monteverdi, but the music is nevertheless very much Schützean.) I could not recognize other borrowings from outside Schütz' oeuvre, but quite a lot were new to me, too. Btw, I am pretty sure that no orthodox Lutheran priest would have tolerated the "Sancta Maria, ora pro nobis" in his service. He would have insisted that the text should be exchanged for a prayer to Jesus himself.

[@benfullalove4253]

Fantastic - would love to hear you live. Greetings from Canada.

[@mcburcke]

Beautifully done!

[@marchandesermf2854]

So very good interpretation !

[@redschonewille]

Sehr schön

[@voraciousreader3341]

This is truly lovely….your efforts are much appreciated!!

[@yonseiman3766]

00:45 Deus in adjutorium meum intende 00:54 Eile mich Gott SWV282 04:35 Der Herr sprach zu meinem Herrn SWV22 08:31 Es steht Gott auf SWV356 15:42 Ich freue mich des SWV26 20:00 Wir glauben all an einem Gott SWV303 24:23 Wo nicht der Herr das Haus bauet SWV473 31:37 Ich bin der Aufsehung und das Leben SWV324 35:41 Jauchzet dem Herren alle Welt SWV 47 44:25 Sonata sopra santa Maria (Monteverdi) 51:35 All Ehr und Lob soll Gottes sein SWV421 57:30 Magnificat SWV468

[@counterpartner]

Ich bin die Auferstehung 31:17

[@elonyustejornet4327]

Sublime.

[@artem.non.odit.nisi.ignarus]

Wonderfull! Thank your for the upload! In which church is the concert recorded?

[@augustusglupsch1895]

Ohrenweide :-)

[@stephenkunst7550]

Meh! Notice the instrumentalists employ no vibrato, but the vocalists warble away. Why are so many current performers employing constant vibrato. Its like salt on food. Some salt is OK but salt on all food is a turn off and ruins the meal. Even pipe organs have a tremolo shut off stop knob.

[@voraciousreader3341]

You obviously have zero understanding of period brass instruments, which are not valued at all, meaning all notes have to be for,Ed with the lips, precluding vibrato! And as for the use of human vibrato while singing, the whole ridiculous ‘no vibrato for medieval and Renaissance music’ “scholarship” crashed and burned 30 years ago, even longer ago than that in some places, such as the university where I studied voice, flute, and organ, because it is an entirely fake, unnatural sound! I’m not going to get into a technical explanation because you don’t write as a classically trained singer would, but, when one forces a flat tone, one drags the soft palate down which renders the pitch flat, constricting the throat, and, worse, one cannot make use of the required deep diaphragmatic breath support which is absolutely requisite for singing of any difficulty. The whole ‘flat tone’ singing business was never proved with primary sources-meaning some guy made it up-and it makes the intensely melismatic passages found in so much of renaissance music nearly impossible to sing! So please stop with this nonsense criticism….it does no earthly good!