Heinrich Schutz Johann Hermann Schein Jeremy Summerly - Schtz Psalmen Davids (12 tracks) +Album Reviews

Schutz as He Never Intended

Matyas Becvarov | Salisbury, NC United States | 03/18/2000

(2 out of 5 stars)

"From a strictly vocal perspective, this recording is perfectly fine. I bought it with the sumptuous sonorities of Venice in mind, however, which is what Schutz had in mind when he wrote the Psalmen Davids. What Summerly delivers is a minimalist version where the instrumental accompaniment is limited to a continuo organ which cannot possibly supply the added dimensions Schutz intended to incorporate through the use of instrumental parts. For those who want to hear the legacy of Schutz' experience in Venice with Gabrieli in these wonderful works, they would do well to look to another recording, perhaps the version done by Musica Fiata."

Good introduction to Schuetz

dolcissima2780 | Pennsylvania, USA | 06/02/2004

(4 out of 5 stars)

"This recording is a good introduction to the work of Heinrich Schuetz. The excerpts from Psalmen Davids are well-chosen examples of his work. Summerly and his group perform the works gracefully and intimately. The inclusion of Schein's organ pieces is a plus since it cuts the monotony of motet after motet. If you have never heard Schuetz's lovely music, this is a good place to start. My favorite piece on the disc is "Erhoere mich", a duet for two sopranos and continuo. The sopranos, Carys Anne Lane and Rebecca Outram have remarkably clear and vibratoless voices. They blend very well together and with the organ continuo. I also enjoy listening to "Singet dem Herr ein neues Lied." This recording made me want to listen to more Schuetz. At this price, you don't want to pass up this recording."

One of the best Schutz anthologies on disc.

dolcissima2780 | 09/16/1998

(3 out of 5 stars)

"Apart from being well performed this is also a well thought out selection. Half the tracks on this CD, 6 out of 12, are taken from Schutz' 1619 Opus "Psalms of David", large-scale polychoral settings following his teacher Gabrieli's model. They are performed sensitively here and counterposed with lighter works (such as the soprano duet "Erhore mich wenn ich rufe" and the bass solo "Ich liege und schlafe", both taken from the Kleine Geistliche Konzerte II of 1639). The program concludes with Schutz' graveside memorial motet to his friend Schein framed with a couple of Schein's pavans on either side, and then the final Magnificat from his own swansong opus. 64'08" playing time, full texts and translations. And all this at a sub-budget price."

A voice teacher and early music fan

George Peabody | Planet Earth | 03/13/2010

(5 out of 5 stars)

"MASTERFUL PRESENTATION OF MASTERFUL MUSIC OF HEINRICH SCHUTZ!

At the age of 85 Heinrich Schutz (1585-1672) wrote his exuberant 'German Magnificat' as a thanksgiving for the grace of God manifest in his life. His Latin epitaph pays fitting tribute to him as "the Christian singer of psalms, a joy for foreigners, and a light for Germany".

At a time when the preferred religious texts for musical use were of either a devotional or introspective nature, Schutz was attracted to the dramatic aspects of sacred texts, especially from the Bible. Thus, in 1619 he produced a collection of 26 Anthems, the 'Psalmen Davids', explicitly stating his indebtedness to Gabrieli and using a variety of colors and textures for his settings, which followed the recent local fashion of using German for psalm texts in preference to prevailing Latin. Moreover, Schutz provided detailed instructions on the disposition of voices and the use of instruments; the choirs sometimes have parallel ranges, sometimes they are divided into high and low sections, and on occasion soloists are required.

The Italian influence is evident not only in the vocal textures but also in Schutz's transformation of poetry into music. The following traits are evident: declamatory characteristics of individual phrases thus varying the pace from solemn stateliness to vigorous insistence sometimes using repetition and echo; Schutz also utilizes the rich qualities of the German vowel sounds and the sparkle of the consonents to strong emotional effect.

The Oxford Camerata, under the capable direction of Jeremy Summerly, consists of twelve members on this recording; it is a mixed group made up basically of singers who have already made somewhat of a name for themselves on an individual basis; some of whom are notable such as Robin Blaze, Rebecca Outram, Andrew Carwood, James Gilchrist and Michael McCarthy, to name a few. Their performance is beyond reproach: it is emotionally moving, displays a balanced blend of voices, dictionally perfect and certainly more that does justice to this powerful program. I prefer not to pick at what isn't or is here in the selections.

Some quotations concerning this recording are: GRAMOPHONE: "Oxford Camerata" rises excellently to the challenge". FANFARE: "The singing and interpretations are lovely, as is the engineering". THE SUNDAY TIMES,SEPT.1996: "...a fine introduction to the historically crucial - and very beautiful music of Heinrich Schutz...The disc ends with the great German Magnificat, which here makes an impact of magnificent but confidential immensity, which is surely right."

The disc includes pertinent information in English, German and French; the text is translated from the German to the English."

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