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  • Schütz: Musikalische Exequien
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Schütz: Musikalische Exequien

2 customer reviews

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Product details

  • Audio CD (1 Oct. 1999)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Harmonia Mundi
  • ASIN: B000027NVQ
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 613,927 in Music (See Top 100 in Music)

1. Musikalische exequien Op. 7, SWV 279-281: I. Concert in Form einer teutchen Begrabnis-Messe
2. Musikalische exequien Op. 7, SWV 279-281: II. Motette Herr, wenn ich nur dich habe
3. Musikalische exequien Op. 7, SWV 279-281: III. Canticum B. Simeonis Herr, nun l ssest Du Deiner Diener
4. Musikalische exequien Op. 7, SWV 279-281: Also Hat Gott Die Welt Geliebt, SWV 380 (Motet)
5. Musikalische exequien Op. 7, SWV 279-281: Selig Sind Die Toten, SWV 391 (Motet)
6. Musikalische exequien Op. 7, SWV 279-281: So Fahr Ich Hin Zu Jesu Christ, SWV 379 (Motet)
7. Musikalische exequien Op. 7, SWV 279-281: Ich Bin Die Auferstehung, SWV 287 (Petits Concerts Spirituels II)
8. Musikalische exequien Op. 7, SWV 279-281: O lieber Herre Gott, BWV 287 (Petits Concerts Spirituels I)
9. Musikalische exequien Op. 7, SWV 279-281: Die Himmel Erzhlen, SWV 386 (Motet)

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Most Helpful Customer Reviews

7 of 8 people found the following review helpful By Marsilio on 14 Feb. 2012
Format: Audio CD
This was the first of what became a three-disc tribute to the "father of German music,"Heinrich Schutz (1585-1672)by Philippe Herreweghe and his family of singers and musicians before he left Harmonia Mundi to found his own record label.The final offering - Schutz's astonishing Opus Ultimum (Schwanengesan)in 2007 - is one of my Desert Island discs.Given that that is a necessarily long,and profound, meditation on Psalm 119,in Schutz's beautifully austere style,readers may be justifiably questioning what it is about this music that can possibly still be of interest to a contemporary audience.In this sumptuously produced 2009 re-issue of the Musikalische Exequien,Herreweghe himself offers us some clues in his typically illuminating liner notes.Schutz - whose career embraced both the Renaissance and the Baroque - composed during a century haunted by the spectre of death."Successive plague epidemics,dysentery,the ravages of a brutal war and clashing ideologies,not to speak of personal tragedies in the form of the death of his wife and other close family members in quick succession,all combined to create an atmosphere of almost Apocalyptic horror.Added to which,Herreweghe reminds us,there were "internal upheavals" created by scientific discoveries potent enough to compound existing insecurities,and pose profound questions about the place of human beings in the Cosmos.If anything,those questionings and insecurities have simply multiplied in the intervening years - and so has the private obsession with death amidst a public taboo.
What then does Schutz bring us in an age of febrile insecurity?
Read more ›
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5 of 14 people found the following review helpful By Mr. Peter Hammond on 26 Feb. 2010
Format: Audio CD
Heard this disc on BBC recently and decided to buy it. I am not a trained musician but I think this is a superb piece and excellently performed. PJH.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 1 review
1 of 1 people found the following review helpful
Splendid & sober Schutz from Philippe Herreweghe 11 May 2015
By jt52 - Published on Amazon.com
Format: Audio CD
This short but often incredibly beautiful release of Heinrich Schutz’s sacred music is a very good entrée into this excellent composer’s work. It includes the “Musikalische Exequien,” a funeral cantata from 1636 that lasts a bit under half an hour, along with some selections for vocal ensemble from the 1630s and 40s.

The “Musikalischen Exequien” is the piece that was my first introduction to Schutz a couple of decades ago. It is melodic and highly appealing and, like much of Schutz’s music, emotionally open. Although the Exequien presents with Schutz’s typical sobriety, the cantata is neither somber nor tragic. The interpretation found here from Chapelle Royale and leading early music conductor Philippe Herreweghe may not be perfect but its strengths are so evident that I’d place it among the handful of the finest Schutz recordings I’ve had the pleasure of hearing. Herreweghe gives us a very polished rendition, with tight ensemble, outstanding solo and choral singing and a flowing sense of line that presents the Exequien as elegiac and harmonious. The sheer sonic beauty of this interpretation is often astounding; it is a real joy. Why isn’t it perfect? Herreweghe accentuates the work’s calm perfection and understates its bare emotion. For example, the entrance of the soloists about 2’ into the long first section, “”Nacket bin,” is typically declamatory and speeded up slightly, which I think allows the music to take flight to express mourning. Herreweghe rigidly maintains the tempo, with no speeding up, something he very intently does throughout this entire disc. I have no doubt this was a conscious decision on his part, but I think it robs the music of some of its potential. That criticism aside, I found listening to this version of the “Exequien” incredibly rewarding. Just a beautiful performance.

Aside from the Exequien, 6 shorter sacred works are included, pulled from a number of different collections from the time period of the Exequien, all for groups of solo vocalists with and without continuo accompaniment. Extracted from the “Sacred choral music” of 1648, the motet “Selig sind die Toten” (track 5) is so wonderful that it is worth acquiring this release just for it alone. For eight solo singers, Schutz builds the motet from an upward turn which is worked into a rich contrapuntal fabric. The ensemble here, which includes leading singers like bass Peter Kooy and soprano Agnes Mellon, provides a performance where each voice is distinguished by a different timbre, so that “Selig sind” appears almost like a kaleidoscope of colors. This ravishing motet is my favorite but other listeners may derive great pleasure from the other ensemble works, which are often absolutely lovely.

The sound recording is both terrific and marked by occasional noise in the treble. When that noise isn’t present, it sounds just great, something which is very important for a performance style like Herreweghe’s. Obviously, I loved this release. If you are interested in learning about Schutz, try this out; if you are a Schutz fan already, you will want to hear Herreweghe’s interpretation. Warmly recommended.
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