Schutz 3 Sacred Dialogues & Weckmann The Annunciation Cantata
Heinrich Schütz published his Symphoniarum sacrarum tertia pars, op. 12, otherwise known as “Symphoniae Sacrae”, in Dresden in 1650. It contains some of his largest scale compositions, and their texts include many dramatic scenes from the New Testament, including the ones in this edition. Schütz didn’t feel able to publish them until the end of the Thirty Years War (1748) as “the times have been so consistently deplorable in our fatherland, and unfavourable to music as well as to the other arts”. When peace came he felt able to gather the compositions which he had written during his long tenure as Kapellmeister at the Court of Dresden into collections, “and have them printed for my remembrance”.
One of Schütz’s most successful pupils was Matthias Weckmann (1619-1674). He was a boy chorister in the Dresden Court chapel under the direction of Schütz, who then arranged for him to study composition with Praetorius in Hamburg. He returned to Dresden as Court Organist before accompanying Schutz to Denmark as organist at the Court Chapel of Nykøbing. He later moved to Hamburg as organist of the Jacobikirche where he remained until his death. Most of his compositions date from the Hamburg years, when he also founded a Collegium Musicum to provide weekly concerts in the Cathedral. Weckmann stands as something of a ‘missing link’ between Schütz and J.S. Bach, and indeed his own son, Jacob Weckmann (1643-1680), held the post of organist at the Thomaskirche in Leipzig in some of those intervening years before Bach arrived.
HEINRICH SCHŰTZ 1585 – 1672
The Easter Dialogue (Oster-Dialog)
For 4 solo voices, SATB, with a text from St John’s Gospel.
The male voices T & B sing the words of Jesus, and the female voices S & A
sing the words of Mary Magdalene at their meeting early on Easter morning.
The Publican and the Pharisee (Pharisäer und Zöllner)
For Tenor & Bass soloists, with SS & SATB chorus, with a text from St Luke.
The male voices T & B take the roles of the Publican and the Pharisee,
whilst the choruses frame the event.
The twelve-year-old Jesus in the Temple (Mein Sohn, warum hast du uns das getan?)
For Soprano, Alto & Bass soloists, with SATB chorus plus 2 violins
The solo S & B voices sing the parts of Mary and Joseph, whilst an
Alto or Treble voice sings the part of the young Jesus; with a text from St Luke
MATHIAS WECKMANN 1619 – 1674
The Annunciation Cantata (Dialogus: Gegrüsset seist du, Holdselige)
For Soprano & Tenor soloists, 2 violins & 2 flutes, with a text from St Luke.
The Tenor sings the part of the Angel Gabriel and the Soprano is the Virgin Mary. The Angels’ fluttering wings are depicted by the duetting violins, and the 2 flutes (or recorders) accompany the serene vocal line of the Virgin Mary.
The instrumental parts( 2 Violins, 2 Flutes or Recorders, Cello/Bass, Continuo) may be hired.
Please contact Neil Jenkins