作曲者 | Heinrich Schütz (1585-1672)・ハインリヒ・シュッツ |
タイトル | Kleine geistliche Konzerte II (1639) |
出版社 | Bärenreiter・ベーレンライター |
シリーズ名 | Heinrich Schütz. Neue Ausgabe sämtlicher Werke 12 |
楽器編成 | Vocal, Basso continuo |
品番 | 979-g785e397d |
校訂者 | Beate Agnes Schmidt |
形状 | XXIV, 300 ページ・27.5 x 19.8 cm・1059 g・Linen |
出版年 | 2020年第1刷 |
出版番号 | BA 5966-01 |
ISMN | 979-0006497669 |
その他 | BA 5965-01 and BA 5966-01 replace BA 3664, BA 3665 and BA 3666 |
The "Kleine geistliche Konzerte" (Small Sacred Concertos), published in two parts in 1636 and1639, are among the best-known and well-loved compositions of Heinrich Schütz. Both parts constitute a collection of vocal pieces in a broad range of styles written for only a few voices with basso continuo. Most of the texts are in German, but some are also in Latin. The first volume presents a broad spectrum of vocal scoring, musical forms and texts: there are solo concertos in the Italian style, traditional four-part motets, well-known Psalm texts set to music, hymns as well as mystically contemplative meditative literature. The concertos' monodic qualities and high level of virtuosity - especially in the compositions with German text - made Schütz a household name shortly after the "Kleine geistliche Konzerte" were published in print. As the works required no large ensembles, they could be performed for different occasions and in various locations; particularly during the Thirty Years' War they could be heard at court, in cities or in villages but also in schools or at home. Unlike the 1963 edition of the "Kleine geistliche Konzerte" (BA 3664, BA 3665, BA 3666) as part of the New Schütz Edition, this new volume presents the works for the first time in their original form and order. A historic-critical evaluation of all relevant sources yields new information regarding the composer's intentions, the printing process and the works' reception. Furthermore, the edition includes a reconstruction of an earlier version that has not been published until now. This edition is geared towards musicologists, as well as professional musicians and amateurs with a keen interest in early music.
Vorwort
Preface
Faksimiles
1. Ich will den Herren loben allezeit SWV 306
2. Was hast du verwürket SWV 307
3. O Jesu, nomen dulce SWV 308
4. O misericordissime Jesu SWV 309
5. Ich liege und schlafe und erwache SWV 310
6. Habe deine Lust an dem Herren SWV 311
7. Herr, ich hoffe darauf SWV 312
8. Bone Jesu, verbum Patris SWV 313
9. Verbum caro factum est SWV 314
10. Hodie Christus natus est SWV 315
11. Wann unsre Augen schlafen ein / Quando se claudunt lumina SWV 316
12. Meister, wir haben die ganze Nacht gearbeitet SWV 317
13. Die Furcht des Herren SWV 318
14. Ich beuge meine Knie SWV 319
15. Ich bin jung gewesen SWV 320
16. Herr, wann ich nur dich habe SWV 321
17. Rorate coeli desuper SWV 322
18. Joseph, du Sohn David, fürchte dich nicht SWV 323
19. Ich bin die Auferstehung und das Leben SWV 324
20. Die Seele Christi heilige mich SWV 325
21. Ich ruf zu dir, Herr Jesu Christ / Te Christe supplex invoco SWV 326
22. Allein Gott in der Höh sei Ehr SWV 327
23. Veni, Sancte Spiritus SWV 328
24. Ist Gott für uns SWV 329
25. Wer will uns scheiden SWV 330
26. Die Stimm des Herren SWV 331
27. Jubilate Deo omnis terra SWV 332
28.1. Sei gegrüßet, Maria, du Holdselige SWV 333
28.2. Ave Maria, gratia plena SWV 334
29. Was betrübst du dich, meine Seele SWV 335
30. Quemadmodum desiderat cervus SWV 336
31. Aufer immensam SWV 337
Anhang:
11a. Wann unsre Augen schlafen ein SWV 316a
12a. Meister, wir haben die ganze Nacht gearbeitet SWV 317a
12b. Meister, wir haben die ganze Nacht gearbeitet SWV 317
21a. Ich ruf zu dir, Herr Jesu Christ SWV 326a
26a. Die Stimm des Herren SWV 331a
Kritischer Bericht
Übersetzungen