M502: Schütz, Spring 2023
Indiana University Jacobs School of Music
MU204, TTh 9.45-11AM
Daniel R. Melamed dmelamed (at) iu.edu
Tue 10 Jan 1.
Introduction
Thu 12 Jan 2. Il primo libro de madrigali
Tue 17 Jan 3. Psalmen
Davids
Thu 19 Jan 4. Psalmen Davids (cont.)
Tue 24 Jan 5.
Auferstehungs-Historia
Thu 26 Jan 6. Auferstehungs-Historia (cont.)
First paper due
Tue 31 Jan 7. "Becker Psalter"
Thu 1 Feb 8. Becker Psalter (cont.)
Tue 7 Feb 9. Cantiones sacrae
Thu 9 Feb 10. Cantiones sacrae (cont.) Rewrite
of first paper due
Tue 14 Feb 11. Musicalische Exequien
Thu 16 Feb 12. Musicalische Exequien (cont.)
Tue 21 Feb 13. Symphoniae sacrae III
Thu 23 Feb 14.
Symphoniae sacrae III (cont.)
[SPRING BREAK]
Tue 21 Mar 19. Geistliche Chor-Music Second paper due
Thu 23 Mar 20. Geistliche Chor-Music (cont.)
Tue 28 Mar 21. Symphoniae sacrae I
Thu 30 Mar 22. Symphoniae sacrae I (cont.)
Tue 4 Apr
23. Symphoniae sacrae II
Thu 6 Apr 24. Symphoniae sacrae
II
Tue 11 Apr 25. Weihnachts-Historia
Thu 13 Apr 26.
Weihnachts-Historia (cont.)
Tue 18 Apr 27.
Passions
Thu 20 Apr 28. [NO CLASS]
Tue 25 Apr
29.
"Schwanengesang"
Third paper due
Thu 27 Apr 30. TBA
This is principally an analysis course. We will spend much of our time in class and most of our time in the paper assignments on the close musical analysis of Schütz's compositions.
Prerequisites. Proficiency requirements in music history (M501) and written music theory (T508).
Requirements. Reading, listening, score study; class attendance and
participation; three short analytical papers.
Guidelines for writing analytical papers
Materials and
assignments. Scores, recordings, and readings are online. Daily assignments are on the course
Web page; please check each time for changes and revisions. Note that many
resources reside on Canvas but it is not necessary to log on
there to find them--everything is linked from the course page.
Please have texts and diagrams available in class. Questions in the assignments are for study;
you do not need to write them up.
Attendance. Every student is expected at each class meeting; exceptions are only for illness or personal emergency. Please inform the instructor in advance if you are forced to miss a class. You should come equipped with materials (scores, posted handouts) and fully prepared to take part in discussions. There's no point in being in the course otherwise.
Grading. The course grade will be based on the written assignments and on active, frequent and well-informed class participation.
Expectations:
Written assignments: A—carefully prepared, edited,
and proofread; substantively insightful.
B—fundamentally appropriate but with problems in presentation or substance.
C—poor presentation or substance
Class participation: A—frequent,
insightful, respectful of others
B—insightful but less frequent
C—infrequent, poorly prepared
Disability and Religious Observance. These will be accommodated according to University guidelines (https://studentaffairs.indiana.edu/student-support/disability-services/get-help/accommodations/index.html and https://vpfaa.indiana.edu/policies/bl-aca-h10-religious-observances/index.html). Please speak with the instructor in advance of your need.
Academic conduct. You may consult and collaborate with classmates in preparing daily assignments. You may discuss paper topics and analyses with others, but all written work must be entirely your own. Every use of the work of others must be fully documented. If you violate the standards of academic conduct you will fail the course.
BASIC BIBLIOGRAPHY
Worklists
Bittinger, Werner. Schutz-Werke-Verzeichnis. Cassel, 1960. [ML134.S33 B6]
http://heinrich-schuetz-haus.de/swv/sites/swv.htm [Heinrich-Schütz-Haus Bad Köstritz]
Music--modern editions
Heinrich Schütz. Sämtliche Werke. 18 vols. Leipzig, 1885-1927.
Reprint Wiesbaden, 1968-74. [M3 .S389 v.1-17]
Heinrich Schütz. Neue Ausgabe sämtlicher Werke. Cassel, 1955- . [M3 .S39 v.1-40]
Heinrich Schütz. Stuttgarter Schütz-Ausgabe. Neuhausen-Stuttgart, 1971-. [M3.S39 S7 v. 1-15]
Documents
Berke, Dietrich. Heinrich Schütz: Texte, Bilder, Dokumente. Basel,
1985. [ML410.S35 B512]
Leaver, Robin A. Music in the service of the church: the funeral sermon for Heinrich Schütz (1585-1672). St. Louis, 1984. [ML3168 .G44]
Petzoldt, Richard. Heinrich Schütz und seine Zeit in Bildern/Heinrich Schütz and his times in pictures. Cassel, 1972. [ML88.S35 P39]
Schütz, Heinrich. Autobiographie (Memorial 1651). Faksimile-Ausg. Mit einem Vorwort und Anmerkungen von Heinz Krause-Graumnitz. Leipzig, 1972. [ML410.S35 A47 1972]
Buelow, George J. A Schütz reader. Documents on performance. New York, 1985.
Spagnoli, Gina. Letters and documents of Heinrich Schütz, 1656-1672: an annotated translation. Ann Arbor, 1990. [ML410.S35 .A4]
Johnston, Gregory S. A Heinrich Schütz reader: letters and documents in translation. New York, 2013. [ML410.S35 A25 2013]
Biography
Moser, Hans Joachim. Heinrich Schütz:his Life and Work. Transl. Carl
F. Pfatteicher. St. Louis, 1959 . [ML410.S35 M82]
Smallman, Basil. Schütz. Oxford, 2000. [ML410.S35 S6]
Rifkin, Joshua, Eva Linfield, Derek McCulloch, and Stephen Baron. "Schütz, Heinrich." Grove Music Online.
Rifkin, Joshua. "Towards a new image of Henrich Schütz." Musical Times 126 (1985): 621-28, 716-21.
Varwig, Bettina. Histories of Heinrich Schütz. New York, 2011. [ML410.S35 V47 2011]
REPERTORY AND ASSIGNMENTS
Reading:
Joshua Rifkin, Eva Linfield, Derek McCulloch, and Stephen Baron. "Schütz, Heinrich." Grove Music Online.
Outline of Schütz's career
Works by opus
Ps. 116 "Das ist mir lieb" SWV 51 (publ. 1623)
Recording: Weser-Renaissance Text Score
Il primo libro de madrigali [op.1] (Venice, 1611)
Original print Modern score Recordings: Cantus Cölln Hannover Orlando di Lasso Ensemble
Reading: Smallman, pp. 9-26.
"Così morir debb'io?" SWV 5
"Ride la primavera" SWV
7
Guerra di baci SWV 9
What kinds of texts has Schütz selected? How are they constructed? What opportunities do they offer?
How does the composer divide the text into smaller units?
In what ways do these madrigals relate to older works of the type? What is modern or up-to-date?
Psalmen Davids sampt etlichen Moteten und
Concerten [op.2] (Dresden, 1619)
Original print Modern score Recordings: Cantus Cölln Oxford Camerata
Reading:
Smallman, pp. 27-43
[cont.]
Schütz's preface in Buelow
Varwig Chapter 1 "Trumpets
and drums"
"Wie lieblich sind deine Wohnungen" SWV 29
Score
"Ich hebe meine Augen auf" SWV 31
Score
Outline
of the print
Disposition of parts in the print
Text/diagram
of "Wie lieblich sind deine Wohnungen"
Text/diagram of "Ich hebe meine Augen auf"
What are the various roles of voices in these two works from the collection? How do these pieces relate to the ideas and types discussed in the composer's preface?
Historia der frölichen und siegreichen Aufferstehung unsers einigen Erlösers und Seligmachers Jesu Christi [op.3] SWV 50 (Dresden, 1623)
Original print Modern score Recordings: Hillier Pierlot
Reading:
Smallman, pp. 43-49
Schütz's preface in Buelow
Preface to Stuttgarter Schütz-Ausgabe
Score Text Text and translation
Derivation of the opening narrative text
Passages of
direct speech
Study the text of this work. What kinds of texts does it contain? What choices does the composer make in treating them? How are the various characters represented? With what voices?
Psalmen Davids . . durch D. Cornelium Beckern [op.5] (Freiberg, 1628, 2/1640); rev. and enlarged 3rd edn, as Psalmen Davids jetzund auffs neue übersehen, auch vermehret [op. 14] (Dresden, 1661)
Original print 1628 Original print 1661 Modern score 1628 Modern score 1661 Recording [excerpts]: Rademann
Reading:
Smallman, pp. 60-2
Schütz's preface in Buelow
Ps. 51, "Erbarm dich mein, o Herre
Gott" SWV 148
Ps. 84, "Wie sehr lieblich und schöne" SWV 181
Ps. 103, "Nun lob, mein Seel, den Herren" SWV 201
Johann
Walter, "Christ lag in Todesbanden" [3 settings] (Geystliches
gesangk Buchleyn [1524 and later editions])
Claude Goudimel, Ps. 84, "O Dieu des armees, combien" (150
pseaumes de David [1564])
Johann Hermann Schein, "Nun lob,
mein Seel, den Herren," "Wie lieblich sind die Wohnung dein," "Erbarm dich mein, O Herre Gott," "Christ lag in
Todesbanden,"
"Christ lag in Todesbanden in contrapuncto composito a
5"
(Cantional oder Gesangbuch Augspurgischer Confession
[1627/1645]).
Michael Praetorius, "Christ lag in Todesbanden" (Musae
sioniae IX [1610])
Scores
Psalm and hymn texts The pieces by Walter are the earliest polyphonic Lutheran settings of chorale
tunes. How are these pieces constructed? What are the roles of the voices? How
does the setting by Praetorius work? What issues does Schütz address in his preface to the Becker Psalter? What is
he talking about? Compare the poetic versions of the assigned psalms to the original versions.
What are the features of the new texts, and how do they influence the musical
settings? What kinds of musical settings are there in the Becker Psalter overall? Study the Psalm and hymn settings by Schein and Goudimel. How do they compare
textually and musically to the settings by Schütz? NB: Come prepared to sing these pieces!
Cantiones sacrae [op.4] (Freiberg, 1625)
Original print Modern score Recording: Weser-Renaissance
Reading: Smallman, pp. 50-60.
"Verba mea auribus percipe/Quoniam ad te
clamabo" SWV 61-62
"Ego dormio/Vulnerasti cor meum" SWV 63-64
"Inter brachia
salvatoris mei" SWV 82
"Ecce advocatus meus"
SWV 84
What are the characteristics of the texts (especially their construction, prosody and organization), and how does this affect the compositions?
How does Schütz use his musical resources (four voices, basso continuo)? What are the various roles of the continuo? How does it relate to the vocal parts?
What is the balance between contrapuntal and harmonic construction of cadences? Does the presence of a continuo part affect this?
How does Schütz divide and organize his text? What role do texture, note values, cadence points and other features play in establishing the overall musical organization?
How text-expressive are the works? In what ways?
Musicalische Exequien dess Herrn Heinrichen
dess Jüngern und Eltisten Reussen [op.7] SWV 279–281 (Dresden, 1636)
Reading:
Smallman, pp.
76-86 [cont.]
Schütz's preface in Buelow
Varwig
Chapter 3 "Life,
Death, and Afterlife"
Breig, Werner. "Heinrich Schütz's Musikalische Exequien: reflections on its history and textual-musical conception." In Church, stage, and studio: Music and its contexts in seventeenth-century Germany, ed. Paul Walker, 109-125. Ann Arbor, 1990.
What kinds of texts are represented in this work? How are they organized? What is the relationship between adjacent texts, especially biblical texts and the following chorale?
What kinds of settings (musical style) does each receive? What aspects of musical style does the composer use to distinguish between biblical and chorale texts?
How do the chorale settings themselves compare to others we have seen? What is the structural role of the chorales in the work?
What forces are needed to perform this work? How are they used?
Symphoniae
sacrae [op.6] (Venice, 1629)
Original print Modern score Recording: Concerto Palatino
Reading: Smallman, pp. 63-75.
Kendrick, Robert. L. "'Sonet vox tua in auribus': Song of Songs Exegesis and the Seventeenth-Century Motet." Schütz-Jahrbuch 1994, 99-118.
Roche, Jerome. "What Schütz Learnt from Grandi in 1629." Musical Times 113 (1972): 1074–5.
"Venite ad me" SWV 261
"Jubilate Deo omnis terra" SWV
262
"In lectulo per noctes/Invenerunt me custodes civitatis" SWV 272-273.
What are the characteristics of these texts Schütz chooses (especially their construction, prosody and organization). How do these things affect the compositions?
What are the various relationships of voices to instruments? What role do instrumental sinfonias play?
What strategies does Schütz use for the opening of various compositions?
Erster Theil kleiner geistlichen Concerten
[op.8] (Leipzig, 1636)
Original print 1636 Original print 1639 Modern score 1636 Modern score 1639 Recording: Weser-Renaissance
Reading: Smallman, pp. 87-101
"Eile mich, Gott, zu erretten" SWV 282
"O hilf, Christe,
Gottes Sohn" SWV 295
"Ich will den Herren loben allezeit" SWV 306
"Meister,
wir haben die ganze Nacht gearbeitet" SWV 317
"Die Stimm des Herren gehet auf den Wassern" SWV 331
Symphoniarum sacrarum secunda pars, op.10
(Dresden, 1647)
Original print Modern score Recording: Purcell Quartet
Reading:
Smallman, pp. 115-124
Schütz's preface in Buelow
"Mein Herz ist bereit" SWV 341
"Es steh
Gott auf" SWV 356
"Lobet den Herrn, alle Heiden" SWV 363
Examine the original print in detail. How many part books are there? How are they designated? How are voices and instruments distributed in each? Why are the part books labeled the way they are? Besides the notes (and text), what information is provided to each performer? For what purpose? (Pay particular attention to words like "Symphonia," to text cues in instrumental parts, to words like "Tarde," and so on--look through each part in detail.) What do you make of the black notes in triple-meter passages? Note the instrumental parts in "Meine Seele erhebt den Herrn" and the "NB" after the last piece in the two violin parts. What is the relationship between the violone and organ parts?
How is the collection organized? What, exactly, is counted in the designations "a 3" and the like? Is there a logic to the ordering of pieces after the grouping of similar scoring? By key? Text?
What kinds of texts are represented in the collection? (Most of them are identified on the Schütz-Haus site; you can look up the few that aren't.)
Why are some of the 1-voice pieces designated for soprano or tenor, but others only for tenor? What about the choices offered for 2-voice pieces?
You will probably find it useful to make yourself a table of the collection's contents and facts about the pieces--scoring, key, etc.--and of the partbooks (specific content).
Symphoniarum sacrarum tertia pars, op.12 (Dresden, 1650)
Original print Modern score Recordings: Rademann Cantus Cölln
Reading: Smallman, pp. 133-141
Derek Stauff. "Schütz's Saul, Saul, was verfolgst du mich? and the Politics of the Thirty Years War." Journal of the American Musicological Society 69, no. 2 (2016): 355-408.
Eva Linfield. "Formal and Tonal Organization in a 17th-Century Ritornello/Ripieno Structure." Journal of Musicology 9 (1991): 145-64. [SWV 408]
"Saul, Saul, was verfolgst du mich" SWV 415
"Es ging ein Sämann
aus" SWV 408.
Scores:
SWV 415
SWV 408
Texts and translations
Musicalia ad chorum sacrum, das ist:
Geistliche Chor-Music erster Theil, op.11 (Dresden, 1648)
Original print Modern score Recording: Weser-Renaissance
Reading:
Smallman,
pp. 125-133
Schütz's preface in Buelow
Eva Linfield. "Modal and Tonal Aspects in Two Compositions by Heinrich Schütz." Journal of the Royal Musical Association 117 (1992): 86–122.
Joshua Rifkin. "Schütz and musical logic." Musical Times 113 (1972): 106–70.
Varwig Chapter 4 "Old and New Worlds"
"Das ist je gewisslich wahr" SWV 388
"Die mit Tränen
säen" SWV 378
"Die Himmel erzählen die Ehre Gottes" SWV 386.
J. H. Schein, "Die mit Tränen säen" (Israelsbrünnlein, 1623); recording here.
Die sieben Wortte unsers lieben Erlösers und Seeligmachers Jesu Christi SWV 478
Manuscript source Modern scores: SGA NSA Recordings: Messori Hillier Max
Reading: Smallman, pp. 109-115
Score:
SGA
NSA
Text and translation
Full
text of "Da Jesus an dem Kreuze hung"
Analysis of Gospel text
Outline of the musical setting
Examine the text of this work, which is organized around first-person words of Jesus. How are those words presented? What role do instruments play in these passages?
How are the words of narration (the Evangelist) presented? How does the composer use various voices for these words?
How are the words of the other speakers (in the third part) handled?
What musical features distinguish the various kinds of words (narration, direct speech of Jesus, direct speech of others)?
What is the harmonic plan of the piece, both within sections and overall?
How does the composer set the opening and closing hymn stanzas?
How are the instrumental movements constructed? What role do they play? How is their construction related to that of the vocal sections?
Historia des Leidens und Sterbens unsers Herrn und
Heylandes Jesu Christi nach dem Evangelisten S. Matheum SWV 479
Historia des Leidens und Sterbens … Jesu Christi nach dem Evangelisten St. Lucam
SWV 480
Historia des Leidens und Sterbens … Jesu Christi nach dem Evangelisten St.
Johannem SWV 481
Reading: Smallman, pp. 157-165
Recordings: St. Matthew Passion Cappella
Augustana
Ars Nova Copenhagen
St. Luke Passion
Cappella Augustana,
Rheinische Kantorei
Ars Nova Copenhagen
St. John Passion
Cappella Augustana
Ars Nova Copenhagen
Scores:
St. Matthew Passion
St. Luke
Passion
St. John
Passion
Gospel texts: Mt
Luther 1545
KJV
Lk
Luther 1545
KJV
Jh
Luther 1545
KJV
Survey Schütz's three settings of the passion narrative. How are forces used?
How are the ensemble sections constructed musically? On what musical type(s) do they draw? Can you identify categories and patterns of musical approach in them (try this for the St. Matthew setting).
How can we approach the monophonic passages analytically? (Consider the opening of the St. John setting.)
Do any of the musical styles employed in the works allow for an expressive approach to the text? What tools are available to the composer to shape the setting?
Historia der freuden- und gnadenreichen Geburt Gottes und Marien Sohnes, Jesu Christi SWV 435 (Dresden, 1664)
Recording: Arman Ars Nova Copenhagen
Reading:
Smallman,
pp. 149-165
Schütz's preface in Buelow
Eva Linfield. "A New Look at the Sources of
Schütz’s Christmas History."
Schütz–Jahrbuch
1982–3, 19–36.
Varwig edition
Scores
SGA (Spitta, 1885)
B&H (Schering, 1909) [probably most useful]
NSA
(Schoeneich, 1955)
Bärenreiter
(Varwig, 2017)
How does Schütz treat the narrative and spoken texts here compared to the other gospel works we have studied? What claims does the composer make for the evangelist recitatives? What possible ways of performing the piece does he suggest? Do you suppose anyone still does any of them except one?
The work is transmitted in several versions with some gaps; the various editions reflect different combinations of sources consulted. A principal problem is the opening chorus ("Die Geburt unsers Herren Jesu Christi"), for which only the continuo line survives. The edition by Schering provides the text and continuo line. Before consulting the reconstruction in the NSA or listening to recordings, study the text and continuo line. How much can we tell about the construction of this lost movement? If you search on Naxos you can sample some recordings. What do they do?
Königs und Propheten Davids hundert und
neunzehender Psalm [Dresden, 1671]
Reading: Smallman, pp. 166-177
Ray Robinson. "The opus ultimum: Heinrich Schütz's artistic and spiritual testament." In Five centuries of choral music: Essays in honor of Howard Swan, 217-232. Stuyvesant, NY, 1988.
Recordings: Hilliard Ensemble Rademann
Score
Part 1
Part 2
Part 3
Part 4 <-- For class
Part 5
Part 6
Part 7
Part 8
Part 9
Part 10
Part 11
Part 12 [Ps 100]
Part 13 [Magnificat] <-- For class