Daniel R. Melamed       dmelamed (AT) indiana.edu

Tue   8 Jan      1. Introduction
Thu  10 Jan     2. Il primo libro de madrigali

Tue 15 Jan      3. Psalmen Davids  
Thu 17 Jan      4. Psalmen Davids (cont.)   

Tue 22 Jan      5. Auferstehungs-Historia
Thu 24 Jan      6. Auferstehungs-Historia (cont.)                First paper due

Tue 29 Jan      7. "Becker Psalter" 
Thu 31 Jan      8. Becker Psalter (cont.)

Tue   5 Feb      9.  Cantiones sacrae
Thu   7 Feb    10.  Cantiones sacrae (cont.)                        Rewrite of first paper due                  

Tue  12 Feb    11. Musicalische Exequien                       
Thu  14 Feb    12. Musicalische Exequien (cont.)

Tue 19 Feb     13. Symphoniae sacrae III         
Thu 21 Feb     14. Symphoniae sacrae III (cont.)  

[SPRING BREAK]

Tue  19 Mar    19. Seven Last Words
Thu  21 Mar    20. Seven Last Words (cont.)                       Second paper due

Tue 26 Mar     21.  Symphoniae sacrae I                               
Thu 28 Mar     22.  Symphoniae sacrae I (cont.)

Tue  2 Apr       23. Symphoniae sacrae II
Thu  4 Apr       24. Passions

Tue 9 Apr        25. NO CLASS                 
Thu 11 Apr      26. Weihnachts-Historia                             

Tue 16 Apr      27. Schütz and Monteverdi
Thu 18 Apr      28. Schütz and Monteverdi (cont.)                  

Tue 23 Apr     29. "Schwanengesang"
Thu 25 Apr     30. TBA                                                         Third paper due

[No exam]

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.

Requirements: Reading, listening, score study; class attendance and participation; three short analytical papers.

Materials: Scores, recordings and readings are available online from this page. Some materials reside on Oncourse but do not have to be accessed from there.

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 three papers (rewritten versions are encouraged after consultation, and required for the first paper) and on active, frequent and well-informed class participation. Your course grade begins with the average of your three paper grades and may be rounded up or increased for constructive class participation.

Disability and Religious Observance. These will be accommodated according to University guidelines (http://www.iu.edu/~code/). 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 (rarely necessary in analytical assignments) must be fully documented. Violations of the standards of academic conduct will result in a failing grade for 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] Oncourse

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]

Spagnoli, Gina. Letters and documents of Heinrich Schütz, 1656-1672: an annotated translation. Ann Arbor, 1990. [ML410.S35 .A4]

Original sources on microfilm

Biography
Moser, Hans Joachim. Heinrich Schütz: sein Leben und Werk. 2nd edn. Cassel, 1954. [ML410.S35 M8]

Smallman, Basil. Schütz. Oxford, 2000. [ML410.S35 S6] Oncourse

Rifkin, Joshua and Eva Linfield. "Schütz, Heinrich." Grove Music Online.

Rifkin, Joshua. "Towards a new image of Henrich Schütz." Musical times 126 (1985): 621-28, 716-21. Oncourse Part 1 Part 2.

Bibliography
Skei, Allen B. Heinrich Schütz: a guide to research. New York, 1981.

Brunner, Renate. "Bibliographie des Schütz-Schrifttums 1672-1925." Schütz-Jahrbuch 1984, 102-24.

Brunner, Renate. "Bibliographie des Schütz-Schrifttums 1926-1950." Schütz-Jahrbuch 1981, 102-24.

Brunner, Renate. "Bibliographie des Schütz-Schrifttums 1951-1975." Schütz-Jahrbuch 1979, 93-142; 1981, 64-81.

Brunner, Renate. "Bibliographie des Schütz-Schrifttums 1976-1985." Schütz-Jahrbuch 1989, 104-29.

Brunner, Renate, "Bibliographie des Schütz-Schrifttums 1986-1995." Schütz-Jahrbuch 2001, 123-49.

http://www.schuetzgesellschaft.de/schuetzbiblio.htm [Internationale Heinrich-Schütz-Gesellschaft]

Performance practice
Buelow, George J. A Schütz reader. Documents on performance.  (New York,1985). Oncourse

REPERTORY AND ASSIGNMENTS

Please note that links below the RED LINE are not yet updated to point to this semester's materials.

Introduction

Reading:

Joshua Rifkin and Eva Linfield. "Schütz, Heinrich." Grove Music Online.

Outline of Schütz's career
Works by opus
 

Listening: Ps. 116 ("Das ist mir lieb," pub. 1623)

    Recording: Weser-Renaissance        Text        Score

Il primo libro de madrigali [op.1] (Venice, 1611)

Recording: Cantus Cölln        Hannover Orlando di Lasso Ensemble

Reading: Smallman, pp. 9-26.

For particular study: Nos. 5, 7 and 9. Scores     Texts  

Outline of the print

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)  

Recording: Cantus Cölln   Oxford Camerata

Reading: Smallman, pp. 27-43; Schütz's preface in Buelow.

Arnold, Denis. "Venetian and Non-Venetian Elements in Schütz’s Psalms of David." In Heinrich Schütz und die Musik in Dänemark, 145–53. Copenhagen 1985.

Arnold, Denis. "Schütz’s “Venetian” Psalms." Musical Times 113 (1972): 1071–3.

For particular study: "Wie lieblich sind deine Wohnungen" SWV 29  Score
                               "Ich hebe meine Augen auf" SWV 31     Score

Texts

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] (Dresden, 1623)

Recording: Concerto vocale, Cappella Augustana

Reading: Smallman, pp. 43-49
              Schütz's preface in Buelow
              Preface to Stuttgarter Schütz-Ausgabe

    Score: 1    2    3    German 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)

Reading: Smallman, pp. 60-2
              Schütz's preface in Buelow

For particular study:

Schütz: 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.
By other composers:
            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, Ps. 103, "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

Cantiones sacrae [op.4] (Freiberg, 1625)  

Recording: Weser-Renaissance

Reading: Smallman, pp. 50-60.

For particular study: "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.

Scores: SWV 61-62,  SWV 63-64, SWV 82, SWV 84

Texts and translations

Outline
Text outline

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] (Dresden, 1636)  

Recordings: Chapelle royale  The Sixteen

Text and translation
Score

Reading: Smallman, pp. 76-86
              Schütz's preface in Buelow.

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.

Johnston, Gregory Scott. "Rhetorical personification of the dead in 17th-century German funeral music: Heinrich Schütz's Musikalische Exequien." Journal of Musicology 9 (1991): 186-213.

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)  

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.

For particular study: "Venite ad me" SWV 261; "Jubilate Deo omnis terra" SWV 262; "In lectulo per noctes/Invenerunt me custodes civitatis" SWV 272-273.

Scores: SWV 261, SWV 262, SWV 272-273
Texts and translations

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) / Anderer Theil kleiner geistlichen Concerten [op.9] (Dresden, 1639)  

    Recording: Weser-Renaissance

Reading: Smallman, pp. 87-101

For particular study: "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.

Scores
Texts and translations

Symphoniarum sacrarum secunda pars, op.10 (Dresden, 1647)

    Recording: Purcell Quartet

Reading: Smallman, pp. 115-124
Schütz's preface in Buelow

Original print
Modern edition (SGA) [missing one piece]

1. 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?

2. 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?

3. 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.)

4. 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).

For particular study: "Mein Herz ist bereit" SWV 341; "Es steh Gott auf" SWV 356; "Lobet den Herrn, alle Heiden" SWV 363

Scores: SWV 341, SWV 356, SWV 363
Texts and translations

Symphoniarum sacrarum tertia pars, op.12 (Dresden, 1650)

    Recordings: Musica Fiata, Cantus Cölln

Reading: Smallman, pp. 133-141

Eva Linfield. "Rhythm, Rhetoric and Harmony as a Key to Schütz's Saul, Saul, was verfolgst du mich?" Festschrift in Honor of Paul Brainard's 65th Birthday. Rochester, 1996.

Eva Linfield. "Formal and Tonal Organization in a 17th-Century Ritornello/Ripieno Structure. Journal of Musicology 9 (1991): 145-64. [SWV 408]

For particular study: "Saul, Saul, was verfolgst du mich" SWV 415; "Es ging ein Sämann aus" SWV 408. [We will focus on the topics and approaches of the two assigned articles.]

Scores: SWV 415, SWV 408 and SWV 408
Texts and translations

Musicalia ad chorum sacrum, das ist: Geistliche Chor-Music erster Theil, op.11 (Dresden, 1648)  

    Recording: Weser-Renaissance

Background reading on 17th-century tonal organization:

Gregory Barnett. "Tonal organization in seventeenth-century music theory." In The Cambridge History of Western Music Theory, edited by Thomas Christensen, 407-55. Cambridge: Cambridge University Press, 2002.

A capsule summary of the principles of tonal organization:

Massimo Ossi. Review of Eric Chafe. Monteverdi’s Tonal Language. Journal of the American Musicological Society 48 (1995): 490-507.

Reading: Smallman, pp. 125-133 Oncourse; 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. Oncourse

For particular study: "Das ist je gewisslich wahr" SWV 388; "Die mit Tränen säen" SWV 378; "Die Himmel erzählen die Ehre Gottes" SWV 386.

For comparison: J.H. Schein, "Die mit Tränen säen" (Israelsbrünnlein, 1623); recording here.

     Scores: SWV 388, SWV 378, SWV 386, Schein

     Texts and translations

Die sieben Wortte unsers lieben Erlösers und Seeligmachers Jesu Christi

    Recordings: Ensemble Clément Janequin, P. Hillier, Rheinische Kantorei, C. Rademann, Ricercar Consort

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
Historia des Leidens und Sterbens … Jesu Christi nach dem Evangelisten St. Lucam
Historia des Leidens und Sterbens … Jesu Christi nach dem Evangelisten St. Johannem

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  

Framing texts

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.)

Does 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 (Dresden, 1664)

Recording: Concerto vocale    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. 

Scores
    SGA (Spitta, 1885)
    B&H (Schering, 1909) [probably most useful]
    NSA (Schoeneich, 1955): Part 1 and Part 2

Text and translation

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 do this search on Naxos you can sample some recordings. What do they do?

Schütz and Monteverdi

Reading:

Ossi, Massimo. "L'armonia raddopiata: on Claudio Monteverdi's Zefiro torna, Heinrich Schütz's Es steh Gott auf,  and other early seventeenth-century ciaccone." Studi musicali 17 (1988): 225-53.

For particular study:

    Claudio Monteverdi, "Zefiro torna"                                              Score     Recording    Texts and translations
    Monteverdi, "Armato il cor"                                                        Score      Recording
    Schütz, "Es steh Gott auf" SWV 356                                           Score      Recording
    Monteverdi, "Il combattimento di Tancredi e Clorinda"                Score     Text and translation     Recording    Book 8 preface    Combattimento preface

Study the compositions by Monteverdi here. Much of what the composer does with instruments, particularly in the Combattimento, is new. What are those things? What did Schütz learn from him? How does "Es steh Gott auf" relate to its model?

Some seventeenth-century style classifications

Königs und Propheten Davids hundert und neunzehender Psalm [Dresden, 1671] "Schwanengesang"

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.

Score [NB This is enormous; please consider printing only the two sections indicated. We will focus on those in class.]

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

Text and translation

Recordings: Hilliard Ensemble or Hilliard Ensemble     Herreweghe        Drury      Knothe