M602: Seminar in Musicology. The original prints of the music of H. Schütz

Daniel R. Melamed

School of Music, Indiana University

Spring 2003






15 January        1. Introduction: Tools, topics, biography, career, repertory, editions

22 January        2. Printing   Lilly Library

29 January        3. Music printing and publishing

  5 February      4. Music printing and publishing: case studies

12 February      5. Case study: Psalmen Davids sampt etlichen Moteten und Concerten

19 February      6. Case study: Psalmen Davids sampt etlichen Moteten und Concerten (cont.)

26 February      7. Case study: Psalmen Davids sampt etlichen Moteten und Concerten (cont.)

  5 March          8. Case study: Erster Theil/Anderer Theil kleiner geistlichen Concerten

12 March          9. Case study: Erster Theil/Anderer Theil kleiner geistlichen Concerten (cont.)

19 March        [Spring break]

26 March        10. Case study: Historia der Geburt Jesu Christi

  2 April           11. Case study: Historia, der Geburt Jesu Christi (cont)

  9 April           12. Case studies: Remaining printed collections

16 April           13.                                                                     Presentation 1. S. Winks

23 April           14. Presentations: 2. K. Lundeen        3. C. Holmes             4. R. Goldberg

30 April           15. Presentations: 5. J. Glennon          6. M. Altizer              7. B. Kissell



Prof. Daniel R. Melamed
MU011, 855-1738
dmelamed (AT) indiana.edu
Office hours: By appointment. E-mail questions are welcome at any time and are the fastest way to get an answer.

Course information, assignments, reserve lists and this schedule can be found at



These are available in the Music Library.

Recordings of most of the music in the printed collections are available here.


Students are expected to attend every class; please do not schedule conflicting activities. Religious commitments and serious illness are ordinarily the only acceptable reasons for missing a class meeting. Please let the instructor know beforehand by e-mail if you are forced to miss a class. Members of the class are expected to participate actively in class discussions and to be fully prepared to do so every time.


There will be no examinations. The course grade will be based on presentations, participation and the final paper.


Matthew Altizer
John Glennon
Randy Goldberg
Chris Holmes
Bethany Kissell
Katie Lundeen
Sherri Winks
Daniel R. Melamed


Bittinger, Werner. Schutz-Werke-Verzeichnis. Cassel, 1960. [ML134.S33 B6]

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]

Picture books
Berke, Dietrich. Heinrich Schütz: Texte, Bilder, Dokumente. Basel, 1985. [ML410.S35 B512]

Petzoldt, Richard. Heinrich Schütz und seine Zeit in Bildern/Heinrich Schütz and his times in pictures. Cassel, 1972. [ML88.S35 P39]

Geier, Martin. Kurtze Beschreibung Des (Tit.) Herrn Heinrich Schützens . . . Lebens=Lauff. Faksimile-Nachdruck mit einem Nachwort von Dietrich Berke. Cassel, 1972. [ML410.S35 G45 1972]

Leaver, Robin A. Music in the service of the church: the funeral sermon for Heinrich Schütz (1585-1672). St. Louis, 1984. [ML3168 .G44]

Schütz, Heinrich. Autobiographie (Memorial 1651). Faksimile-Ausg. Mit einem Vorwort und Anmerkungen von Heinz Krause-Graumnitz. Leipzig, 1972. [Frontlog - Books 4899426]

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

Buelow, George J. A Schütz reader. Documents on performance. New York, 1985.

Moser, Hans Joachim. Heinrich Schütz: sein Leben und Werk. 2nd edn. Cassel, 1954. [ML410.S35 M8] English translation by Carl F. Pfatteicher. St. Louis, 1959. [ML410 .S35 M82]

Heinemann, Michael. Heinrich Schütz und seine Zeit. Laaber, 1993. [ML410.S35 H41]

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

Rifkin, Joshua and Eva Linfield. "Schütz, Heinrich." New Grove dictionary of music and musicians. 2nd edn. New York, 2001.

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

Skei, Allen B. Heinrich Schütz: a guide to research. New York, 1981. 2nd edn. 1988.

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 Schutz-Schrifttums 1986-1995." Schutz-Jahrbuch 2001, 123-49.

[Photocopies of these bibliographies are on personal reserve.]

The study of bibliography
Bowers, Fredson. Principles of bibliographical description. Winchester, U.K: St. Paul's Bibliographies, 1994. [Z1001 .B78]

Gaskell, Philip. A new introduction to bibliography. New York: Oxford University Press, 1972. [Z116.A2 G27 1972b]

Krummel, D.W. and Stanley Sadie, eds. Music printing and publishing. New York : W.W. Norton, 1990.  [Ref ML112 .M86]

Original sources on microfilm

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

4843677 no.3

Psalmen Davids sampt etlichen Moteten und Concerten [op.2] (Dresden, 1619)


Historia der frölichen und siegreichen Aufferstehung unsers einigen Erlösers und Seligmachers Jesu Christi [op.3] (Dresden, 1623)

4843613 pt.3

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


Psalmen Davids . . durch D. Cornelium Beckern [op.5] (Freiberg, 1628, 2/1640)

4843613 pt.1

Symphoniae sacrae [op.6] (Venice, 1629)


Musicalische Exequien dess Herrn Heinrichen dess Jüngern und Eltisten Reussen [op.7] (Dresden, 1636)


Erster Theil kleiner geistlichen Concerten [op.8] (Leipzig, 1636)

4843613 pt.2

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

4843639 pt.1

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

4843677 no.1

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

4843677 no.2

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


Zwölff geistliche Gesänge, op.13 (Dresden, 1657)

4843613 pt.4

Historia, der freuden- und gnadenreichen Geburt Gottes und Marien Sohnes, Jesu Christi (Dresden, 1664)

4843639 pt.3

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

4843639 pt.2

1. Meeting of 15 January 2003. Introduction: Tools, topics, biography, career, repertory, editions

Introduction [DRM]

The topics for the first meeting, to be divided and presented in 15-minute segments by members of the seminar, are:

1. Tools for Schütz research (bibliographies, worklists, documents, etc.)

What are the basic research tools devoted to Schütz? Are there specialized bibliographies? Periodicals, essay collections, collections of documents and letters, picture books? Useful resources on 17th-century music with important coverage of Schütz topics? [Written material: bibliography]
Presentation: K. Lundeen

2. Schütz biographies and issues in biographical research

What is the history of biographical research on Schütz? What are the principal biographies and important encyclopedia articles? What have been the principal topics of research on biographical issues? [Written material: bibliography, annotated?]
Presentation: C. Holmes

3. Research topics on Schütz other than biographical

Over the years, what have been the main areas and topics of research on Schütz? [Written material: outline, perhaps with representative citations]
Presentation: R. Goldberg

4. Overview of Schütz's career

What basic outline of Schütz's career do we need to know to understand the context of his composing and publishing? [Written material: outline?]
Presentation: S. Winks

5. Overview of the Schütz repertory

What is the scope and content of Schütz's musical output? Where does the printed repertory fit in the totality of his music? [Written material: organized overview]
Presentation: M. Altizer

6. Original editions of Schütz's music

What are the original printed editions of Schütz's music? What copies survive, and how completely? [Written material: bibliography]
Presentation: B. Kissell

7. Modern editions of Schütz's music

What is the modern publication history of Schütz's music? What editions are available? How complete are they? What are their intended audiences? By what principles are they assembled? [Written material: bibliography, annotated?]
Presentation: J. Glennon


2. Meeting of 22 January. Printing     NB Lilly Library

For background: General introduction

    Reading: Gaskell, 1-8

1. Type

    Reading: Gaskell, 9-39 (pp. 17-33 are less important for our work)

    Presentation: K. Lundeen


2. Composition

    Reading: Gaskell, 40-56

    Presentation: R. Goldberg


3. Paper

    Reading: Gaskell, 57-77

    Presentation: M. Altizer


4. Imposition/Format

    Reading: Gaskell, 78-105

    Presentation: J. Glennon


5. Presswork

    Reading: Gaskell, 118-41

    Presentation: C. Holmes

For background: Warehousing, illustrations, binding, production

    Reading: Gaskell, 142-70

6. Edition--impression--issue--state--ideal copy

    Reading: Gaskell, 313-320

    Reference: Bowers, 37-123

    Presentation: B. Kissell


7. Description and collation

    Reading: Gaksell, 321-35; Bowers, 124-34.

    Reference: Bowers, passim

    Presentation: S. Winks




3. Meeting of 29 January. Music printing and publishing


Assignment: Description of a 17th-century German book in the Lilly Library

Choose a handpress-era book from the Lilly Library's collection and make a basic bibliographic description according to standard principles, including title and imprint, format and collation, contents, signing and pagination.


Things to note:


1. The Library's holdings are not fully included in IUCAT; you should investigate other catalogues and finding aids.


2. As in any library, you may not subject a book to the kind of physical examination necessary for this kind of study (especially prying into the binding or holding it up to determine the orientation of chainlines in the paper) without the permission of a librarian. For this reason, you will need to choose a book and then ask Joel Silver, Curator of Books, for permission to examine it if its condition allows. Be sure to read the Library's guide to the use of its materials at http://www.indiana.edu/%7eliblilly/text/using.html.


3. Please write up your description (1 page should suffice) and prepare copies for each member of the seminar.


For class


1. Music type, composition and printing

Reading: Krummel and Sadie, 3-39, essentially equivalent to New Grove, "Printing & publishing of music," I.1-3.

Presentation:  M. Altizer


2. Later music printing technologies

Reading: Krummel and Sadie, 40-65; essentially equivalent to New Grove, "Printing & publishing of music," I. 4-5.

Presentation: B. Kissell


3. Music publishing in general

Reading: Krummel and Sadie, 78-132; essentially equivalent to New Grove, "Printing & publishing of music," II.1-4.

Presentation: C. Holmes


4. Music publishing in Germany; book fairs


Göhler, Albert. Verzeichniss der in den Frankfurter und Leipziger Messkatalogen der Jahre 1564 bis 1759 angezeigten Musikalien. Leipzig, 1902. [Ref. ML115.G59 V5]

Göhler, Albert. "Die Messkataloge im Dienste der musikalischen Geschichtsforschung. Eine Anregung zur zeitgenössischen Bücherbeschreibung." Diss. Leipzig Univ., nd. Reprint  Hilversum, 1965. [ML115 .G59].

Presentation: K. Lundeen


5. Bibliographic tools for 17th-century books, especially German

Presentation: S. Winks


6.. Bibliographic tools for 17th-century music

Presentation: J. Glennon


7. Collections and inventories

Presentation: R. Goldberg



4. Meeting of 5 February. Music printing and publishing: case studies


1. Music incunables

Presentation: M. Altizer


2. Petrucci

Presentation: K. Lundeen


3. Attaignant, LeRoy

Presentation:  B. Kissell


4. Gardano, Scotto

Presentation: S. Winks


5. Formschneider, Berg & Neuber

Presentation: J. Glennon


6. Byrd/Tallis, Morley, East

Presentation: R. Goldberg


7. Breitkopf

Presentation: C. Holmes

Possible topics: Ownership; role of music; repertory and output; scholarly studies; research topics; examples and case studies.


5. Meeting of 12 February: Case study: Psalmen Davids sampt etlichen Moteten und Concerten


1. Reading

Read and be prepared to discuss:

Schütz's preface (translated in Buelow) [Photocopy in notebook]

Preface to the edition of this music in Neue Ausgabe sämtlicher Werke.

B. Smallman, pp. 27-43

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. [Photocopy in notebook]

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

Küster, Konrad. "Musik an der Schwelle des Dreissigjährigen Krieges: Perspektiven der 'Psalmen Davids' von Schütz." Schütz-Jahrbuch 18 (1996): 39-51. [Photocopy in notebook]

2. Original print: musical contents

Make an inventory of the music in the collection, including scoring, text sources, key. Be prepared to discuss the organization of the print in relation to these various points. Into what categories can the works be divided (by scoring, use of forces, text, genre)?

3. Original print: physical features

Make an collation of the printed edition from the microfilm copy and notes on the contents of each part. In exactly what part are the various lines of each piece presented? What are the various uses of the capella (ripieno parts) in different pieces, and how are these lines represented in the printed music? The instrumental parts? 

4. Examples for musical study

"Wie lieblich sind deine Wohnungen" SWV 29, "Ich hebe meine Augen auf" SWV 31 [texts and translations here; scores in notebook].




6. Meeting of 19 February


 I would to continue our close examination of the pieces in the Psalmen Davids. In particular, I am interested in the various ways Schütz uses performing forces--especially singers beyond the eight typically represented in the principal vocal parts and instrumentalists--and the way they are presented in the parts.

What are the various uses of additional voices? What are the various roles of the capellae? Devise a typology of pieces according to their use of additional parts. How are these additional voices realized in the printed parts?

How are instruments specified and used? To what pieces and parts do Schütz’s instructions about instruments in his preface apply? How are the trumpet and drum parts notated? What do historical sources have to say about their realization?

Other topics

How widely circulated was Gabrieli's music in Germany in Schütz's time? How are the pieces in the Concerto publication organized and presented in comparison to the Psalmen Davids?

What is the origin of the term "falsobordone"? What logic can you find for Schütz's use of it in specific places?

What else did Gimel Berg[en] print or publish?

What forces were available to Schütz in the Dresden court at the time of the Psalmen Davids (or the 1617 event at which at least one piece from the collection was performed)?

When were the Psalmen Davids offered at the Frankfurt and Leipzig book fairs? What comparable publications were new in the year it was issued?



7. Meeting of 26 February: Case study: Psalmen Davids sampt etlichen Moteten und Concerten


1. R. Goldberg: "Jauchzet dem Herrn" SWV 47

2. S. Winks: Ordering

3. M. Altizer: Instrumental roles

4. C. Holmes: Dresden musical establishment

5. B. Kissell: Intradae

6. J. Glennon: Continuo

7. K. Lundeen: "Zion spricht" SWV 46



8. Meeting of 5 March: Case study: Erster Theil/Anderer Theil kleiner geistlichen Concerten


1. Physical description/format (R. Goldberg)

2. Printing/publication/distribution (S. Winks)

3. Texts (M. Altizer)

4. Ordering (C. Holmes)

5. Dedication/biographical issues (B. Kissell)

6. Forces (J. Glennon)

7. Contemporary publications (K. Lundeen)



9. Meeting of 12 March: Case study: Erster Theil/Anderer Theil kleiner geistlichen Concerten


1. B. Kissell: Scheidt's concerto publications

2. K. Lundeen: Italian secular monody

3. R. Goldberg: Dialogues

4. S. Winks: Hymn tunes

5. M. Altizer: SWV 329 and 330

6. J. Glennon: Forces

7. Holmes: Ordering and liturgical considerations



10. Meeting of 26 March: Case study: Historia der Geburt Jesu Christi

Recording: Concerto vocale; text here.


Schütz's preface in Buelow.

Eva Linfield. "A new look at the sources of Schütz’s Christmas History." Schütz–Jahrbuch 1982–3, 19–36. [photocopy will be in notebook]

1. Thoroughly study the text and music of this work. What is the textual nature of the intermedii? What are the vocal and instrumental requirements of the work?


2. From the prefaces and notes to the two modern editions of the work, learn about the sources that transmit this composition. What, exactly, is transmitted by each source? What does each modern edition reflect? Why?


3. Study the original printed edition; make a brief description and collation; study Schütz's preface in detail; study aspects of the work's notation in the print.


4. Carefully examine the arguments and conclusions in Linfield, "A new look." Be prepared to summarize and discuss them.




11. Meeting of  2 April           



12. Meeting of  9 April