Der Engel sprach zu den Hirten
I thought I was done with our exploration of 7-part pieces. But no. In looking again the other day at Schütz' 'Geistliche Chormusik' in preparation for writing the blurb for our March Bach Talk/Sing, I was reminded that the collection is not all for five or six parts; there are five seven-part pieces at the end of the publication.
Four of these do not fit the pattern of the pieces which I've been sending, in that they either call for several of the parts to be instrumental, or they are written in an antiphonal style much like that used in pieces for eight (or more) parts.
But one piece does fit, and it's a great example of all the characteristics of the seven-part pieces I've been sharing: The cosmic sound, the pervasive imitation, the pairings and triplings, the expansion and contraction of vertical space and of density. It's called 'Der Engel sprach zu den Hirten', and it has one peculiarity: It's not by Schütz.
For some reason (we don't quite know why), Schütz included his own arrangement of Andrea Gabrieli's 'Angelus ad pastores ait' in the 'Geistliche Chormusik', a volume otherwise consisting of Schütz' own compositions. (Schütz' changes in the motet are mainly to accommodate the re-texting from Latin to German, with certain rhythmic adjustments to account for differences in syllable count and accents.)
In his preface to the volume, Schütz does refer to Italian style as a model; and the composer as a young man venerated the work the northern Italians were doing, traveling to Venice for a two-year stay, studying with Giovanni Gabrieli (Andrea's nephew) and publishing his first volume of music--Italian madrigals--in La Serenissima in 1611. He probably returned to Venice for a second visit in the 1520's, and he was certainly a major exponent of the seconda prattica style as it made its way north.
Perhaps Schütz meant his inclusion of A. Gabrieli's motet as a tribute to a family and to a city which had been important in his education and career. He certainly does not hide the fact that 'Der Herr sprach zu den Hirten' is not one of his own compositions; on the contrary, the piece is listed in the Table of Contents with its German title, followed directly by 'super [based upon] Angelus ad pastores, Andreae Gabrielis'.
In any case, Schütz selected and adapted a cracking motet, with an especially exultant 'Alleluia' finish. Check it out in the attached score, and here's a link to a fine informal recording by Voces 8--more intimate than one expects, and thereby revealing new colors and feelings. Also included is a score for A. Gabrieli's original motet, and here's a link to a recording of that piece which more closely matches the monumental style often deployed for the Venetian motet. A text-translation sheet is herewith included as well, so you have a clue what all the singing is about.
I thought I was done with our exploration of 7-part pieces. But no. In looking again the other day at Schütz' 'Geistliche Chormusik' in preparation for writing the blurb for our March Bach Talk/Sing, I was reminded that the collection is not all for five or six parts; there are five seven-part pieces at the end of the publication.
Four of these do not fit the pattern of the pieces which I've been sending, in that they either call for several of the parts to be instrumental, or they are written in an antiphonal style much like that used in pieces for eight (or more) parts.
But one piece does fit, and it's a great example of all the characteristics of the seven-part pieces I've been sharing: The cosmic sound, the pervasive imitation, the pairings and triplings, the expansion and contraction of vertical space and of density. It's called 'Der Engel sprach zu den Hirten', and it has one peculiarity: It's not by Schütz.
For some reason (we don't quite know why), Schütz included his own arrangement of Andrea Gabrieli's 'Angelus ad pastores ait' in the 'Geistliche Chormusik', a volume otherwise consisting of Schütz' own compositions. (Schütz' changes in the motet are mainly to accommodate the re-texting from Latin to German, with certain rhythmic adjustments to account for differences in syllable count and accents.)
In his preface to the volume, Schütz does refer to Italian style as a model; and the composer as a young man venerated the work the northern Italians were doing, traveling to Venice for a two-year stay, studying with Giovanni Gabrieli (Andrea's nephew) and publishing his first volume of music--Italian madrigals--in La Serenissima in 1611. He probably returned to Venice for a second visit in the 1520's, and he was certainly a major exponent of the seconda prattica style as it made its way north.
Perhaps Schütz meant his inclusion of A. Gabrieli's motet as a tribute to a family and to a city which had been important in his education and career. He certainly does not hide the fact that 'Der Herr sprach zu den Hirten' is not one of his own compositions; on the contrary, the piece is listed in the Table of Contents with its German title, followed directly by 'super [based upon] Angelus ad pastores, Andreae Gabrielis'.
In any case, Schütz selected and adapted a cracking motet, with an especially exultant 'Alleluia' finish. Check it out in the attached score, and here's a link to a fine informal recording by Voces 8--more intimate than one expects, and thereby revealing new colors and feelings. Also included is a score for A. Gabrieli's original motet, and here's a link to a recording of that piece which more closely matches the monumental style often deployed for the Venetian motet. A text-translation sheet is herewith included as well, so you have a clue what all the singing is about.