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Title:Heinrich Schütz (1585-1672): St. John Passion, SWV 481
Duration:36:39
Viewed:644
Published:29-03-2024
Source:Youtube

Historia des Leidens und Sterbens unsers Herrn und Heylandes Jesu Christi nach dem Evangelisten St. Johannem (Dresden, c.1665) 00:00 Introitus: Das Leiden unsers Herren Jesu 03:14 Wen suchet ihr? 04:41 Ich hab es euch gesagt 07:28 Bist du nicht auch dieses Menschen Jünger einer? 10:20 Bist du nicht seiner Jünger einer? 11:55 Wäre dieser nicht ein Übeltäter 12:58 Auf daß erfüllet würde das Wort Jesu 16:31 Da schrieen sie wieder allesamt 17:26 Sei gegrüßet, lieber Judenkönig 19:18 Kreuzige ihn 20:02 Wir haben ein Gesetze 22:18 Von dem an trachtete Pilatus 24:37 Wir haben keinen König, denn den Kaiser 27:06 Da sprachen die Hohenpriester - Schreibe nicht: Der Judenkönig 29:25 Auf daß erfüllet würde die Schrift 33:15 Conclusion: O hilf, Christe, Gottes Sohn Claus Stemann, tenor: Evangelist Bruno Müller, bass: Christ Werner Hohmann, tenor: Pilate Stuttgart Choral Society Hans Grischkat, conductor Source References: Complete Works of Heinrich Schütz, Vol, I also: Bärenreiter Edition No. 960; Eulenburg Miniature Score No. 979 Art: detail of Ecce Homo (c.1660-70), by Bartolomé Esteban Murillo (1617-1682) Among the musical luminaries of the early Baroque, Heinrich Schütz (1585-1672) holds a high place. The compositions of this seventeenth-century German master, however, are known only to a relatively small group of admirers. Indeed, when we consider the title of the work recorded on this disc, the St. Matthew Passion, our thoughts probably immediately focus on his great eighteenth-century successor, Johann Sebastian Bach. Yet the version by Schütz, although written in an earlier century, is worthy to stand beside the masterpiece of the Leipzig cantor. Since the two composers wrote their settings of the Passion story on the same artistic level, the modern acclaim accorded Bach and the comparative neglect of Schütz can perhaps best be explained on sociological grounds. Though both men were forgotten shortly after their death, the art of Bach was eventually resurrected by enthusiastic admirers who promoted and restored it to the active repertory. Bach’s music was “rediscovered” 79 years after his death by Felix Mendelssohn, who conducted the St. Matthew Passion before a Leipzig audience for whom Bach’s name had been merely history. Schütz did not have such good fortune. Until the publication of the Complete Works in the closing years of the last century, it is doubtful if many persons had heard or even knew his work. Only with modern editions and frequent performances of his work has the extraordinary genius of Heinrich Schütz become apparent.



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