In this recording, you will find a dialogue between two of the most essential funerary musical works of the German Baroque.

In 2022, we celebrated Heinrich Schütz, a central figure of the album, on the 350th anniversary of his death. As a culmination of a series of projects around his person and work, this recording wants to serve as a tribute to an extraordinary musical legacy that found in Johann Sebastian Bach, its greatest supporter. The manifest bond between both composers here is seen in the way in which death is shaken and beaten for later, collected from within our soul, be restored and sublimated by two artistic personalities capable of transcending a rich amalgamation of religious, cultural, and musical aspects around the ars moriendi of his time. Schütz’s Musikalische Exequien and Bach’s Actus Tragicus stem from a creative attitude toward death that is very close to home one from the other. Thus, it is not by chance that with their listening, both works fill us with peace and the deep sense of rest with which they do it.

One of the key German composers before Bach with over 500 surviving individual pieces, Heinrich Schütz mainly composed church music. Credited with bringing the Italian style to Germany, he continued its evolution from the Renaissance into the early Baroque. Despite living most of his long life in Germany, Schütz made two trips to Venice in his twenties. The first was between 1609 and 1613, during which he studied under Giovanni Gabrieli. The second trip occurred in the late 1620s, possibly to meet and study under Monteverdi. These visits significantly influenced Schütz’s music as he blended the ornate and theatrical Venetian style with the more subdued Lutheran tradition. This album explores his solo cantatas alongside examples of the brilliant and virtuosic Venetian-style instrumental music.

In our series "Music from Wolfenbüttel Castle," the sixth concert in the series featured and recorded parallel settings of sacred works by Michael Praetorius and Heinrich Schütz. One does not immediately think of counting the great Dresden composer Heinrich Schütz among the kapellmeisters at the Wolfenbüttel court, and yet he was officially engaged there as "Capellmeister von Haus aus" from 1655 until at least 1666. Michael Praetorius, however, had long since died around this time. By juxtaposing compositions with identical texts (so-called parallel settings) by Praetorius and Schütz, this album makes it possible to compare the styles of these two "heroes of music history". This is particularly appealing inasmuch as the stylistic upheaval at the beginning of the 17th century, which originated in Italy, falls into the creative period of both composers, and it is revealing to observe in what way the new developments influenced the oeuvre of both masters. At the same time, the works of both composers with identical texts are not exactly numerous, which is related to the fact that Praetorius turned to the arrangement of Protestant church hymns to a particularly strong degree, a genre that either interested Schütz little, or that his position at the Dresden court did not offer any occasion to serve.

The first and presumably only performance of the opera Dafne took place in Torgau on April 13, 1627, as part of the festivities celebrating the marriage of the Saxon Duchess Sophie Eleonore and the Hessian Landgrave Georg II. Although the libretto by Martin Opitz appeared in print, virtually nothing of the music has survived. At first glance, the reconstruction of an opera whose music has not survived appears to be a daring undertaking. In fact, however, there are many clues to the structure of the work, so that it was possible to produce something that, although not identical to the original, is very close to it. In all, there are a dozen mostly secular works by Schütz in the present reconstruction by conductor Roland Wilson, making up about half of the entire opera. Says Wilson himself, "You'll hear some glorious pieces by Schütz and his contemporaries that you probably never would have listened to otherwise."

Heinrich Schütz spent his whole life searching for that which is new in music. The Symphoniae Sacrae I, which were presented in 1629, also testify to this. Schütz composed them as a result of the impressions made upon him by his second journey to Venice. In addition to the numerous Italian stylistic traits which can be traced back to Monteverdi, the 20 concertos - all in Latin - particularly impress with their great variety of timbres: solo pieces, duets and trios for all voice type are combined with diverse string and wind instruments are are governed by the emotional and expressive world of the text. The recording impressively continues the award-winning Schütz complete recording with the Dresdner Kammerchor conducted by Hans-Christoph Radermann with the customary top-quality soloists such as Dorothee Mields, Felix Schwandtke and others.