Composers

Heinrich Schütz

Voice
Mixed chorus
Soprano
Tenor
Bass
Alto
Violin
Organ
Trombone
String ensemble
Religious music
Choruses
Sacred choruses
Madrigal
Motet
Psalms
Cantatas
Song
Sacred cantatas
Sacred songs
by popularity

#

12 Geistliche Gesänge, Op.13

A

Ach Herr, du Schöpfer aller Ding, SWV 450Ach wie soll ich doch in Freuden leben, SWV 474Ach, Herr, straf mich nicht, SWV 24Aller Augen warten auf dich, Herre, SWV 429Alma afflitta, SWV 4Also hat Gott die Welt geliebt, SWV 380Attendite popule meus legem meam, SWV 270Auf dem Gebirge hat man ein Geschrei gehöret, SWV 396Auf dich, Herr, traue ich, SWV 462Aus der Tiefe, SWV 25

B

Becker Psalter

C

Cantate Domino canticum novum, SWV 81Cantiones sacrae, Op.4Christ ist erstanden, SWV 470Così morir debb'io, SWV 5

D

Da Jesus an dem Kreuze stund, SWV 478Da pacem, Domine, SWV 465Das ist je gewißlich wahr, SWV 277Das ist je gewißlich wahr, SWV 388Das ist mir lieb, SWV 51Das Wort ward Fleisch, SWV 385De vitae fugacitate, SWV 94Der Engel sprach zu den Hirten, SWV 395Der Herr ist mein Hirt, SWV 398Der Schwanengesang, Op.13Deus, misereatur nostri, SWV 55Di marmo siete voi, SWV 17Die Erde trinkt für sich, SWV 438Die Himmel erzählen die Ehre Gottes, SWV 386Die Himmel erzählen die Ehre Gottes, SWV 455Die mit Tränen säen werden mit Freuden ernten, SWV 378Domine deus, Deus virtutumDomine est terra et plenitudo ejus, SWV 476Domine non est exaltatum cor meum, SWV 78-80Domine, ne in furore tuo arguas me, SWV 85-87D'orrida selce alpina, SWV 6Du Schalksknecht, SWV 397Dulcissime et benignissime Christe, SWV 67Dunque addio, SWV 15

E

Ego dormio et cor meum vigilat, SWV 63-64Ein Kind ist uns geboren, SWV 384En novus Elysiis, SWV 49Er wird sein Kleid in Wein waschen, SWV 370Erbarm dich mein, o Herre Gott, SWV 447Es erhub sich ein Streit im Himmel, SWV Anh.11Es gingen zweene Menschen hinauf, SWV 444Es ist erschienen die heilsame Gnade Gottes allen Menschen, SWV 371Es wird das Scepter von Juda nicht entwendet werden, SWV 369

F

Feget den alten Sauerteig aus, SWV 404Feritevi, ferite, SWV 9Fili mi Absalom, SWV 269Flamma ch'allacia, SWV 10Freue dich des Weibes deiner Jugend, SWV 453Fuggi o mio core, SWV 8Fürstliche Gnade zu Wasser und zu Lande, SWV 368

G

Geistliche Chor-Music, Op.11Gelobet seist du, Herr, SWV 448Gib unserm Fürsten und aller Obrigkeit, SWV 373Giunto è pur, Lidia, SWV 18Glück zu dem Helikon, SWV 96Grimmige Gruft, SWV 52Güldne Haare, gleich Aurore, SWV 440

H

Haus und Güter erbet man von Eltern, SWV 21Herr Gott, dich loben wir, SWV 472Herr, auf dich traue ich, SWV 377Herr, der du bist vormals genädig gewest, SWV 461Herr, nun lässest du deinen Diener im Friede fahren, SWV 352Herr, nun lässest du deinen Diener, SWV 432-433Herr, unser Herrscher, SWV 449Herr, wer wird wohnen in deiner Hütten, SWV 466Herzlich lieb hab ich dich, o Herr, SWV 348Herzlich lieb hab ich dich, o Herr, SWV 387Heu mihi Domine, SWV 65Heute ist Christus der Herr geboren, SWV 439Historia der Auferstehung Jesu Christi, SWV 50Historia der Geburt Jesu Christi, SWV 435Hodie Christus natus est, SWV 456

I

Ich beschwöre euch, ihr Töchter zu Jerusalem, SWV 339Ich bin die Auferstehung und das Leben, SWV 464Ich bin ein rechter Weinstock, SWV 389Ich bin eine rufende Stimme, SWV 383Ich danke dir, Herr, von ganzem Herzen, SWV 347Ich hebe meine Augen auf, SWV 399Ich weiß, daß mein Erlöser lebt, SWV 393Ich werde nicht sterben, SWV 346In dich hab ich gehoffet, Herr, SWV 446In te Domine speravi, SWV 66Io moro, eccho ch'io moro, SWV 13Italian Madrigals, Op.1Itzt blicken durch des Himmels Saal, SWV 460

J

Jauchzet dem Herren, alle Welt, SWV 36Johannes-Passion, SWV 481Jubilate Deo omnis terra, SWV 262

K

Kleine geistliche Konzerte I, Op.8Kleine geistliche Konzerte II, Op.9Kyrie eleison, Christe eleison, SWV 458

L

Lasset uns doch den Herren, unsern Gott, loben, SWV 407Lässt Salomon sein Bette nicht umgeben, SWV 452Liebster, sagt in süssem Schmerzen, SWV 441Litania, SWV 458Lucas-Passion, SWV 480

M

Magnificat anima mea, SWV 468Marcus-PassionMatthäus-Passion, SWV 479Mein Herz ist bereit, SWV 341Mein Sohn, warum hast du uns das getan, SWV 401Meine Seele erhebt den Herren, SWV 494Mi saluta costei, SWV 12Musikalische Exequien

N

Nachdem ich lag in meinem öden Bette, SWV 451Neue Schütz-Ausgabe

O

O bone Jesu, fili Mariae, SWV 471O bone, o dulcis, o benigne Jesu, SWV 53-54O der großen Wuntertaten, SWV 278O dolcezze amarissime, SWV 2O du allersüßester und liebster Herr Jesu, SWV 340O Jesu süss, wer dein gedenkt, SWV 406O lieber Herre Gott, SWV 381O meine Seel, warum bist du betrübet, SWV 419O primavera, SWV 1O süsser Jesu Christ, SWV 405

P

Psalmen Davids sampt etlichen Moteten und Concerten, Op.2

Q

Quella damma son io, SWV 11Quid commisisti, o dulcissime puer, SWV 56-60

R

Ride la primavera, SWV 7

S

Saget den Gästen, SWV 459Sammelt zuvor das Unkraut, SWV 376Sämtliche WerkeSaul, Saul, was verfolgst du mich?, SWV 415Sehet an den Feigenbaum, SWV 394Selig sind die Toten, SWV 391Selve beate, SWV 3Sicut Moses serpentem in deserto exaltabit, SWV 68Siehe, es erschien der Engel des Herren, SWV 403Siehe, wie fein und lieblich ist's, SWV 48Singet dem Herrn ein neues Lied, SWV 35So fahr ich hin zu Jesu Christ, SWV 379Sospir che del bel petto, SWV 14Supereminet omnem scientiam, SWV 76-77Surrexit pastor bonus, SWV 469Symphoniae sacrae I, Op.6Symphoniae sacrae II, Op.10Symphoniae sacrae III, Op.12

T

Teutoniam dudum belli atra pericla molestant, SWV 338Tornate, o cari baci, SWV 16Tröstet, tröstet mein Volk, SWV 382Tugend ist der beste Freund, SWV 442

U

Unser keiner lebet sich selber, SWV 374Unser Wandel ist im Himmel, SWV 390

V

Vasto mar, SWV 19Vater Abraham, erbarme dich mein, SWV 477Veni sancte Spiritus, SWV 475Verba mea auribus percipe, SWV 61-62Verleih uns Frieden genädiglich, SWV 372Viel werden kommen von Morgen und von Abend, SWV 375Vier Hirtinnen, gleich jung, gleich schön, SWV A1Von Aufgang der Sonnen, SWV 362

W

Was betrübst du dich, meine Seele, SWV 353Was mein Gott will, das g'scheh allzeit, SWV 392Weib, was weinest du?, SWV 443Wie wenn der Adler sich aus seiner Klippe schwingt, SWV 434Wo der Herr nicht das Haus bauet, SWV 400Wo der Herr nicht das Haus bauet, SWV 473Wo Gott der Herr nicht bei uns hält, SWV 467Wohl dem, der ein tugendsam Weib hat, SWV 20
Wikipedia
Heinrich Schütz (German: [ʃʏt͡s]; 18 October [O.S. 8 October] 1585 – 6 November 1672) was a German composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach, as well as one of the most important composers of the 17th century. He is credited with bringing the Italian style to Germany and continuing its evolution from the Renaissance into the Early Baroque. Most of his surviving music was written for the Lutheran church, primarily for the Electoral Chapel in Dresden. He wrote what is traditionally considered to be the first German opera, Dafne, performed at Torgau in 1627, the music of which has since been lost, along with nearly all of his ceremonial and theatrical scores.
He is commemorated as a musician in the Calendar of Saints of some North American Lutheran churches on 28 July with Johann Sebastian Bach and George Frideric Handel.
Schütz was born in Köstritz, the eldest son of Christoph Schütz and Euphrosyne Bieger.
In 1590 the family moved to Weißenfels, where his father managed the inn "Zum güldenen Ring". His father eventually served as burgomaster in Weißenfels, and in 1615 purchased another inn known as both "Zur güldenen Sackpfeife" and "Zum güldenen Esel" – which he renamed "Zum Schützen".
While Schütz was living with his parents, his musical talents were discovered by Landgrave Moritz von Hessen-Kassel in 1598 during an overnight stay in Christoph Schütz's inn. Upon hearing young Heinrich sing, the landgrave requested that his parents allow the boy to be sent to his noble court for further education and instruction. His parents initially resisted the offer, but after much correspondence they eventually took Heinrich to the landgrave's seat at Kassel in August 1599.
After being a choir-boy he went on to study law at Marburg before going to Venice from 1609–1612 to study music with Giovanni Gabrieli. Gabrieli is the only person Schütz ever referred to as being his teacher. He also inherited a ring from Gabrieli shortly before the latter's death. He subsequently was organist at Kassel from 1613 to 1615.
After a prolonged yet polite negotiation between the Landgrave and the Elector, Schütz moved to Dresden in 1615 to work as court composer to the Elector of Saxony. In 1619 Schütz married Magdalena Wildeck (born 1601). She bore two daughters before her death in 1625: Anna Justina, born in 1621, and Euphrosyne, born in 1623.
In Dresden Schütz sowed the seeds of what is now the Sächsische Staatskapelle Dresden, but left there on several occasions; in 1628 he went to Venice again, where he met and studied with Claudio Monteverdi. In 1633 he was invited to Copenhagen to compose the music for wedding festivities there, eventually returning to Dresden in 1635. He again conducted an extended visit to Denmark in 1641, due to the devastation of the Electoral court. The Thirty Years' War ended in 1648, and he again became more active in Dresden. In 1655, the year that his daughter Euphrosyne died, he accepted an ex officio post as Kapellmeister at Wolfenbüttel.
His Dresden compositions during the Thirty Years' War were, by necessity of the times, smaller scale than the oft-massive works before, although this period produced much of his most charming music. After the war, Schütz again wrote larger-scale compositions culminating in the 1660s, when he composed the greatest Passionmusic before Bach.
Schütz moved back to Weißenfels, in a retirement he had to beg for, to live with his sister (the house is now a fine museum of his life), but the Electoral Court often called him back to Dresden. He died in Dresden from a stroke in 1672 at the age of 87. He was buried in the old Dresden Frauenkirche, but his tomb was destroyed in 1727 when the church was torn down to build the new Dresden Frauenkirche. (His long-time house on the same square has been reconstructed in the same style and is an apartment building with hotel rooms and a restaurant.)
His pupils included Heinrich Albert, Christoph Bernhard, Anton Colander, Constantin Christian Dedekind, Carlo Farina, Johann Wilhelm Furchheim, Johann Kaspar Horn, Caspar Kittel, Christoph Kittel, Johann Klemm, Adam Krieger, Johann Jakob Loewe (or Löwe), Johann Nauwach, David Pohle, Philipp Stolle, Johann Theile, Clemens Thieme, Johann Vierdanck, Matthias Weckmann, Friedrich Werner, Friedrich von Westhoff. (See: List of music students by teacher: R to S#Heinrich Schutz.)
Schütz's compositions show the influence of his teacher Gabrieli (displayed most notably with Schütz's use of resplendent polychoral and concertato styles) and of Monteverdi. Additionally, the influence of the Netherlandish composers of the 16th century is prominent in his work. His best known works are in the field of sacred music, ranging from solo voice with instrumental accompaniment to a cappella choral music. Representative works include his Psalmen Davids (Psalms of David, Opus 2), Cantiones sacrae (Opus 4), three books of Symphoniae sacrae, Die sieben Worte Jesu Christi am Kreuz (The seven words of Jesus Christ on the Cross), three Passion settings and the Christmas Story. Schütz's music, while starting off in the most progressive styles early in his career, eventually grew into a style that is simple and almost austere, culminating with his late Passion settings. Practical considerations were certainly responsible for part of this change: the Thirty Years' War had devastated the musical infrastructure of Germany, and it was no longer practical or even possible to put on the gigantic works in the Venetian style which marked his earlier period.
The unique composition "Es steh Gott auf" (SWV 356) is in many respects comparable to Monteverdi. His funeral music "Musikalische Exequien" (1636) for his noble friend Heinrich Posthumus of Reuss is considered a masterpiece, and is known today as the first German Requiem. Schütz was equally fluent in his Latin or Germanic styles.
Schütz was one of the last composers to write in a modal style. His harmonies often result from the contrapuntal alignment of voices rather than from any sense of "harmonic motion"; contrastingly, much of his music shows a strong tonal pull when approaching cadences. His music includes a great deal of imitation, but structured in such a way that the successive voices do not necessarily enter after the same number of beats or at predictable intervallic distances. This contrasts sharply with the manner of his contemporary Samuel Scheidt, whose counterpoint usually flows in regularly spaced entries. Schütz's writing often includes intense dissonances caused by the contrapuntal motion of voices moving in correct individual linear motion, but resulting in startling harmonic tension. Above all, his music displays extreme sensitivity to the accents and meaning of the text, which is often conveyed using special technical figures drawn from musica poetica, themselves drawn from or created in analogy to the verbal figures of classical rhetoric. However, as noted above, the composer's style became simpler in his later works, which make less frequent use of the kind of distantly related chords and licences found in such pieces as "Was hast du verwirket" (SWV 307) from Kleine geistliche Konzerte II.
Beyond the early book of madrigals, almost no secular music by Schütz has survived, save for a few domestic songs (arien) and occasional commemorative items (such as Wie wenn der Adler sich aus seiner Klippe schwingt (SWV 434), and no purely instrumental music at all (unless one counts the short instrumental movement entitled "sinfonia" that encloses the dialogue of Die sieben Worte), even though he had a reputation as one of the finest organists in Germany.
Schütz was of great importance in bringing new musical ideas to Germany from Italy, and thus had a large influence on the German music which was to follow. The style of the North German organ school derives largely from Schütz (as well as from the Dutchman Jan Pieterszoon Sweelinck); a century later this music was to culminate in the work of J.S. Bach. After Bach, the most important composers to be influenced by Schütz were Anton Webern and Brahms, who were known to have studied his works.
The following are major published works; most of these contain multiple pieces of music; single published works are also listed in the complete work list, including major works such as the Seven Last Words, and the Passions (according to Matthew, Luke, and John). There are over 500 total surviving individual pieces by Schütz.