"Him alone did they call the Father of all musicians, to whom the Germans were indebted for enabling them now to bring music to a standard equal to that of the Italians, if not even higher”. So wrote Johann Mattheson in 1740 in praise of Heinrich Schütz (1585–1672), the most revered German musician of his generation.
Schütz, who suffered multiple family tragedies throughout his life, burying wife and both daughters, nevertheless acted as a surrogate father to dozens of boys who came to Dresden to serve in the electoral chapel, many of whom lodged in his house and became members of his familia. Mattheson’s description was not merely rhetorical flattery, but was in many cases very nearly true.
¶ Heinrich Schütz (1585–1672)
Wol dem der den Herren fürchtet, SWV 30
¶ Heinrich Schütz
Eyle mich Gott zu erretten, SWV 282
¶ David Pohle (1624–1695)
Vox Domini super aquas (instrumental version)
¶ Johann Theile (1646–1724)
Ach, daß ich hören solte
¶ Matthias Weckmann (c. 1616–1674)
Sonata quinta à 4
¶ Christoph Bernhard (1628–1692)
Aus der Tieffen
¶ Johann Vierdanck (1605–1646)
Sonata à 3 tromboni e cornetto
¶ Alessandro Striggio (c. 1536–1592) / Johann Schop (c. 1590–1667)
Nasce la pena mia
¶ Heinrich Schütz / Christoph Kittel (1603–1639)
O süßer Jesu Christ, wer an dich recht gedencket
¶ Matthias Weckmann
Sonata prima à 4
¶ Vincenzo Albrici (1631–1690)
Omnia quae fecit Deus
¶ Johann Schop
Paduana à 6
Alice Foccroulle soprano;
Lambert Colson cornetto, cornettino & direction.
Recorded at the Sint Leodegarius’church, Bornem, September 2015.
~ 295 Mb