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Schütz, Heinrich

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Partitions Hautbois ⮞ Hautbois, Bassoon & Harpe ⮞ Heinrich Schütz

Psalm 29: "Bringt her dem Herren" for Oboe, Bassoon & Harp
Opus 8 SWV 283
Heinrich Schütz

Hautbois, Bassoon & Harpe

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VoirTélécharger PDF : "Bringt her dem Herren" (Opus 8 SWV 283) for Oboe, Bassoon & Harp (3 pages - 96.05 Ko)587x⬇

VoirTélécharger PDF : Wind Parts (74.73 Ko)

VoirTélécharger PDF : Harpe Part (73.49 Ko)

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Télécharger MP3 : Audio principal (3.19 Mo)208x⬇ 869x

Psalm 29: Bringt her dem Herren for Oboe, Bassoon & Harp

Télécharger MP3 (3.35 Mo) :

(par Magatagan, Michael)132x⬇ 121x

Psalm 29: Bringt her dem Herren for Oboe, Bassoon & Harp

Télécharger MP3 (3.35 Mo) :

(par Magatagan, Michael)197x⬇ 110x

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Compositeur	Heinrich Schütz (1585 - 1672)
Instrumentation	Hautbois, Bassoon & Harpe
Genre	Baroque
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - ) Suivre cet artiste 95 Contacte Faire un don
Date	1636
Droit d'auteur	Public Domain
Heinrich Schütz (1585 – 1672) was a German composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach and often considered to be one of the most important composers of the 17th century along with Claudio Monteverdi. He wrote what is traditionally considered to be the first German opera, Dafne (Opitz-Schütz), performed at Torgau in 1627, the music of which has since been lost. He is commemorated as a musician in the Calendar of Saints of the L...(+) Heinrich Schütz (1585 – 1672) was a German composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach and often considered to be one of the most important composers of the 17th century along with Claudio Monteverdi. He wrote what is traditionally considered to be the first German opera, Dafne (Opitz-Schütz), performed at Torgau in 1627, the music of which has since been lost. He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July with Johann Sebastian Bach and George Frideric Handel. He was buried in the Dresden Frauenkirche but his tomb has been destroyed. 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 three books of Symphoniae sacrae, the Psalms of David (Psalmen Davids), the Sieben Worte Jesu Christi am Kreuz (the Seven Last Words on the Cross) and his three Passion settings. 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. Schütz had a way of entering into sacred texts musically, producing not personal responses but emotional fervor that seems universal, that was matched in the history of German music only by Johann Sebastian Bach. Several of the psalms among the Psalmen David heard here are familiar from Bach's settings, but the Schütz versions have their own profundity. Although originally written for Chorus (5 Voices & Continuo), I created this arrangement for Harp & Woodwinds (Oboe & Bassoon).
	Ajoutée par magataganm, 12 Avr 2013