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Lionel Meunier - Heinrich Schütz : Musicalische Exequien

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Heinrich Schütz : Musicalische Exequien

Vox Luminis - Lionel Meunier

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Exequien in German are funeral observances, and Heinrich Schütz's Musikalische Exequien, SWV 279, were performed in February 1636 for the funeral of Heinrich Posthumus von Reuss, a prince and diplomat who was a personal friend of the composer. Reuss planned his own funeral down to the last detail, commissioning music from Schütz, providing him with German texts roughly analogous to the Latin requiem mass, and designing his own sarcophagus, which is reproduced in full color in the booklet. Prince Heinrich Reuss XIII even gets an album credit for making it available for a photograph. Various good recordings of this work are available, from Philippe Herreweghe (captures the emotional intensity in the periodic harmonic clashes) to John Eliot Gardiner (very Bachian). Forces deployed range from one voice per part (Weser-Renaissance) to medium-sized groups (the Sixteen) to full choirs or children's choirs. This reading by Lionel Meunier and the multinational group Vox Luminis is also well worth considering. You might think of it as the authentic performance among authentic performances. Meunier deploys two voices per part and draws his soloists from this group in the work's shifting antiphonal structures; there is manuscript evidence that this is the ensemble size Schütz had in mind. The continuo is realized by a small organ and a bass viol, solutions apparently suggested by Schütz himself. The Musikalische Exequien are introduced by other funeral motets and chorales by Schütz and others, setting the stage for the impact of the funeral rite itself and echoing the order of an actual Lutheran service. And the singers get the quality of memorial warmth in the music, which lives up to the comparison in the booklet notes of the Musikalische Exequien with the Brahms German Requiem, Op. 45. There are versions with more spectacularly sharp singing, but few others that seem to fit together as convincingly as this. The performance is strengthened by the ideal acoustics of a small church in the Loire region. Strongly recommended for any Schütz collection.
© TiVo

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Heinrich Schütz : Musicalische Exequien

Lionel Meunier

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Herr, nun lässest du deinen Diener in Friede Fahen, SWV 432 (Heinrich Schütz)

1
Herr, nun lässest du deinen Diener in Friede Fahen, SWV 432
Vox Luminis
00:04:00

Vox Luminis - Lionel Meunier, Conductor - Heinrich Schütz, Composer

2011 Outhere 2010 Outhere

Ich bin die Auferstehung und das Leben, SWV 464 (Heinrich Schütz)

2
Ich bin die Auferstehung und das Leben, SWV 464
Vox Luminis
00:03:36

Vox Luminis - Lionel Meunier, Conductor - Heinrich Schütz, Composer

2011 Outhere 2010 Outhere

Herr, nun lässest du deinen Diener in Friede fahen, SWV 433 (Heinrich Schütz)

3
Herr, nun lässest du deinen Diener in Friede fahen, SWV 433
Vox Luminis
00:03:18

Vox Luminis - Lionel Meunier, Conductor - Heinrich Schütz, Composer

2011 Outhere 2010 Outhere

Das ist je gewisslich wahr, SWV 277 (Heinrich Schütz)

4
Das ist je gewißlich wahr, SWV 277
Vox Luminis
00:04:43

Vox Luminis - Lionel Meunier, Conductor - Heinrich Schütz, Composer

2011 Outhere 2010 Outhere

Wir Gläuben All An Einen Gott (Samuel Scheidt)

5
Wir glauben all an einen Gott
Bernard Foccroulle
00:03:15

Bernard Foccroulle, Organ Thomas (Abbaye de Leffe, Belgium) - Samuel Scheidt, Composer

2011 Outhere 2010 Outhere

Mit Fried und Freud fahr ich dahin (Martin Luther)

6
Mit Fried und Freud fahr ich dahin
Vox Luminis
00:03:28

Vox Luminis - Lionel Meunier, Conductor - Martin Luther, Composer

2011 Outhere 2010 Outhere

Musicalische Exequien, SWV 279 (Heinrich Schütz)

7
I. Intonatio : Nacket bin ich Concert in Form einer teutschen Begräbnis-Missa
Vox Luminis
00:03:58

Vox Luminis - Lionel Meunier, Conductor - Heinrich Schütz, Composer

2011 Outhere 2010 Outhere

8
Intonatio : Also hat Gott die Welt geliebt Concert in Form einer teutschen Begräbnis-Missa
Vox Luminis
00:20:21

Vox Luminis - Lionel Meunier, Conductor - Heinrich Schütz, Composer

2011 Outhere 2010 Outhere

9
II. Herr, wenn ich nur dich habe, SWV 280 (Motet)
Vox Luminis
00:03:27

Vox Luminis - Lionel Meunier, Conductor - Heinrich Schütz, Composer

2011 Outhere 2010 Outhere

10
III. Herr, nun lässest du deinen Diener in Friede fahren, SWV 281 (Song of Simeon)
Vox Luminis
00:04:57

Vox Luminis - Lionel Meunier, Conductor - Heinrich Schütz, Composer

2011 Outhere 2010 Outhere

Album Description

Exequien in German are funeral observances, and Heinrich Schütz's Musikalische Exequien, SWV 279, were performed in February 1636 for the funeral of Heinrich Posthumus von Reuss, a prince and diplomat who was a personal friend of the composer. Reuss planned his own funeral down to the last detail, commissioning music from Schütz, providing him with German texts roughly analogous to the Latin requiem mass, and designing his own sarcophagus, which is reproduced in full color in the booklet. Prince Heinrich Reuss XIII even gets an album credit for making it available for a photograph. Various good recordings of this work are available, from Philippe Herreweghe (captures the emotional intensity in the periodic harmonic clashes) to John Eliot Gardiner (very Bachian). Forces deployed range from one voice per part (Weser-Renaissance) to medium-sized groups (the Sixteen) to full choirs or children's choirs. This reading by Lionel Meunier and the multinational group Vox Luminis is also well worth considering. You might think of it as the authentic performance among authentic performances. Meunier deploys two voices per part and draws his soloists from this group in the work's shifting antiphonal structures; there is manuscript evidence that this is the ensemble size Schütz had in mind. The continuo is realized by a small organ and a bass viol, solutions apparently suggested by Schütz himself. The Musikalische Exequien are introduced by other funeral motets and chorales by Schütz and others, setting the stage for the impact of the funeral rite itself and echoing the order of an actual Lutheran service. And the singers get the quality of memorial warmth in the music, which lives up to the comparison in the booklet notes of the Musikalische Exequien with the Brahms German Requiem, Op. 45. There are versions with more spectacularly sharp singing, but few others that seem to fit together as convincingly as this. The performance is strengthened by the ideal acoustics of a small church in the Loire region. Strongly recommended for any Schütz collection.
© TiVo

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