Psalm 100 by Heinrich Schutz 4-Part - Sheet Music

By Heinrich Schutz

On 28 September 1662 the rebuilt Dresden Schlosskapelle was consecrated. For this exceptional occasion, Heinrich Schütz, now the "oldest Kapellmeister" of the Dresden court and living in retirement, created an outstanding work in which he presented virtually a summation of his compositional skill with a complete setting of Psalm 100 for double choir. In the outer sections of the intonation and doxology, Schütz drew on the traditional psalm tones from liturgical monody, but in between he unfolded a highly imaginative, almost kaleidoscope-like sequence of musical images. The survival of this work is thanks to the fact Schütz included it as an appendix in his monumental major work of his maturity, his setting of Psalm 119 ("Schwanengesang," or swansong). In this edition the editor Werner Breig has added the two missing parts.

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Details

Instrument:
Choir
Ensembles:
4-Part SATB
Genres:
Christian Baroque Period German
Composers:
Heinrich Schutz
Publishers:
Carus Verlag
Series:
Stuttgart Urtext Edition
ISBN:
9790007187897
Format:
Score
Item types:
Physical
Artist:
Heinrich Schutz
Usages:
Praise Gratitude & Thanksgiving Psalms
Size:
8.27 x 11.69 inches
Number of Pages:
24
Shipping Weight:
0.3 pounds

Coro SATB, SATB, Bc

SKU: CA.2049300

Composed by Heinrich Schutz. Stuttgart Urtext Edition: Schutz, Urtext Editions. Genres / texts frequently set to music: Sacred vocal music. Sacred vocal music, Psalms, German, Praise and thanks, Psalms. Full score. SWV 493. 24 pages. Duration 6 minutes. Carus Verlag #CV 20.493/00. Published by Carus Verlag (CA.2049300).

ISBN 9790007187897. 8.27 x 11.69 inches. Language: German.

On 28 September 1662 the rebuilt Dresden Schlosskapelle was consecrated. For this exceptional occasion, Heinrich Schütz, now the "oldest Kapellmeister" of the Dresden court and living in retirement, created an outstanding work in which he presented virtually a summation of his compositional skill with a complete setting of Psalm 100 for double choir. In the outer sections of the intonation and doxology, Schütz drew on the traditional psalm tones from liturgical monody, but in between he unfolded a highly imaginative, almost kaleidoscope-like sequence of musical images. The survival of this work is thanks to the fact Schütz included it as an appendix in his monumental major work of his maturity, his setting of Psalm 119 ("Schwanengesang," or swansong). In this edition the editor Werner Breig has added the two missing parts.