Heinrich Schütz: Glory to God upon his throne - Sheet music | Carus-Verlag

Heinrich Schütz Glory to God upon his throne

Antiphona angelorum. Aus: Zwölf geistliche Gesänge SWV 421, 1657

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  • 2. All Ehr und Lob soll Gottes sein
    „Missa brevis“ deutsch – Das Gloria in excelsis (Antiphona Angelorum)

    Glory to God upon His throne,
    all praise to Him on high alone.
    May here on earth His anger cease,
    may He bestow His grace and peace,
    that all mankind with joy proclaim
    the glory of His holy Name.
    O Lord our God, praised be Thy Name,
    our thankful hearts Thy glory acclaim;
    and kneeling we our King adore:
    all laud and honor evermore.
    We thank Thee, God, unceasingly
    for Thine all glorious Majesty.
    Lord God in Heaven, Thou art the King,
    almighty Father of all thing.
    Thou Saviour born and sacrificed
    to save mankind, Lord Jesus Christ.
    ...
  • 2. All Ehr und Lob soll Gottes sein
    „Missa brevis“ deutsch – Das Gloria in excelsis (Antiphona Angelorum)

    All Ehr und Lob soll Gottes sein,
    er ist und heißt der Höchst allein.
    Sein Zorn auf Erden hat ein End,
    sein Fried und Gnad sich zu uns wend.
    Den Menschen das gefalle wohl,
    dafür man herzlich danken soll.
    O lieber Gott, dich loben wir
    und preisen dich mit ganzer Begier;
    auch herzlich wir anbeten dich,
    dein Ehr wir rühmen stetiglich.
    Wir danken dir zu aller Zeit
    um deine große Herrlichkeit.
    Herr Gott, im Himmel König du bist,
    ein Vater, der allmächtig ist.
    Du Gottes Sohn, vom Vater bist
    einig geborn, Herr Jesu Christ.
    ...
  • Text from the CD Carus 83.239

    Oliver Geisler
    Translation: Liz Robinson

    For “practical use”: Introduction

    A glance at music history always reveals more than just music. For music can also be regarded as a mirror or the essence of a whole culture. Indeed, even more importantly, studying and listening to music means learning something about societies and people. How valuable, therefore, are those works which are all too readily labelled “Gebrauchsmusik” (functional music) and consigned to oblivion in favor of the compositional high points of an era. Such works offer a glimpse into the workshops, laboratories, studies and living rooms of a society. Churches, castles and reception rooms are beautiful and imposing, but they also dazzle – because they are always designed to impress. Functional music is concerned with the everyday and with “real life.” And precisely because of this, such works are still performed today, even if they at first appear less grand.

    Of the Zwölf geistliche Gesänge it is said that Schütz “sketched them in his spare time.” Evidently

    ...
  • Booklet-Text der CD Carus 83.239

    Oliver Geisler

    Zum „nützlichen Gebrauch“: Einführung

    Ein Blick in die Musikgeschichte lässt einen immer mehr erkennen als nur Musik. Denn Musik kann auch als Spiegel oder Bündelung von Kultur insgesamt begriffen werden. Ja mehr noch: Musik zu betrachten und zu hören bedeutet, etwas über Gesellschaften zu erfahren und über Menschen. Wie wertvoll sind da jene Werke, die man als sogenannte „Gebrauchsmusik“ allzu gern zugunsten des kompositorischen Höhenkamms einer Epoche in die Versenkung schiebt! Kann man mit ihnen doch einen Blick in die Werkstätten, Experimentierstuben, Arbeits- und Wohnzimmer einer Gesellschaft erhaschen. Kirchen, Schlösser und festliche Säle sind schön und repräsentativ, sie blenden aber auch – weil sie immer schon auf Repräsentation angelegt sind. Gebrauchsmusiken haben etwas mit Alltag und dem „wahren Leben“ zu tun. Nicht zuletzt deshalb werden solche Werke auch heute noch gebraucht, auch wenn sie zunächst weniger glanzvoll
    ...
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full score Carus 20.421/00, ISMN 979-0-007-03588-4 16 pages, DIN A4, paperback
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choral score Carus 20.421/05, ISMN 979-0-007-03589-1 8 pages, DIN A4, without cover Minimum order quantity: 20 copies
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set of parts, harmony parts, instrumental part 1, string instrument 2, instrumental part 3, instrumental part 4, organ Carus 20.421/09, ISMN 979-0-007-03590-7 18 pages, DIN A4, without cover
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individual part, organ Carus 20.421/15, ISMN 979-0-007-19540-3 4 pages, 23 x 32 cm, without cover
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text (without music) for download, html file, Introductory text, German Carus 20.421/00-310-000
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text (without music) for download, html file, Introductory text, English Carus 20.421/00-320-000
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text (without music) for download, html file, Singing text, english translation Carus 20.421/00-360-000
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text (without music) for download, html file, Singing text, original Carus 20.421/00-380-000
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Chorpartitur digital, PDF-Datei Carus 20.421/05-010-000, ISMN 979-0-007-29677-3 16 pages, DIN A4 Minimum order quantity: 20 copies
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Additional product information
  • Heinrich Schütz is regarded as the first German musician of European stature. As a choirboy from 1599 at the court of Landgrave Moritz of Hessen-Kassel, he received a thorough education. In 1608 he began a law degree in Marburg, but broke this off in 1609 in order, with the support of the Landgrave, to study composition with Giovanni Gabrieli, organist at St Mark’s in Venice. In 1613 Schütz returned to Kassel, but two years later was enticed away by Elector Johann Georg I of Saxony to the Dresden court as “Organist und Director der Musica”, where he held the position of Hofkapellmeister (court Kapellmeister) from 1617 until his death. Schütz’s great cycles of vocal works marked the high point of his reputation in Germany and northern Europe. But these represent only part of Schütz’s output; individual works are represented in printed collections with works by other composers, others only survive in manuscript, and much has been lost. The Stuttgart Schütz Edition makes available Schütz’s complete oeuvre, and all works are also published in practical Urtext editions. Personal details
  • The publisher, church musician and teacher Günter Graulich is one of the major personalities in German publishing of the post-war period. With his wife Waltraud he founded Carus-Verlag Stuttgart in 1972, which he built up from a 2-person family firm to a medium-sized business with around 60 employees. A trained church musician and Kantor for many years at the Matthäuskirche Stuttgart, he also directed the Motettenchor Stuttgart for 50 years. With his choir he made LP and CD recordings, and undertook numerous concert tours to other European countries and America. Personal details
  • Paul Horn war ein deutscher Kirchenmusiker, Organist, Komponist und Musikwissenschaftler. Er studierte Kirchenmusik und Orgel an der Evangelischen Kirchenmusikschule Esslingen am Neckar bei Hans-Arnold Metzger und Musikwissenschaft, Theologie und Geschichte an der Universität Tübingen. Seine berufliche Laufbahn begann als Kantor an der Evangelischen Michaelskirche in Stuttgart-Degerloch. 1954 wurde er Kantor an der Evangelischen Stadtkirche Ravensburg, eine Position, die er bis zu seiner Pensionierung innehatte. Als Musikwissenschaftler arbeitete Horn bis ins hohe Alter eng mit Carus zusammen. So stammen zahlreiche Carus-Klavierauszüge aus seiner Feder. Personal details

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