Heinrich Schütz Magnificat (Meine Seele erhebt den Herrn); Ehre sei dem Vater

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  • 7. Meine Seele erhebt den Herren
    Deutsches Magnificat

    My soul doth magnify the Lord,
    and my spirit is filled with joy in my Saviour.

    For the Lord looketh upon me, his lowly handmaid.
    Blessed shall call me all coming generations,
    whom the Lord hath favored thus.
    For he hath done to me great things,
    mighty is the Lord and holy is his name.
    To all that do go in fear of him,
    he is merciful, throughout all generations.
    His strength he hath shown and with his arm
    he hath scattered the proud
    in the imagination of their hearts.

    He hath put down the mighty from their seat
    and exalted them of low degree.
    The hungry with good things he hath filled,
    and the rich he hath sent empty away.
    ...
  • 7. Meine Seele erhebt den Herren
    Deutsches Magnificat

    Meine Seele erhebt den Herren,
    und mein Geist freuet sich Gottes, meines Heilandes.

    Denn er hat seine elende Magd angesehen.
    Siehe, von nun an werden mich selig preisen
    alle, alle Kindeskind.
    Denn er hat große Dinge an mir getan,
    der da mächtig ist, und des Name heilig ist.
    Und seine Barmherzigkeit währet immer für und für
    bei denen, die ihn fürchten.
    Er übet Gewalt mit seinem Arm,
    er zerstreuet, die hoffärtig sind
    in ihres Herzens Sinn.

    Er stößet die Gewaltigen vom Stuhl
    und erhöhet die Niedrigen.
    Die Hungerigen füllet er mit Gütern
    ...
  • 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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  • 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

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