The motet „Gutes und Barmherzigkeit“ was composed following the death of the Leipzig student Jacob Schulte in 1625, “for the comfort of his most sorrowful parents“, as Schütz’s dedication states. The motet survived only incompletely, with soprano II, tenor II, and the vocal bass parts missing. Editor Helmut Lauterwasser has reconstructed these parts and describes his approach to this in the foreword.
Separate edition taken from Vol. 19 of the Stuttgart Schütz Edition (Complete Edition Carus 20.919).
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Composer
Heinrich Schütz
| 1585-1672Heinrich 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
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Editor
Helmut Lauterwasser
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Frequent questions about this work
Is the basso continuo obbligato?
The basso continuo realization is included in the score. The original is marked “Organum si placet”, indicating that it should not be regarded as an obbligato part, but as a “basso seguente” which plays the lowest vocal part.
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