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- Ist nicht Ephraim mein teurer Sohn
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Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)Is Ephraim my dear son? is he a pleasant child? for since I spake against him, I do earnestly remember him still: therefore my bowels are troubled for him; I will surely have mercy upon him, saith the Lord.
Jr 31:20...
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Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)
Ist nicht Ephraim mein teurer Sohn und mein trautes Kind? Denn ich gedenk noch wohl daran, was ich ihm geredet habe. Darum bricht mir mein Herz gegen ihm, dass ich mich sein erbarmen muss, spricht der Herr.
Jer 31,20...
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Text from the CD Carus 83.255
Oliver Geisler
Translation: Elizabeth Robinson“intended for singing”
The “Psalmen Davids” and the art of consolation Heinrich Schütz was fortunate. In the years around 1600 the number of portents of the end of the world increased. And this would also naturally affect the Dresden court, even if it sometimes seemed to be in a world of its own. Constellations of stars, curious events, cometary impacts – all these happenings were rapidly broadcast through the mass media of the Baroque – pamphlets and articles. And the more frequently there were signs giving cause for concern, the nearer the predicted end approached. In the mid-16th century, 2046 was marked out as the end. But at the time when Schütz took up his post in Dresden, the year 1625 was regarded as the point in time when the ‘last trumpet’ would sound. None of this happened – as stated, he was fortunate,...
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Booklet-Text der CD Carus 83.255
Oliver Geisler
„zum singen gemeint“
Die Psalmen Davids und die Kunst des Zuspruchs Heinrich Schütz hatte Glück. In den Jahren um 1600 mehrten sich die Anzeichen für den Weltuntergang. Und der würde natürlich auch den Dresdner Hof betreffen, auch wenn dieser mitunter als eigener Kosmos erscheinen mochte. Sternenkonstellationen, kuriose Ereignisse, Kometeneinschläge – alle diese Geschehnisse verbreiteten sich rasant über die Massenmedien des Barock: Flugblätter und Sonderdrucke. Und je häufiger die besorgniserregenden Zeichen, desto näher rückte das prognostizierte Ende. Mitte des 16. Jahrhunderts war noch 2046 als Ende markiert. Zu jener Zeit, als Schütz in Dresden sein Amt antrat, galt das Jahr 1625 als Zeitpunkt, an dem die ‚letzte Posaune‘ erklingen würde. All das trat nicht ein – wie gesagt, er hatte Glück, aber eine Prognose bewahrheitete...
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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
Herbert Nitsche
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Editor
Hermann Stern
| 1912-1978
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Frequent questions about this work
Is there no choral score for the music piece?
No. The full score (Carus 20.040/00) is also the choral score for both the capellchor and the semi-chorus. The semi-chorus starts singing already at the beginning of the music piece, the capellchor then from page 11 of the score.
The instrumental parts run through colla parte and are only shown at the beginning of the score.
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