Heinrich Schütz O how fair are all thy dwellings

aus: Psalmen Davids SWV 29, 1619

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Nachdem Schütz nach dem Tode Gabrielis von seinem Aufenthalt in Venedig in seine Heimat zurückkehrte, begann er die erworbenen Eindrücke musikalisch zu verarbeiten. Vor allem das mehrchörige Musizieren war hierbei sehr wichtig, wofür die zwischen 1615 und 1619 entstandenen Psalmen Davids ein Beleg sind.
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  • O how fair are all thy dwellings
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  • How amiable are thy tabernacles, O Lord of hosts! My soul longeth, yea, even fainteth for the courts of the Lord: my heart and my flesh crieth out for the living God. Yea, the sparrow hath found an house, and the swallow a nest for herself, where she may lay her young, even thine altars, O Lord of hosts, my King, and my God. Blessed are they that dwell in thy house: they will be still praising thee. Selah. Blessed is the man whose strength is in thee; in whose heart are the ways of them. Who passing through the valley of Baca make it a well; the rain also filleth the pools. They go from strength to strength, every one of them in Zion appeareth before God. O Lord God of hosts, hear my prayer: give ear, O God of Jacob. Selah. Behold, O God our shield, and look upon the face of thine anointed. For a day in thy courts is better than a thousand. I had rather be a doorkeeper in the house of my God, than to dwell in the tents of wickedness. For the Lord God is a sun and shield: the Lord will give grace and glory:

    ...

  • Wie lieblich sind deine Wohnungen, Herre Zebaoth! Mein Seel verlanget und sehnet sich nach den Vorhöfen des Herren, mein Leib und Seele freuen sich in dem lebendigen Gott. Denn der Vogel hat ein Haus funden und die Schwalbe ihr Nest, da sie Junge hecken, nämlich deine Altar, Herre Zebaoth, mein König und mein Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar. Sela. Wohl den Menschen, die dich für ihre Stärke halten und vom Herzen dir nachwandeln. Die durch das Jammertal gehen, und graben daselbst Brunnen. Und die Lehrer werden mit viel Segen geschmücket; sie erhalten einen Sieg nach dem andern, dass man sehen muss, der rechte Gott sei zu Zion. Herr, Gott Zebaoth, höre mein Gebet, vernimms, Gott Jakob. Sela. Gott, unser Schild, schau doch, siehe an das Reich deines Gesalbten! Denn ein Tag in deinen Vorhöfen ist besser, denn sonst tausend. Ich will lieber die Tür hüten in meines Gottes Hause, denn lange wohnen in der Gottlosen Hütten.

    ...

  • 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,

    ...

  • 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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  • 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
  • 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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