Heinrich Schütz Je crois en un seul Dieu

3. Ich glaube an einen einigen Gott
„Missa brevis“ deutsch – Das Credo (Nizänum) I believe in one God,
the Father Almighty,
who created earth and heaven,
and all things visible and invisible.

And I believe in one Lord Christ Jesus,
only begotten Son of God,
begotten of his Father before all the worlds,
God of God, Light of Light,
and very God from out of very God,
who was begotten, not made,
for the Son doth equal in substance the Father
by whom all things were made,
who for our salvation,
for all men and for our salvation
came down from heaven,
and who was incarnate by the Holy Ghost
of the Virgin Mary, and was made man.

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3. Ich glaube an einen einigen Gott
„Missa brevis“ deutsch – Das Credo (Nizänum) Ich glaube an einen einigen Gott,
allmächtigen Vater,
Schöpfer Himmels und der Erden,
alles, was sichtbar und unsichtbar ist.

Und an einen einigen Herren Jesum Christum,
Gottes einigen Sohn,
der vom Vater geboren ist vor der ganzen Welt,
Gott von Gott, Licht vom Licht,
wahrhaftiger Gott vom wahrhaftigen Gott,
geboren, nicht geschaffen,
mit dem Vater einerlei Wesens,
durch welchen alles geschaffen ist,
welcher für uns Menschen
und um unsrer Seligkeit willen
vom Himmel kommen ist
und leibhaftig worden durch den Heiligen Geist

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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

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