Heinrich Schütz O Lord, rebuke me not in thy wrath

O Lord, rebuke me not in thine anger, neither chasten me in thy hot displeasure. Have mercy upon me, O Lord; for I am weak: O Lord, heal me; for my bones are vexed. My soul is also sore vexed: but thou, O Lord, how long? Return, O Lord, deliver my soul: oh save me for thy mercies’ sake. For in death there is no remembrance of thee: in the grave who shall give thee thanks? I am weary with my groaning; all the night make I my bed to swim; I water my couch with my tears. Mine eye is consumed because of grief; it waxeth old because of all mine enemies. Depart from me, all ye workers of iniquity; for the Lord hath heard the voice of my weeping. The Lord hath heard my supplication; the Lord will receive my prayer. Let all mine enemies be ashamed and sore vexed: let them return and be ashamed suddenly.
Ps 6:2-11
Translation: King James Bible
Glory be to the Father and to the Son, and to the Holy Ghost, as it was in the beginning, is now,

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Ach Herr, straf mich nicht in deinem Zorn und züchtige mich nicht in deinem Grimme. Herr, sei mir gnädig, denn ich bin schwach; heile mich, Herr, denn meine Gebeine sind erschrocken und meine Seele ist sehr erschrocken. Ach du, Herr, wie lang! Wende dich, Herr, und errette meine Seele, hilf mir um deiner Güte willen! Denn im Tode gedenket man dein nicht; wer will dir in der Hölle danken? Ich bin so müde von Seufzen; ich schwemme mein Bett die ganze Nacht und netze mit meinen Tränen mein Lager. Meine Gestalt ist verfallen vor Trauern und ist alt worden, denn ich allenthalben geängstet werde. Weichet von mir, alle Übeltäter; denn der Herr hört mein Weinen, der Herr hört mein Flehen, mein Gebet nimmt der Herr an. Es müssen alle meine Feinde zuschanden werden und sehr erschrecken; sich zurückekehren und zu Schanden werden plötzlich.
Ps 6,2–11
Ehre sei dem Vater und dem Sohn und auch dem

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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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