Heinrich Schütz Psalm 100

Psalm 100: Jauchzet dem Herren, alle Welt SWV 493 Make a joyful noise unto the Lord, all ye lands.
Serve the Lord with gladness:
come before his presence with singing.
Know ye that the Lord he is God:
it is he that hath made us, and not we ourselves;
we are his people, and the sheep of his pasture.
Enter into his gates with thanksgiving,
and into his courts with praise:
be thankful unto him, and bless his name.
For the Lord is good;
his mercy is everlasting;
and his truth endureth to all generations.
Ps 100

Glory be to the Father and to the Son,
and to the Holy Ghost,
as it was in the beginning, is now, and ever shall be,
world without end. Amen.
Doxology

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Der 100. Psalm: Jauchzet dem Herren, alle Welt SWV 493 Jauchzet dem Herren, alle Welt!
Dienet dem Herrn mit Freuden;
kommet vor sein Angesicht mit Frohlocken!
Erkennet, dass der Herre Gott ist!
Er hat uns gemacht, und nicht wir selbst,
zu seinem Volk und zu Schafen seiner Weide.
Gehet zu seinen Toren ein mit Danken,
zu seinen Vorhöfen mit Loben;
danket ihm, lobet seinen Namen!
Denn der Herr ist freundlich,
und seine Gnade währet ewiglich
und seine Wahrheit für und für.
Ps 100

Ehre sei dem Vater und dem Sohn
und auch dem heiligen Geiste,
wie es war im Anfang, jetzt und immerdar
und von Ewigkeit zu Ewigkeit. Amen.
Doxologie

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Werner Breig (abridged foreword of the Edition Carus 20.493)
Translation: Elizabeth Robinson

On 28 September 1662 the rebuilt Dresden Schlosskapelle was consecrated. For this exceptional occasion Heinrich Schütz, now the “oldest Kapellmeister” of the Dresden court and living in retirement in Weißenfels, created an outstanding work in the form of a complete setting of Psalm 100 for double choir (SWV 493). It was the last of five compositions on this psalm; it was preceded by two compositions on the German text of the Lutheran Bible (SWV 36a and 36); the first of these – a three-choir work with double echo – can be dated to his period in Kassel between the years studying in Venice and taking up the position of Kapellmeister in Dresden, and is evidently Schütz’s earliest composition to a text from the Lutheran Bible. In between came two settings of the Latin Vulgate text (SWV 262 and 332). And so, Schütz’s stylistic development can be followed in his settings of Psalm 100 over almost five decades.

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