Heinrich Schütz An den Wassern zu Babel saßen wir

By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion. We hanged our harps upon the willows in the midst thereof. For there they that carried us away captive required of us a song; and they that wasted us required of us mirth, saying, Sing us one of the songs of Zion. How shall we sing the Lord’s song in a strange land? If I forget thee, O Jerusalem, let my right hand forget her cunning. If I do not remember thee, let my tongue cleave to the roof of my mouth; if I prefer not Jerusalem above my chief joy. Remember, O Lord, the children of Edom in the day of Jerusalem; who said, Rase it, rase it, even to the foundation thereof. O daughter of Babylon, who art to be destroyed; happy shall he be, that rewardeth thee as thou hast served us. Happy shall he be, that taketh and dasheth thy little ones against the stones.
Ps 137
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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An den Wassern zu Babel saßen wir und weineten, wenn wir an Zion gedachten. Unsre Harfen hingen wir an die Weiden, die drinnen sind, denn daselbst hießen uns singen, die uns gefangen hielten und in unserm Heulen fröhlich sein: „Lieber singet uns ein Lied von Zion!“ Wie sollten wir des Herren Lied singen in fremden Landen? Vergess ich dein, Jerusalem, so werde meiner Rechten vergessen. Meine Zunge soll an meinem Gaumen kleben, wo ich dein nicht gedenke, wo ich nicht lass Jerusalem mein höchste Freude sein. Herr, gedenke der Kinder Edom am Tage Jerusalem die da sagten: „Rein ab, rein ab bis auf ihren Boden.“ Du verstörete Tochter Babel, wohl dem, der dir vergelte, wie du uns getan hast. Wohl dem, der deine jungen Kinder nimmet und zerschmettert sie an dem Stein.
Ps 137
Ehre sei dem Vater und dem Sohn und auch dem Heilgen Geiste, wie es war im Anfang, jetzt und

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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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