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Heinrich Schütz
Die Vögel unter dem Himmel
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Die Vögel unter dem Himmel Heinrich Schütz (1585-1672): Sacred choral music
The National Youth Choir of Great Britain
Mike Brewer conductor John Kitchen solo organ
Samuel Scheidt (1587-1654)
1 Modus pleno organo pedaliter a 6 (from Tabulatura nova) [1.22]
Heinrich Schütz
2 Wie lieblich sind deine Wohnungen SWV 29 [7.37]
3 Ich weiß, daß mein Erlöser lebt SWV 393 [2.37]
Samuel Scheidt
4 Ein kindelein so lobelich (from the Görlitzer Tabulatur-Buch) [3.28]
Heinrich Schütz
5 Die Himmel erzählen die Ehre Gottes SWV 386 [4.30]
6 So fahr ich hin zu Jesu Christ SWV 379 [2.43]
Samuel Scheidt
7 Da Jesus an dem Kreuze (from the Görlitzer Tabulatur-Buch) [2.17]
Heinrich Schütz
8 Die mit Tränen säen werden mit Freuden ernten SWV 378 [3.26]
9 Aus der Tiefe ruf ich, Herr, zu dir SWV 25 [4.23]
Recorded on 16 & 17 September 2006, 12 & 13 April 2007 in St Alban the Martyr, Holborn; and 4 & 5 August 2007 in Merton College Chapel, University of Oxford.
Producer: Paul Baxter
Heinrich Scheidemann (1595-1663)
10 Toccata G-dur [5.04]
Heinrich Schütz
11 Herr, unser Herrscher SWV 27 [4.37]
12 Cantate Domino canticum novum SWV 81 [3.22]
13 Meine Seele erhebt den Herren (Deutsches Magnificat) SWV 494 [7.37]
Samuel Scheidt
14 Ein feste Burg ist unser Gott (from the Görlitzer Tabulatur-Buch) [2.54]
Heinrich Schütz
15 Singet dem Herrn einneues Lied SWV 35 [5.31]
Jan Pieterszoon Sweelinck (1562-1621)
16 Puer nobis nascitur [3.07]
Heinrich Schütz
17 Alleluja! Lobet den Herren in seinem Heiligtum SWV 38 [9.39] (Edward Batting organ)
Total playing time [74.16]
Engineer: Adam Binks
24-Bit digital editing: Adam Binks
24-Bit digital mastering: Paul Baxter
Design: Drew Padrutt
Photography © Delphian Records P
Song of Songs
Laudibus
Mike Brewer, conductor (DCD34042)
The Song of Songs stands apart from its biblical surroundings as one of the supreme love poems of world literature, a celebration of erotic love in the form of a dialogue between a bridegroom and his bride, invoking all the senses, the fragrance of wine, blossom, fruits and spices. Ranging widely over five centuries, from the relative asperity of Dunstaple to the lush exoticism of Daniel-Lesur, this cherry-picked assortment of sweetmeats is given exultant life by Mike Brewer and Laudibus.
‘This is choral singing of the very first rank’
– International Record Review, February 2007
Photograph editing: Dr Raymond Parks Delphian Records Ltd – Edinburgh – UK www.delphianrecords.co.uk
© 2008 Delphian Records 2008 Delphian Records
Instruments from the Raymond Russell Collection Volume II John Kitchen (DCD34039)
Known collectively as the Raymond Russell collection of Early Keyboard Instruments, this company of harpsichords, virginals, spinets, organs and fortepianos is one of the most important of its kind in the world today. Resident keyboard expert John Kitchen puts another nine instruments through their paces in a recital that is both entertaining and illuminating
‘John Kitchen gives magnificent performances’
– Gramophone, June 2002
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Catalogue No. : DCD34043
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The National Youth Choir on Delphian
Giles Swayne: Convocation
The National Youth Choir of Great Britain
Laudibus
Mike Brewer, conductor
Michael Bonaventure, organ
Stephen Wallace, counter-tenor (DCD34033)
When a powerful team of new music exponents come together, magic will happen; when the music is by Giles Swayne, a composer whose light shines brilliantly in its own unique direction, the results will entrance. This disc offers a bracing sonic experience – vividly communicative music performed with rare verve, passion, and youthful vibrancy.
‘Swayne is a master’
– The Independent, September 1999
Richard Allain: When I’m Gone
John Harle, soprano saxophone
National Youth Choir of Great Britain
Laudibus
Mike Brewer, conductor (DCD34026)
Allain has developed a unique musical dialect malleable enough to cover the gamut of liturgical purposes represented on this disc. Whether refracted through the facets of spiritual, carol, motet or Mass setting, his is a music that can only be added to the list of languages from which we should all take inspiration.
‘Magical moments abound’
– Gramophone, October 2004
Revered by his contemporaries as the ‘Orpheus of our time’ and regarded by history as the greatest German composer before Bach, Heinrich Schütz dedicated his long and illustrious career first and foremost to the music of the church. His work, an ideal marriage of the Protestant traditions of his homeland and the new Italian styles of the early Baroque, possesses an uncanny ability to illuminate the emotional core of a text with the most economical of expressive means – be it the jubilation of Psalm 100 or the anguished pleas of Psalm 130 (‘Out of the depths’). Throughout his life, Schütz returned to the same texts – in particular the Psalms – refining his response and compositional technique to a fine point; the present recording allows the listener to trace this development from his first sacred collection, the Psalmen Davids of 1619, to his last, the Schwanengesang, completed at the age of eighty-six in 1671.
Schütz’s early development as a composer was gradual and careful – even cautious, by the standards of his day. Apart from an apprentice volume of madrigals, he published nothing until the age of 33, determined to get a thorough grounding in his art first; such caution was advisable, however, given the repeated attempts by his parents to persuade him to undertake a career in Law. Certainly, Schütz’s musical education had been decidedly fortuitous and unplanned. The son of a well-todo innkeeper in Köstritz, near Gera in Saxony,
Schütz showed an early aptitude for music, singing ‘securely and very well, with particular grace’. In 1598, Landgrave Moritz of HessenKassel, himself an accomplished composer, stayed at the inn in Köstritz; hearing Schütz sing, he asked to take him to Kassel to join his court there. From Kassel, Schütz matriculated at the University of Marburg in 1608 to study Law, but once again Landgrave Moritz intervened, suggesting he take the opportunity while Giovanni Gabrieli was still alive to go to Venice and study with him. Thus it was that Schütz spent the next three years under the tutelage of the great Venetian master, studying organ playing and composition and evidently gaining high favour, for Gabrieli left Schütz one of his rings when he died in 1612, at the beginning of Schütz’s fourth year in Venice.
The years in Venice proved the defining formative experience of his musical life and work. Schütz was eager to absorb the latest developments of the Italian seconda pratica and at the same time to acquire a solid contrapuntal technique. His first publication, in 1611, was a book of Italian madrigals, soundly worked if not particularly remarkable by the standards of Monteverdi or d’India. The influence of Gabrieli was to be seen to far more wide-ranging effect in the monumental Psalmen Davids, which Schütz published in 1619, having worked on them probably at least since his return to Germany in 1613. These are the real fruits of his Venetian years,
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Catalogue No. : DCD34043
Job Title : Heinrich Schütz
a compendium of polychoral magnificence, twenty-six settings for double, triple or quadruple choir (some choirs designated for voices, others for instruments) that have their direct origin in the cori spezzati style designed by Gabrieli for St Mark’s.
By the time Schütz published the Psalmen Davids he had left Kassel and entered the service of the Elector Johann Georg I of Saxony, in Dresden. Since 1613, Johann Georg’s Kapellmeister Rogier Michael had been in semi-retirement, and Schütz, though nominally his deputy, found himself at the age of thirty de facto head of one of the finest musical establishments in Germany. Opportunities for large-scale works of the size of the Psalmen Davids were suddenly readily forthcoming, and Schütz poured his new skills into their composition. His main interest in these works seems to have been the range of textures obtainable from the polychoral medium, which he explores with a masterly ingenuity and variety, without a trace of the predictability that can arise from the constant alternation of choirs. In Herr, unser Herrscher, for three choirs, and Alleluja! Lobet den Herren, for four choirs, Schütz skilfully interleaves majestic tuttis with lighter-scored sections; in his busy, doublechoir setting of Psalm 98, Singet dem Herrn ein neues Lied, he provides a masterclass in constantly varying textures, moving from imitative exposition to declamatory homophony, bringing the choirs together
for climaxes, alternating them, now in quick succession, now in longer paragraphs, as the text allows. Nor does this technical prowess lack expressivity: the Psalmen Davids inherit all of Gabrieli’s dramatic and colourful harmonic palette, as well as the modern Italian taste for bold chromaticism in the service of intense emotions; thus the extraordinary opening six chords of Wie lieblich sind deine Wohnungen, or the madrigalisms of Aus der Tiefe.
The Psalmen Davids are an achievement of epochal importance in German music; for Schütz, they signalled the end of his long apprenticeship and the beginning of his artistic maturity. Their publication held another significance for him too, for it coincided with his marriage to Magdalena Wildeck, whom he married on 1 June 1619. The next few years seem to have been happy and productive ones for Schütz, and in 1623 he published his Resurrection Story (Historia der… Aufferstehung…Jesu Christi), following it two years later with the Cantiones Sacrae, op. 4. Very different in scale from the Psalmen Davids, the Cantiones comprise thirty-one motets, mostly in four parts and conceived mainly for a cappella performance, although Schütz added an optional basso seguente at the request of his publisher. This must have represented for Schütz the opposite technical challenge from the grandiosity of his first collection of sacred music: to compress the same variety and breadth of expression into
Rachel Coward
Rachel Doherty
Rebecca Hutter
Sarah Mapplebeck
Sarah Thornhill
Vassilena Milonidis
Alto II
Amelia Hudson
Amelia Okell
Anil Chopra
Beth Mackay
Bethan Langford
Carla Matthews
Charlotte Kitson
Elizabeth Curwen
Elizabeth Jarrett
Emily Skinner
Emma Stannard
Esther Zuke
Hannah Trenner
Helen Hutchinson
Katie Lee
Krishanthi Gill
Laura Baker
Pipp Saul-Harrah
Rozanna Madylus
Sarah Rudebeck
Tenor I
Alex Bowden
Alexander Berman
Chris Palmer
Christopher Hann
Christopher Palmer
Edmund Chan
Felix Leach
Fergus Brignall
Kieran Morris
Michael Bradley
Robbie Jacobs
Sam Furness
Simon Marsh
Tim Lawrence
Michael Hickman
Robin Firth
Sam Robinson
Samuel Morris
Ted Lougher
Thomas Cooke
William Morgan Bass I
Adam Smith
Adam Treadaway
Alexander Hargreaves
Amar Shah
Andrew Martin
Anthony Harris
Callum Baxter
Chris Hughes
Julian Guidera
Muir Hewitt
Nick Lockyer
René Bloice-Sanders
Robert Garland
Simon Hall
Stefan Hargreaves
Stefan Porter
Tom Innes
Bass II
Alexei Kalveks
Andrew Booth
Bartholomew
Lawrence
Dominic Barberi
Emile Perkins
Tenor II
Adam Smith
Adam Treadaway
Andrew Bartlett
Anthony Harris
David Pim
Francis Powesland
Jack Furness
Jonathan Cooke
Laurence Panter
Luke Sinclair
Matthew Thomson
Christopher Argyrakis
Christopher Hughes
Christopher Wheeler
David Horton
David le Provost
Edmund Latham
Edward Turner
Greg Hallam
Huw Leslie
Joachim Cassel
Jolyon Loy
Jonathan Bell
Freddie Coltart
James Ramsden
Jamie Wardynski
John Murton
Laurence Kirkby
Peter Bardsley
Philip Batty
Reuben McNaughton
Sandy Walker
Stuart Ruff
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Catalogue No. : DCD34043
Job Title : Heinrich Schütz
The National Youth Choir of Great Britain
Soprano I
Adele Clarkson
Alessandra Sorrentino
Alexia Prakas
Alice Usher
Alison Seal
Anna Gillingham
Catherine Bell
Charlotte Trepess
Emily Haig
Emily Meredith
Emily Owen
Emma Hopegood
Emma Walshe
Felicity Martin
Georgina Easton
Hannah Berridge
Hannah Campbell
Hannah Dobra
Heather Caddick
Helen Lewis
Helen McCombie
Helen Vincent
Holly Moore
Jenni France
Jennifer Stafford
Jenny Sidebottom
Josephine OrganJennings
Julia Sitkovetsky
Laura Attridge
Laura Braithwaite
Lisa Swayne
Louise Wayman
Lucy Hughes
Lucy Potterton
Marie Macklin
Rachael Robinson
Rachel Spencer
Rebecca Hardwick
Rebecca Lallemant
Roseanne Havel
Ruth Waters
Sarah Bowe
Zoe Brown
Soprano II
Alison Hill
Alicia Clarke
Anna Goldbeck-Wood
Catherine Whately
Charlotte Broadbent
Charlotte Brosnan
Chloe Treharne
Claire Lewis
Elaine Tate
Eleanor Bacon
Eleanor Caine
Eleanor Mulindi-King
Elizabeth Stock
Emily Cooper
Emily Dickens
Emily Garland
Emma Price
Esther Nosworthy
Felicity Davies
Fenella Shelton
Fiona Harper
Francesca Geach
Gillian Plummer
Jenni Harper
Jennie Marsden
Jessica Dandy
Judith Durrant
Katherine Higgins
Laura Cheetham
Laura Wright
Natasha Harbinson
Olivia Brown
Pippa Woodrow
Rebecca Williams
Rosie Deeks
Sarah Champion
Sarah Griffiths
Sarah Rea
Sian Rogers
Sophie Cox
Tempe Nell
Alto I
Abigail Berry
Alex Davies
Alice Hubbard
Angharad Lyddon
Bethan Moore
Bethany Remfry
Bethia Hourigan
Charlotte Ramsbotham
Delphine Gatehouse
Eleanor Minney
Eleanor Whittingham
Emily Jane Cooper
Emma Price
Eve Langford
Faith Fairbairn
Felicity Buckland
Flora Pethybridge
Francesca Mastaglio
Heather White
Jenna Hoyle
Jessica Dandy
Johanne Stephenson
Lucinda Cox
Lucy Feldman
Martha McLorinan
Nancy Cole
just four parts. In this respect, the Cantiones are perhaps even more remarkable than the Psalmen Davids, as Schütz is able to integrate his mastery of Baroque expressive devices with the stile antico idiom, providing settings whose power is directly proportional to their miraculous clarity. Cantate Domino canticum novum is a fleet-footed example of the style, bursting into effervescent streams of scalic figures and delighting in very close canonic entries, as if the voices were tumbling over one another in their joy.
For Schütz, joy was short-lived: on 6 September 1625, shortly after the publication of the Cantiones, his wife Magdalena died. They had been married six years; Schütz was grief-stricken, and, contrary to the custom of the time, never remarried. The next twenty years were to see many further personal reversals and bereavements, including that of his elder daughter Anna Justina in 1638, as plague and the depredations of the Thirty Years War, which Saxony entered in 1631, took their toll. In spite of this, Schütz continued to consolidate his position as the pre-eminent composer in Germany, publishing a measured stream of major works, including the Symphoniae Sacrae (three volumes, 1629, 1647 and 1650), the Musicalische Exequien (1636) and the Kleiner Geistlichen Concerten (two volumes, 1638 and 1639). Schütz was not confined to the increasingly impoverished court at Dresden, but allowed to take several
extended leaves of absence in the service of other noble employers. Chief among these was Crown Prince Christian of Denmark, for whose marriage service Schütz was invited to Copenhagen in 1633 to oversee the music. Schütz remained in Denmark for eighteen months, and returned there the following decade for a period of nearly three years, from 1642-4. Most of the music Schütz wrote on these and other occasions has been lost, including a large number of theatrical and other secular works: our picture of Schütz would be very different indeed were we able today to survey the entire breadth of his output.
In 1646, Schütz was asked to give his judgement on an artistic dispute that had arisen between two minor composers, Paul Siefert and Marco Scacchi, each accusing the other of contrapuntal incompetence. In spite of his well-known insistence on rigorous contrapuntal training, Schütz declined to become embroiled, though he privately favoured Scacchi. This affair would have little importance were it not that in 1648 Schütz published a volume entitled Geistliche ChorMusic, dedicated to the city council of Leipzig and the Thomaskirche choir, which he evidently intended to serve as examples of model textsetting and compositional technique: a practical answer, perhaps, to those who had looked to him for guidance during the dispute. Although Schütz’s preface to the volume emphasises this didacticism of intent, these are no mere
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Catalogue No. : DCD34043
Job Title : Heinrich Schütz
text-book exemplars but the fully-fledged products of a master, touching astonishing heights of expressivity with unparalleled economy. The six-part setting of Die Himmel erzählen die Ehre Gottes, which exists in a version dating back to the 1630s, generates great excitement from the judicious alternation of tutti- and lighter contrapuntal sections; Ich weiss, dass mein Erlöser lebt, in seven parts, provides a model of movement between triple and duple time in different textural combinations. Similarly moving between triple and duple time, Die mit Tränen saen is yet more striking, a miniature drama of grief and consolation that Schütz portrays with the utmost sincerity and tenderness. So far ich hin zu Jesu Christ sets the fifth verse of the funeral chorale Wenn mein Stündlein vorhanden ist, and neatly evokes the tread of the pilgrim soul towards Jesus with a slow rising motif that moves through all the parts at the start of the work, later sinking into a mysterious harmonic slumber at the words ‘so schlaf ich ein und ruhe fein’.
Schütz’s activities at Dresden continued unabated – in spite of his regular entreaties to be spared his duties and allowed to retire – until the death of Elector Johann Georg I, his master for more than forty years, in 1657. Thereafter he continued to compose, including Die Sieben Worte (1657), Historia der…Geburt… Jesu Christi (published in part in 1664) and the four Passions (mid-1660s),
but more slowly, for although he could still ‘work out my compositions as soundly and as well as before, it all takes much longer and is more difficult to achieve.’ Yet he did not put down his pen for good until 1671, when, at the age of eighty-six, a year before his death, he completed his Schwanengesang (swansong), a complete setting of Psalm 119 together with a setting of Psalm 100 and the Deutsch Magnificat, SWV494. In its doublechoir textures the Schwanengesang distantly recalls the sumptuous settings of the Psalmen Davids – the aged composer remembering his earliest works, though the spirit and the means have changed in the half-century that separates them; at the end of the manuscript score of the Magnificat, Schütz writes ‘FINIS’ – an end to his long life’s work.
© 2008 James Weeks
James Weeks is a composer and conductor. He is the director of contemporary specialists EXAUDI Vocal Ensemble; his music is represented by the British Music Information Centre.
John KitchenAfter completing degrees at Glasgow University, John Kitchen went to Cambridge carrying out research into seventeenth-century French harpsichord music. Whilst there he was organ scholar of the Clare College, and studied the organ with Gillian Weir. From 1976 until 1988 he was Lecturer in Music and University Organist at the University of St Andrews. He is now Senior Lecturer and University Organist at the University of Edinburgh.
For many years John played with the Scottish Early Music Consort as harpsichordist, organist and fortepianist, and is a member of several other ensembles. He gives many solo recitals, both in the UK and overseas. In addition, he is conductor of the Edinburgh University Singers, and organist of Old St Paul’s Episcopal Church in Edinburgh. In 2002 he was appointed Edinburgh City Organist, with promotional and curatorial duties attached to the renowned 1913 Norman and Beard organ in the city’s Usher Hall.
He records regularly for the BBC and has made many commercial recordings. Amongst John’s recordings for Delphian was the first solo disc recorded on the recently-restored Usher Hall Organ (DCD34022), and two recordings showcasing the Raymond Russell Collection in Edinburgh (DCD34001 & DCD34039). For Priory Records John has recorded the complete solo organ works of Johann Ludwig Krebs on six discs, and two discs of Victorian organ sonatas. In addition to performance and recording work, John is in constant demand as a lecturer and reviewer.
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Catalogue No. : DCD34043
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Mike Brewer OBERecognised as a leading figure in choral music, Mike Brewer is in demand throughout Britain and worldwide for vocal and conducting workshops and as a guest conductor of choirs. His annual tours take in the USA, Singapore, New Zealand, Australia, South Africa, Mexico, Venezuela and the Seychelles as well as regular visits within Europe. He is an adviser on world music to the IFCM and is assessor to Mexico’s choral programme.
Mike is also consultant for over 20 prizewinning UK choirs, including the world famous girls’ choir, Cantamus, and has often served as adjudicator for the finals of the ‘Choir of the Year’ and the National Festival of Music for Youth in the UK as well as many international competitions.
Mike has been Musical Director of the National Youth Choirs of Great Britain (NYC), since 1983, and the organisation has grown to include some seven choirs and over 500 singers. Mike also conducts Laudibus, the award-winning chamber choir of outstanding NYC members and graduates, which also records on the Delphian label. Recent critically acclaimed recordings by Laudibus include Song of Songs (DCD34042) and discs of the choral music of Giles Swayne and Richard Allain with the NYC (DCD34033 & DCD34026).
Mike Brewer’s books for Faber Music include the best selling Kickstart Your Choir, Warmups, Improve Your Sightsinging (with Paul Harris) and Finetune Your Choir. Hamba Lulu, his set of African songs is performed worldwide. Recently published by Faber are Playpiece, commissioned for the Aberdeen Festival, Worldsong, performed in the Schools’ Proms 2005, and a second set of African Songs, Babevuya.
Mike is a gold medallist double bass player and was a Churchill Fellow for 2002/3. He was appointed OBE in 1995.
Schütz’s extensive output includes not a note of organ music – at least none has come down to us. Therefore, organ music by some of his contemporaries complements the vocal music in this recording.
The Dutch composer and organist Sweelinck was a major figure in the development of North German organ music, and taught both Scheidt and Scheidemann. In 1618 Scheidt worked with Schütz (and Michael Praetorius) when all three had to provide music for a special occasion in Magdeburg Cathedral, and the two men must have known each other well. It is likely also that Schütz and Scheidemann were acquainted.
Scheidt’s Modus ludendi comes from his renowned Tabultura nova of 1624, a major publication designed to provide organ music for the Lutheran liturgy (although it also contains secular music). Scheidt includes two short but imposing pieces in six-part counterpoint in which four voices are played on the manuals and two on the pedals. That included here is based on the plainchant Benedicamus Domino, and would have played on full organ at the close of the Lutheran Mass. His final publication was the Görlitzer Tabulatur-Buch of 1650, which presents 100 chorales for organ in four-part harmony. These may have been intended to accompany the singing, or perhaps to provide preludes or interludes. Three contrasting examples are offered: the gentle Ein Kindelein so löbelich is associated with
Christmas; the sombre Da Jesus an der Kreuze stund is for Passiontide; and Ein feste Burg is Luther’s great ‘battle-hymn of the Reformation’.
Sweelinck’s prolific output of keyboard works embraces both the sacred and secular; many were no doubt played in the daily concerts he gave in the Oude Kerk in Amsterdam where he was organist for many years. This was a civic rather than an ecclesiastical post, as the Dutch Calvinists did not permit organ music during the services. The organ – owned by the city – was, however, often played before or after services. The variations on the medieval Christmas song Puer nobis nascitur demonstrate Sweelinck’s imaginative variation technique.
Scheidemann’s output is largely for the organ, and contains examples of free and choralebased works in many forms. He succeeded his father as organist at St Katharinen, Hamburg, and remained in post until his death (of the plague) in 1663. The present Toccata seems to have been a favourite in the composer’s own time, as it has come down to us in many sources, and in variant versions. A highlyembellished right-hand melody, played on a prominent solo stop such as a cornet or sesquialtera, is supported by left hand and pedals; the latter part of the piece exploits the echo effects which Scheidemann (and Scheidt) learned from the master, Sweelinck.
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Catalogue No. : DCD34043
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Wie lieblich sind deine Wohnungen SWV 29
Wie lieblich sind deine Wohnungen, Herre Zebaoth!
Mein Seel verlanget und sehnet sich nach den Vorhöfen des Herren;
mein Leib und Seele freuet sich in dem lebendigen Gott.
Denn der Vogel hat ein Haus funden und die Schwalbe ihr Nest,
daß sie Junge hekken, 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 von 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 der Tür hüten in meines Gottes Hause
denn lange wohnen in der Gottlosen Hütten.
Denn Gott der Herr ist Sonn und Schild; der Herr gibt Gnad und Ehre.
Er wird kein Gutes mangeln lassen den Frommen, Herr Zebaoth, wohl dem Menschen, der sich auf dich verläßt!
How lovely are your dwelling places, O Lord of hosts!
My soul yearns and pines for the courts of the Lord, my heart and soul cry out to the living God. Even the sparrow has found a home, and the swallow a nest to place its young: your altars, O Lord of hosts, my King, and my God. Blessed are they that dwell in your house: they shall praise you continually, Selah. Blessed are the men whose strength is in you, whose hearts are set on pilgrimage. As they pass through the valley of Baca, make it a well, the rain also fills it. They go from strength to strength, God shows himself to them in Zion.
O Lord God of hosts, hear my prayer: listen, God of Jacob, Selah. Behold, God, our shield, and look upon the face of your anointed!
For a day in your courts is better than a thousand at my own devices, I would rather guard the door in the house of my God, than dwell a long time in the tents of the wicked. For the Lord God is a rampart and shield, the Lord bestows mercy and honour; No good thing will be withheld from them whose life is blameless.
O Lord of hosts, blessed is the man who trusts in you.
Psalm 84
Made up of 140 young voices, the National Youth Choir (NYC) is the senior of the six choirs which make up the National Youth Choirs of Great Britain, under the overall directorship of Mike Brewer OBE and Associate Director Greg Beardsell. Each choir meets for two residential courses during the year with regular concerts throughout the UK. NYC also tours abroad regularly and on a number of occasions has visited Australia, New Zealand and the Pacific Islands as well as the USA, South Africa and Europe.
2 collaborated with many local choirs and musical groups. NYC is proud to be a prime mover in promoting singing for young people as part of the Music Manifesto.
Since its inaugural concert in the Royal Albert Hall in 1983, NYC has garnered an enviable reputation for being one of the most flexible vocal ensembles in the world. The choir has performed alongside many leading musicians including the Kings Singers, Harry Christophers and the Sixteen, George Shearing and Richard Rodney Bennett, and collaborated with musicians from many places, including India, South America, the Pacific Islands, Africa and the gospel tradition.
Throughout its existence, NYC’s UK profile has grown significantly, and in recent years the choir has performed in parliament for the anniversary of the abolition of the slave trade, at the National Gallery, at the reopening of the Royal Festival Hall, in a number of television documentaries, and sung with the National Youth Orchestra in the BBC proms. The choir has also sung at the FA cup final and at international rugby matches. Thanks to sponsorship through Youth Music, NYC has been involved in outreach throughout the country, and
NYC often performs new music, and has commissioned from and recorded works by Jonathan Harvey, Colin Riley, Paul Reade, Giles Swayne, Tarik O’Regan and Gabriel Jackson, and also by its composer-in-association Richard Allain. For the choir’s 25th anniversary gala in April 2008, NYC commissioned a new work by American composer Eric Whitacre, which was premiered with the Kings Singers at Symphony Hall, Birmingham.
The Royal Albert Hall remains a regular concert venue; NYC performed Karl Jenkins’ Peace Mass The Armed Man which was later recorded, and went on to become a best-seller and Classic FM’s record of the week. With Delphian, the choir has recorded discs of the music of Richard Allain (DCD34026) and Giles Swayne (DCD34033). A disc of works for multiple choirs will be released in the autumn of 2008, and future projects will include the music of Kenneth Leighton. Following on from the critical success of Song of Songs, (also a Classic FM record of the week), NYC’s chamber choir, Laudibus, will record an anniversary disc of music by Ralph Vaughan Williams and a programme of music by Baltic composers.
Customer : Tintoy
Catalogue No. : DCD34043
Job Title : Heinrich Schütz
sind fröhlich vor dem Herrn; denn er kommt, das Erdreich zu richten. Er wird den Erdboden richten mit Gerechtigkeit und die Völker mit Recht.
Ehre sei dem Vater und dem Sohn und auch dem heilgen Geiste, wie es war im Anfang, jetzt und immerdar und von Ewigkeit zu Ewigkeit, Amen.
sing together for joy; let them sing before the Lord, for he comes to judge the earth. He will judge the world in righteousness and the peoples with equity.
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. Amen.
Alleluja!
Lobet den Herren in seinem Heiligtum, lobet ihn in der Feste seiner Macht.
Lobet ihn in seinen Taten, lobet ihn in seiner großen Herrlichkeit.
Lobet ihn mit Posaunen, lobet ihn mit Psaltern und Harfen.
Lobet ihn mit Pauken und Reigen, lobet ihn mit Saiten und Pfeifen.
Lobet ihn mit hellen Cymbalen, lobet ihn mit wohl klingen den Cymbalen. Alles was Athem hat, lobe den Herrn. Alleluja!
Psalm 98 Alleluja!
Praise God in his sanctuary:
Praise him in his mighty firmament.
Praise him for his mighty acts:
Praise him according to his excellent greatness.
Praise him with the sound of the trumpet;
Praise him with the lute and harp!
Praise him with the timbrel and dance;
Praise him with stringed instruments and flutes!
Praise him with loud cymbals;
Praise him with clashing cymbals!
Let everything that has breath praise the Lord. Alleluja!
Psalm 150
Ich weiß, daß mein Erlöser lebt SWV 393 Ich weiß, daß mein Erlöser lebt, und er wird mich hernach aus der Erden auferwekken, und werde mit dieser meiner Haut umgeben werden, und werde in meinem Fleisch Gott sehen, denselben werd ich mir sehen, und meine Augen werden ihn schauen, ich und kein Fremder.
I know that my redeemer lives, and that he shall stand at the latter day upon the earth.
And though this body be destroyed, even then, in my flesh shall I see God; whom I shall see for myself and my own eyes shall behold him, I, and no stranger.
Job 19, vv. 25-27
Die Himmel erzählen die Ehre Gottes SWV 386
Die Himmel erzählen die Ehre Gottes, und die Feste verkündigen get seiner Hände Werk.
Ein Tag sagt’s dem andern, und eine Nacht tut’s kunder andern.
Es ist keine Sprache noch Rede, da man nicht ihre Stimme höre.
Ihre Schnur gehet aus in alle Lande und ihre Rede an der Welt Ende.
Er hat der Sonnen eine Hütten in derselben gemacht, und die selbige gehet heraus wie ein Bräu tigam aus seiner Kammer und freuet sich wie ein Held, zu laufen den Weg. Sie gehet auf an einem Ende des Himmels, und läuft um bis wieder an dasselbige Ende, und bleibt nichts für ihrer Hitz verborgen.
Ehre sei dem Vater und dem Sohn und auch dem heilgen Geiste; wie es war im anfang, jetzt und immerdar und von Ewigkeit zu Ewigkeit. Amen.
The heavens declare the glory of God; the skies proclaim the work of his hands. Day after day they pour forth speech; night after night they display knowledge. There is no speech or language where their voice is not heard. Their voice goes out into all the earth, their words to the ends of the world. In the heavens he has pitched a tent for the sun, which is like a bridegroom coming forth from his pavilion, like a champion rejoicing to run his course. It rises at one end of the heavens and makes its circuit to the other; nothing is hidden from its heat. 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. Amen.
Psalm 19, vv. 1-6
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So fahr ich hin zu Jesu Christ SWV 379
So fahr ich hin zu Jesu Christ, mein Arm tu ich ausstreken, so schlaf ich ein und ruhe fein, kein Mensch kann mich aufwekken, denn Jesus Christus Gottes Sohn, der wird die himmelstür auftun, mich führen zum ewigen Leben.
Thus I go hence to Jesus Christ, I stretch out my arm, thus I fall asleep and rest soundly, no one can wake me except for Jesus Christ, son of God, who will open the gate of heaven and lead me to eternal life.
Die Hungrigen füllet er mit Gütern und lässt die Reichen leer.
Er denket der Barmherzigkeit und hilft seinem Diener Israel auf.
Wie er gered’t hat unsern Vätern, Abraham und seinem Samen ewiglich.
He has filled the hungry with good things and sent the rich away empty.
He has come to the aid of his servant Israel, to remember his promise of mercy, The promise made to our ancestors, to Abraham and his children for ever.
Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.
Nikolaus Herman (c. 1480-1561) They that sow in tears shall reap in joy. He that goes forth and weeps, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him.
Psalm 126, vv. 5-6
Aus der Tiefe ruf ich, Herr, zu dir SWV 25
Aus der Tiefe ruf ich, Herr, zu dir. Herr, höre meine Stimme, laß deine Ohren merken auf die Stimme meines Flehens.
So du willst, Herr, Sünde zurechnen, Herr, wer wird bestehen?
Denn bei dir ist die Vergebung, daß man dich fürchte.
Ich harre des Herren; meine Seele harret, und ich hoffe auf sein Wort.
Meine Seele wartet auf den Herren von einer Morgenwache bis zur andern.
Israel, hoffe auf den Herren, denn bei dem
Out of the depths I call to you, O Lord: Lord, hear my cry. Let your ears be attentive to my cry for mercy.
If you kept a record of our sins, Lord, who could stand their ground? But forgiveness is with you, that you may be revered.
I await the Lord, my soul awaits, and I place my hope in his word. My soul awaits the Lord more than they that watch for the morning; Israel, place your hope in the Lord.
Ehre sei dem Vater und dem Sohn und auch dem heilgen Geiste; wie es war im anfang, jetzt und immerdar und von Ewigkeit zu Ewigkeit. Amen.
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. Amen.
Luke 2, vv. 29-32
Singet dem Herr ein neues Lied Singet dem Herrn ein neues Lied, denn er tut Wunder.
Er sieget mit seiner Rechten und mit seinem heilgen Arm.
Der Herr lässet sein Heil verkündigen; vorden Völkern läßt er seine Gerechtigkeit offenbaren.
Er gedenket an seine Gnade und Wahrheit dem Hause Israel.
Aller Welt Enden sehen das Heil unsers Gottes.
Jauchzet dem Herren, alle Welt, singet, rühmet und lobet!
Lobet den Herren mit Harfen, mit Harfen und Psalmen!
Mit Drommeten und Posaunen jauchzet vor dem Herrn, dem Könige!
Das Meer brause und was drinnen ist, der Erdboden und die drauf wohnen. Die Wasserströme frohlocken, und alle Berge
Sing to the Lord a new song, for he has done marvellous things; his right hand and his holy arm have worked salvation for him. The Lord has made his salvation known and revealed his righteousness to the nations.
He has remembered his love and his faithfulness to the house of Israel; all the ends of the earth have seen the salvation of our God.
Shout for joy to the Lord, all the earth, burst into jubilant song with music; make music to the Lord with the harp, with the harp and the sound of singing, with trumpets and the blast of the ram’s horn shout for joy before the Lord, the King. Let the sea resound, and everything in it, the world, and all who live in it.
Let the rivers clap their hands, let the mountains
Customer : Tintoy
Catalogue No. : DCD34043
Job Title : Heinrich Schütz
Herr, unser Herrscher, wie herrlich ist dein Nam’ in allen Landen!
Ehre sei dem Vater und dem Sohn und auch dem heilgen Geiste; wie es war im anfang, jetzt und immerdar und von Ewigkeit zu Ewigkeit. Amen.
Lord our Lord, how excellent is your name in all the earth!
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. Amen.
Cantate Domino canticum novum SWV 81
Cantate Domino canticum novum; laus eius in ecclesia sanctorum.
Lætetur Israel in eo qui fecit eum, et filiæ Syon exultent in rege suo.
Laudent nomen ejus in tympano et choro: in psalterio psalant ei.
Psalm 8 O sing unto the Lord a new song; and his praise in the company of saints. Let all of Israel rejoice in its maker, let the children of Zion be joyful in their king. Let them praise his name with dancing, make music to him with tambourine and harp.
Psalm 149, vv. 1-3
Meine Seele erhebt den Herren, und mein Geist freuet sich Gottes, meines Heilandes.
Denn er hat die Niedrigkeit seiner Magd angesehen.
Siehe, von nun an werden mich selig preisen alle Kindeskind.
Denn er hat große Ding’ an mir getan, der ta mächtig ist und des Name heilig ist.
Er übet Gewalt mit seinem Arm, und zerstreuet, die hoffärtig sind, in ihres Herzens Sinn.
Er stößet die Gewaltigen vom Stuhl und erhöhet die Niedrigen.
My soul proclaims the greatness of the Lord, my spirit rejoices in God my Saviour; he has looked with favour on his lowly servant.
From this day all generations will call me blessed; the Almighty has done great things for me and holy is his name.
He has shown strength with his arm and has scattered the proud in their conceit, Casting down the mighty from their thrones and lifting up the lowly.
Herren ist die Gnade und viel Erlösung bei ihm. Und er wird Israel erlösen aus allen seinen Sünden. Ehre sei dem Vater und dem Sohn und auch dem heilgen Geiste; wie es war im anfang, jetzt und immerdar und von Ewigkeit zu Ewigkeit. Amen.
For in the Lord is much mercy, and with him is plenteous redemption; And he shall redeem Israel from all its sins. 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. Amen.
Psalm 130
Herr, unser Herrscher SWV 27 Herr, unser Herrscher, wie herrlich ist dein Nam’ in allen Landen, da man dir danket im Himmel. Aus dem Munde der jungen Kinder und Säuglinge hast du eine Macht zugerichtet um deiner Feinde willen, daß du vertilgest den Feind und den Rachgierigen. Denn ich werde sehen die Himmel, deiner Finger Werk, den Monden und die Sterne, die du bereitest. Was ist der Mensch, daß du sein gedenkest, und des Menschen Kind, daß du dich sein annimmst?
Du wirst ihn lassen ein’ kleine Zeit von Gott verlassen sein, aber mit Ehren und Schmuck wirst du ihn krönen. Du wirst ihn zum Herren machen über deiner Hände Werk.
Alles hast du unter seine Füße getan, Schaf und Ochsen allzumal, darzu auch die wilden Tier, die Vögel unter dem Himmel und die Fisch im Meer, und was im Meer gehet.
Lord our Lord, how excellent is your name in all the earth!
Whoever sings your praises above the heavens, through the mouths of children and babies, you make him a fortress, against your enemies, that you might subdue the enemy and the rebel. When I consider the heavens, the work of your fingers, the moon and the stars you set firm, what is man, that you are mindful of him, or the son of man, that you care for him?
For you have made him a little less than a god, have crowned him with glory and honour. You have made him lord of the works of your hands, put all things under his feet, all sheep and oxen, and even the wild beasts, the birds in the sky, the fish in the sea, when he makes his way across the sea.
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Customer : Tintoy
Catalogue No. : DCD34043
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