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Cantiones sacrae 1625: Lateinische Motetten fur vier Stimmen und Basso continuo.

Publication: Notes
Publication Date: 01-MAR-07 		Format: Online
Delivery: Immediate Online Access
Full Article Title: Cantiones sacrae 1625: Lateinische Motetten fur vier Stimmen und Basso continuo.(Video recording review)

Article Excerpt
Heinrich Schutz. Cantiones sacrae 1625: Lateinische Motetten fur vier Stimmen und Basso continuo. Neuausgabe von Heide Volckmar-Waschk. Kassel: Barenreiter, 2004. (Neue Ausgabe samtlicher Werke, 8/9.) [Pref., Ger., Eng., p. vii-xii; facsims., p. xiii-xvii; score, 204 p.; Krit. Bericht, p. 205-18; Ger. trans. of the motet texts, p. 219-21. Cloth. ISMN M-006-49773-7; Barenreiter-Ausgabe 5961. [euro]130.]

Heinrich Schutz. Symphoniae sacrae III (1650): Die Konzerte zu sieben Stimmen (Nr. 15-21). Herausgegeben von Werner Breig. Kassel: Barenreiter, 2002. (Neue Ausgabe samtlicher Werke, 21.) [Pref., Ger., Eng., p. vii-xvii; facsims., p. xix-xxii; score, 197 p.; Krit. Bericht, p. 199-209; overview of the facsimile reproductions in vols. 18-21, p. 210. Cloth. ISMN M-006-44886-9; Barenreiter-Ausgabe 4474. [euro]131.]

Although the music of Heinrich Schutz (1585-1672) has been relatively well served in modern editions--at least in comparison to his more obscure seventeenth-century German contemporaries--a complete edition serving the needs of both scholars and performers has been slow in coming. In 1885, Philipp Spitta brought out the first volume of Schutz's Samtliche Werke (Leipzig: Breitkopf & Hartel), a project that would only see completion in the hands of Arnold Schering and Heinrich Spitta in 1927 (the entire set was reprinted by Breitkopf & Hartel in 1968). Spitta remained relatively faithful to the appearance of Schutz's notation, although his retention of the original clefs made these volumes rather unappealing to many performers. The editors of the earlier volumes of the Neue Ausgabe samtlicher Werke (Kassel: Barenreiter, 1955-) demonstrated somewhat more concern with the needs of performance, using modern clefs exclusively; however, scholars and many performers can be...

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