Merci à Marianne Heuer, Otte Ottesen , Michael HvasThomsen , conductor Aarhus Baroque Choir The Jutland Sinfonietta qui sont grandiose merci à vous tous.
This score id very interesting. It actually show the very beginning of the German baroque, how it was born under the influence of the Gabrieli(s in Venice (and of Schutz's friend Monteverdi) and how the genius of Schutz cerated a new style in the framework of the Lutheran context. Usually, especially due to the 30 years war, Schutz weutes in "black and white', with vooices ans a siple continuo. ere, he has the opportunity to use a grat number of various instruments, even more vaird thanin mist Monteverdi(s score, which gives to us an unique vision if Schutz s a 'colorist'. Some commentators here underline that iy is difficult to hear these instrumlents in this record, and unfortunately they atr tight. We would have loved more enhancement of the spectific instrumental part.
One of THE major works of the early baroque period.
Heinrich Schutz
( Kostritz 1585-1672 Dresde )
WEIHNACHTSHISTORIE (1/2) SWV 435 Eternel grandiose quelle voix et qu'elle musique magnifique merci.
Merci à Marianne Heuer, Otte Ottesen , Michael HvasThomsen , conductor Aarhus Baroque Choir The Jutland Sinfonietta qui sont grandiose merci à vous tous.
This score id very interesting. It actually show the very beginning of the German baroque, how it was born under the influence of the Gabrieli(s in Venice (and of Schutz's friend Monteverdi) and how the genius of Schutz cerated a new style in the framework of the Lutheran context. Usually, especially due to the 30 years war, Schutz weutes in "black and white', with vooices ans a siple continuo. ere, he has the opportunity to use a grat number of various instruments, even more vaird thanin mist Monteverdi(s score, which gives to us an unique vision if Schutz s a 'colorist'. Some commentators here underline that iy is difficult to hear these instrumlents in this record, and unfortunately they atr tight. We would have loved more enhancement of the spectific instrumental part.
1:37, recitativo tenore
4:45, Angelo (aria?)
19, Intermedium n. 5
0:02 - Introduction
4:45 - Intermedium I
8:29 - Intermedium II
11:23 - Intermedium III
16:16 - Intermedium IV
19:32 - Intermedium V
16:16 IV - Reis Magos do oriente
What's this One?
16:20
Where's the recorders, the dulcian, the trombones, the cornetti, the clarino trumpets? Dull and colourless.
Maybe, uh... they can't afford to hire other instruments but strings. You know, this happens pretty much everywhere. Just sayin'.
@@stefanocrosazzo3262 understood, but the beauty of this work is in the colourful scoring.
... and slow. :(