This is another brilliant recording from Herreweghe and forces of the strangely culled-together swansong of composer Heinrich Schutz. For many, many years the work was only known through references; no one had ever seen it, let alone heard it. In 1900 a set of parts was found (minus two) that gave some hope of discovering what the fuss was all about. In 1930 the continuo parts were found in another location, lending hope to the notion of reconstruction. Unfortunately, as in so many other things, the impending war brought about yet more dissolution and loss; the parts disappeared once again. It was not until 1975 that they resurfaced, but even that was 30 years ago, and the interest in this music was just not there. Finally, these parts have been reconstructed, the blanks filled in, and we can see just how marvelous this composer really was, writing this astonishing music at the age of 86!
And this was a preparation for the end of his life and the passage into the next. What he has done is set the verses of Psalm 119 in eleven motets for double chorus, with soloists (taken from the choruses on this recording). The varied stringed instruments, especially with the addition of trombones that add a special degree of seriousness and solemnity, make this a work of unmistakable reverence and devotion. The only problem was that at the time of its composition, the styles had changed; already the fine line between sacred and secular was beginning to diminish, and there was a move to a greater simplicity of line and melody, with these kinds of intensely religious efforts losing popularity. Even Bach, who was to follow Schutz, in his most religious works, did not approach the fantastic concentration of intensity found in these pieces (and he too complained about stylistic changes at the end of his own life that rendered his late music somewhat anachronistic).
Apparently the court didn’t care much for this music either, and it is doubtful that Schutz ever heard it performed. One may speculate that he didn’t care; this was a spiritual preparation for his own benefit more than anything else, and the existing evidence indicates that he did not push the notion of performance too far, though it is hard to believe that any composer would be content with not hearing a work, especially one as involved as this. To this set has been added two motets, one based on Psalm 100, and a German magnificat to round out what has to be one of the composer’s finest efforts, here presented for possibly the first time in 300 years.
Sound is terrific (though this was ready-made for SACD), and performances are simply beyond criticism. You can’t pass this one up if you are a Schutz or early music fan, and most others will gain great pleasure from this significant set.
— Steven Ritter
