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Heinrich Schütz, along with Hermann Joseph Schein (1586-1630) and Samuel Scheidt (1587-1654), is part of the famous so-called triumvirate of early Baroque composers from Central Germany, 100 years before J. S. Bach. In my opinion, the “Musical Exequies” can be seen as a central half-hour of his work (the complete recording I have comprises 19 CDs, the new Carus recording comprises 28 CDs). As an extremely serene funeral music, this work is particularly well suited as meditation/relaxation music.
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Of the many - qualitatively significantly different - recordings available on YouTube, I suggest: Schütz: Musical Exequies I - Vox Luminis, https://www.youtube.com/watch?v=E3YpngSU7Zo, total duration 24:19, posted on YouTube in 2017, currently around 31,500 views, and only includes the 1st part (SWV 279, about 24 min.) of the three-part work (without SWV 280 and 281 with about 8 min., which are also available on YouTube). The 2010 recording, released in 2011 as a CD by Outhere/Ricercar, in addition to SWV 279, Track 7-8 (3:59, 20:21) also includes (Track 5, 3:15) a recording of Samuel Scheidt: Wir glauben all an einen Gott, probably also from Scheidt: Mit Fried und Freud ich fahr dahin (Track 6, 3:29) from 1999, 3:29, as well as from Schütz: Track 9: SWV 280 (3:28), Track 10: SWV 281 (4:57) and Track 1: SWV 432 (4:01), Track 2: SWV 464 (3:37), Track 3: SWV 433 (3:18), Track 4: SWV 277 (4:44). The special feature of this YouTube adaptation is the accompanying sheet music, which makes the story - for me - incredibly exciting: The constant change between different solo sections and the 6-voice “Capella” (the choir), with the organ positif and sometimes also viol constantly accompanying; a lively change between polyphonic and homophonic figures: All this is graphically/optically revealed - potentially increasingly with repeated listening - from the sheet music. In addition to the impressive harmonic events, the rhythmics stand out, in the transition from the ancient free form to the straight 4/2 beat with varying emphasis and syncopation (shortly before the end also a triplet beat, written down as 6/2, but - as it should be - performed faster). A particularly effective spot is the brilliant opening: Sec 39, bar 7, at: Herr Gott Vater im Himmel, then again at: Jesu Christe, Gottes Sohn, as well as at: Herr Gott heiliger Geist - which is not as successful in some other recordings.
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Additionally, there’s a cinematic recording of a performance of the Musical Exequien on YouTube by the same ensemble, Vox Luminis, led by the bassist Lionel Meunier: Vox Luminis - Musikalische Exequien, with a total duration of 2:13:27. The performance was live broadcasted in 2018 from the famous Wigmore Hall in London and currently has approximately 26,500 views.
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In addition to a complete and somewhat somber rendition of Schütz’s Exequien, the fully broadcasted concert includes two additional shorter pieces by Schütz (SWV 391 and SWV 352), a motet each by Thomas Selle (1599-1663) and Samuel Scheidt, and compositions by four older relatives of J.S. Bach, specifically Johannes (1604-1673), Johann Michael (1648-1694), Johann Christoph (1642-1703), and Johann Ludwig (1677-1731) Bach.
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Surprisingly, the sound quality of this recording appears better to me than the one transferred from the CD, despite the increased suspense of the live recording and the facilitated participation of the audience by visually observing the performers. The overall performance is absolutely splendid, although it’s mildly irritating that the organ positive seemingly lacks the deepest bass tone - a minor issue that doesn’t significantly affect the overall quality of the recording.
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My personal favorite, however, is the recording by the Kölner Akademie: Heinrich Schütz - Musikalisches Exequien, with a total duration of 21:55, uploaded in 2021, and currently around 10,500 views.
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The performance involves only 6 singers, organ positive, and viola da gamba, resulting in a maximum, yet discreet sound fullness and transparency when combined with the appropriate room and recording technology. The individual voices are not overly dry, but rather humanly warm, individually characterful, and well harmonizing. The unusual voice assignment (a bass voice for “Unser Leben währet…” assigned to the alto) does not negatively stand out, although I find the division, including between the two bass timbres, more impressive in Vox Luminis. The limitation to SWV 279 also makes the time frame manageable.
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Please note that the cast list provided in the intro is partially incorrect. For instance, I can identify the tenor Poplutz, but there are clearly no violins involved, which would only be disruptive in this piece of music.
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Lastly, I want to mention the CD version I primarily use, performed by the Schütz Academy under Howard Arman, with additional works by Schütz (SWV 378 and 388), Michael Praetorius (1571-1621), Schein, and Johannes Christoph Demantius (1567-1643). This was recorded in 1992 and has been released multiple times, with my edition from edel/Berlin Classics in 1994 - it’s also very beautiful and features a somewhat broader basso continuo equipment.
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The first part of the Exequien (SWV 279) can be found on YouTube: Musikalische Exequien, Op. 7: Nacket bin ich von Mutterleibe kommen SWV 279, with a duration of 22:59 minutes, uploaded on 08.08.2015, and currently (as of 06.02.2024) has 546 views. In my opinion, it’s still suitable as a reference; we’ve noted the inappropriately low view count of top musical recordings in other instances as well.
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The complete track list of the CD, with 10 titles, can also be accessed: Schütz/Praetorius/Schein/Demantius: 17th Century Funeral Music, with a total duration of 01:00:35 hours, according to the current information (06.02.2024), it was updated 2 days ago and has 240 views.