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As a particularly impressive additional work by Heinrich Schütz, attention is drawn to the “Historia der fröhlichen und siegreichen Aufferstehung unseres einigen Erlösers und Seligmachers Jesu Christi” from 1623. This work, which was created significantly before the Exequien, appears considerably more ancient and always fluctuates between recitative sections of the Evangelist in the tone of Gregorian chant, defined in terms of rhythm and the duration of individual tones, but without clear bar boundaries, and through-composed parts, whether in relation to the accompaniment to more recitative parts or chorally designed sections. This may take some getting used to, but it certainly has its own appeal and allows access to the peculiar internal logic of this old form.
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The recording accessible on YouTube recommended here is: Schütz: Resurrection History - Ricercar Consort, https://www.youtube.com/watch?v=1ZW7wi4kaF4; total duration 43:10, posted in 2019, currently just under 5,000 views - so quite special. The recording was released in 1998, together with SWV 478 under the label Ricercar, as No. XII of the series Deutsche Barock Kantaten. A special feature of this YouTube presentation is again the musical score running as a score, with the mixture of the display in old notation for the recitatives in Gregorian tone and in modern notation being instructive, as is the recording of the accompaniment next to the written voices of the three gambas as figured bass (realized with organ, 4th gamba and theorbo).
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As a filmed recording, the rather fresh performance of the Hochschule für Musik Dresden Carl Maria von Weber is recommended: Schütz: Resurrection History SWV 50, Bach: Christ lag in Todesbanden, Rademann, Dresdner Kammerchor, https://www.youtube.com/watch?v=Ao8md2MTLRw, total duration: 1:03:47, posted in 2021, currently around 8,000 views. A very beautiful recording with a slightly broader line-up in the choir as well as in the orchestra and, among others, the excellent Georg Poplutz as Evangelist; of course, with the filmed recording, it is much easier to swing along. With the same conductor and Evangelist, as well as the Dresdner Kammerchor, but otherwise a different recording is included in the new complete edition at Carus, there Vol. 9, CD 12 (can also be heard on YouTube: search for “schütz resurrection history”, leads to https://www.youtube.com/results?search_query=schütz+auferstehungshistorie, then select: “Schütz: Resurrection History (Complete Recording Vol. 9)”. In the list that appears, SWV 50 then runs from No. 3, “I. Introitus. Die Auferstehung”, https://www.youtube.com/watch?v=pqVIMwkzAAI&list=OLAK5uy_larIgyj3qs09r_Cu-rBDdpQnw8aciydyQ&index=3, to No. 12, “X. Conclusio”). In particular, the YouTube live recording also includes the impressive Bach cantata BWV 4. Besides the specific appeal of the live performance, this recording also recommends the indication of the temporal jump addresses in the comment part, here only reproduced for the resurrection history: 00:05 Introitus. The resurrection of our Lord Jesus Christ 01:16 As the Sabbath was past (Easter morning) 10:09 But Maria stood before the grave (Jesus appears to Maria Magdalena) 16:27 But the women went in (The young man in the grave) 19:01 And as they went (Jesus appears to the women) 20:29 But as they went (Council of the High Priests) 22:33 And behold, two of them went (Jesus appears to the Emmaus disciples) 32:58 But it was in the evening of the same Sabbath (Jesus appears to the eleven disciples) 39:01 And again he spoke to them (The mission command) 40:44 Conclusio. Thanks be to God, Victoria!
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For ears accustomed to classical and romantic music, another recording might seem even more strange, in which the intonation of the supporting role, the Evangelist, is done in Byzantine style. In fact, this may be less far-fetched than it might seem at first glance: Schütz learned composing mainly in Venice, and Venice always had a special relationship with the oriental part of the Mediterranean; so: Schütz/Schein: La Tempête at Festival Oude Muziek Utrecht - Live concert HD, https://www.youtube.com/watch?v=gq2Yt3qH12w; total duration 1:15:24, posted in 2021, so far under 10,000 views. This is once again a live recording of a concert at the annual Festival for Old Music (Festival Oude Muziek) in Utrecht, here from 01.09.2021 in the Jacobikirche in Utrecht, with La Tempete under Simon-Pierre Bestion and with Georges Abdallah, Byzantine chant, as Evangelist. Interspersed in Schütz’s Easter music here are some sacred madrigals from Schein’s “Israelsbrünnlein”, which will be discussed in detail further down.
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On the side, a short film on YouTube is also mentioned: Composition manner of Heinrich Schütz, https://www.youtube.com/watch?v=hXnuUQ6ODmg, total duration 07:20, posted in 2015, around 7,500 views, which gives basic hints in a simple form, although it remains unclear how it was possible that a major and uncontested contribution to the music of the ultra-Protestant Central Germany could be gained from the staunchly Catholic Venice. Specifically for the recording of the Resurrection History with Rademann and the Dresdner Kammerchor, there is also a potentially very helpful explanatory film on YouTube: Musicians about Schütz Resurrection History SWV 50 / Dresdner Kammerchor, https://www.youtube.com/watch?v=4j2xE8vHJ48, total duration 13:55, posted in 2021, just under 2,000 views so far. Of course, these suggestions on the meta-level of music are less aimed at small children, but rather offer adults support in bringing the music closer to children.