Historia der Geburt Jesu Christi, SWV 435 (Schütz, Heinrich)

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Full Scores

 Complete score
#129414 - 0.66MB, 8 pp. -  2.0/10 2 4 6 8 10 (1) - V/V/V - 2131x

PDF scanned by University Music Editions
homerdundas (2011/9/25)

Editor:

Philipp Spitta (1841–1894)

Publisher Info.:

Heinrich Schütz: Sämtliche Werke, Band 1
Leipzig: Breitkopf und Härtel, n.d. Plate H.S. I.

Copyright:

Public Domain [tag/del]

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 Title pages
#178215 - 0.06MB, 2 pp. -  7.3/10 2 4 6 8 10 (6) - V/V/V - 200x

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homerdundas (2012/2/12)

 Complete score
#178216 - 3.98MB, 44 pp. -  0.0/10 2 4 6 8 10 (0) - V/V/V - 1111x

PDF scanned by University Music Editions
homerdundas (2012/2/12)

Editor:

Arnold Schering (1877-1941)

Publisher Info.:

Heinrich Schütz: Sämtliche Werke, Band 17
Leipzig: Breitkopf und Härtel, n.d.. Plate H.S. XVII.

Copyright:

Public Domain [tag/del]

Misc. Notes:

Longer version than #129414 above.

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 Complete score
#47013 - 6.73MB, 64 pp. -  5.0/10 2 4 6 8 10 (2) - C*/V*/V* - 3707x

PDF scanned by ctesibius
ctesibius (2009/11/25)

Editor:

Friedrich Schoeneich

Publisher Info.:

Neue Schütz-Ausgabe, Vol.1
Kassel: Bärenreiter, 1955. Plate 1709.

Copyright:

Public Domain [tag/del]

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Vocal Scores

 Complete score
#47017 - 5.47MB, 53 pp. -  4.0/10 2 4 6 8 10 (1) - V/V/V* - 1799x

PDF scanned by ctesibius
ctesibius (2009/11/25)

Arranger:

Otto Taubmann (1859-1929), piano reduction

Editor:

Arnold Schering (1877-1941)

Publisher Info.:

Leipzig: Breitkopf und Härtel, n.d.[1937]. Edition 3131

Copyright:

Public Domain [tag/del]

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Arrangements and Transcriptions

For Voices, Mixed Chorus and Ensemble (Lambert)

 Complete score
#204523 - 1.08MB, 55 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 193x

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Whatnot (2012/4/15)

 Complete Parts
#204560 - 0.88MB, 69 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 144x

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Whatnot (2012/4/15)

 Vocal score
#204529 - 0.59MB, 40 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 109x

PDF typeset by Unknown
Whatnot (2012/4/15)

Arranger:

Edward Lambert

Publisher Info.:

Newbury: Edward Lambert

Copyright:

Creative Commons Attribution Non-commercial No Derivatives 3.0 [tag/del]

Misc. Notes:

This version adapts the music of Schütz to the text of the King James Bible (apart from the Introduction and the Conclusion whose texts are free translations). The recitatives have thus been considerably re-written while attempting to adhere to the inflections of Schütz' melodies. The concerted movements have been rescored for a modern ensemble and the music transposed on occasion to suit a mixed-voice choir, otherwise with the minimum of alteration. Nevertheless, the aim was not to mimic the original but to create a new, complementary version of a masterpiece that would be accessible to English speaking performers and audiences.

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General Information

Work Title Historia der Geburt Jesu Christi
Alternative Title Weihnachtshistorie
Composer Schütz, Heinrich
Opus/Catalogue Number SWV 435
Year/Date of Composition 1664
First Publication 1664
Language German
Piece Style Baroque
Instrumentation solo soprano, tenor, bass, SATB chorus, orchestra (see below)


Misc. Comments

Instrumentation of the individual movements:

  • Exordium: ch sop alt ten bass bsn 2trb 2vn 2va vlne org
  • Recitatives (between each subsequent movement): ten bc
  • Intermedium 1: sop 2vdg bc
  • Intermedium 2: 2ch 2sop alt 2ten bass bsn 2vn 2va vlne org
  • Intermedium 3: ch 3alt 2fl bsn bc ; ch 2alt ten 2fl bsn bc (3rd alto may be sung by tenors)
  • Intermedium 4: ch 3ten bsn 2vl bc
  • Intermedium 5: ch 4bass 2trb bc
  • Intermedium 6: bass 2tpt bc (and we don't have a tag for cornettos, which are not cornets!)
  • Intermedium 7, 8: sop 2vdg bc
  • Beschluß: ch sop alt ten bass bsn 2trb 2vn 2va vlne org

Schütz specially asks for recorders (flutes), cornettos (or clarini, i.e. trumpets), violettas (alto violins of the gamba family), and if you didn’t happen to have those, then you’d make do with the more common violins and violas which are used in the opening and closing choruses. This gives rise to there apparently being several different versions, when it is simply the relative elaboration of the music depending on what obbligato instruments you have to hand. (Notes from Philip Legge)

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