Venedig und Dresden

Featuring: soprano, cornett, two sackbuts, dulcian, organ

The instresting influence that the early Venetian style and the italian Masters such as Gabrieli had on their German colleagues is shown in this program thanks to a peculiar choice of pieces that represents the innovations of the time: basso continuo and polychoral music as well as the Canzona style became concepts that pretty much transformed the musical style of the time. Among the most fine personalities that adopted the Venetian Style contributing to its spread in northern countries we find Master Heinrich Schütz, which indeed travelled to Venice to study with Giovanni Gabrieli. 

Heinrich Schütz (1585–1672)

«Domine labia mea aperies», SWV 271 aus: Symphonie Sacrae I

Johann Vierdanck (ca. 1605–1646) Sonata Nr. 27 a 4

Heinrich Schütz «O Jesu, nomen dulce», SWV 308

Giovanni Paolo Cima (1570–1630) Benedicam Dominum a 2

Magnificat Sesti Toni a 4, Canto, Alto, Tenore e Basso

Andrea Gabrieli (1520?–1586) Canzone ariosa 

Heinrich Schütz «Hodie Christus natus est», Soprano e Tenore SWV 315

Giovanni Gabrieli (1557–1612) Canzona seconda a 4

Heinrich Schütz

«Es ist erschienen die heilsame Gnade Gottes», SWV 371

Steffano Bernardi († vor 1638) Canzona a 2

Christoph Bernhard (1628-1692)

«Currite Pastores», Konzert für Sopran, 2 Violinen und Basso Continuo

Johann Hermann Schein (1586–1630)

«Von Himmel hoch» à 5 «Vom Himmel hoch da komm ich her» a 4 

Photo @Susanna Drescher