Motet: While it is the shortest of all of the 1619 Psalmen Davids, "Zion Spricht" shows the young Schütz at his most inventive. The massive grandeur of the work is achieved by elaborate echo effects that permeate the dense texture of the work. How interesting to contrast this mighty work with the equally impressive very delicate setting written at the same time by Schütz great colleague Johann Hermann Schein. Each knew, no doubt, the other's setting of these words and, considering the high regard they had for each other, appreciated their qualities.

Cantata: We depart from Bach today to celebrate Mozart's birthday with a performance of his grand Vespere de Confessore, K. 339. Much of Mozart's Salzburg religious music is, for this exalted composer, rather ho-hum. Much of it has to do with his awful relations with the presiding Bishop Coloredo. How then surprising amidst such workman-like works to find such an inspired masterpiece as the Vespers. As is traditional, the work consists of several Psalm settings ending with a Magnificat. The work is characteristic in its mix of gallant, archaic, and, in the gorgeous Laudate Dominum, operatic styles. Almost as impressive as the dazzling energy of the opening Psalms is the complete mastery of the archaic motet style in the Laudate Pueri. The Magnificat makes an appropriately grand conclusion to this, Mozart's greatest religious work before the two great unfinished works of his Viennese maturity: the Mass in C Minor and the Requiem.

©Craig Smith

Translation