It had been the historic practice of the Lutheran church to hold services every day during Holy Week, and thus through the week to present the Passion account from the perspective of each of the Evangelists. Since it was also the practice to chant these Gospel lessons, these Passion accounts needed to be set to music. Both Heinrich Schütz and Johann Sebastian Bach composed liturgical music for each of the Passion accounts, some of which we shared last week. On Monday of Holy Week, in Part 1 of our "Music for Holy Week" series, we provided a brief biography of these composers, including some details indicating their importance to Lutheran liturgical music and its resulting impact, and we invite the reader to visit that post for further information in this regard. Also on Monday, we presented excerpts from performances of compositions by Bach and Schütz which set the Passion account of St. Matthew to music, for sake of recitation by the congregation's appointed liturgists. On Tuesday of Holy Week, we shared excerpts from Bach's composition of St. Mark's Passion account. On Wednesday of Holy Week, we posted a complete recording of Schütz's Johannes Passion. On Maundy Thursday, we again posted excerpts from both Bach and Schütz – their compositions of the Passion account according to St. Luke. Finally, on Good Friday, we featured excerpts from Bach's Johannes Passion, along with the entirety of Heinrich Schütz's Die Sieben Worte Jesu Christi am Kreuz.
The Divine Service falling on the Festival of Christ's Resurrection would also have a Gospel lesson, which would also be chanted and which would therefore also require a musical setting. This morning we offer to you, dear reader, an excerpt of one such setting composed by Heinrich Schütz: Auferstehungshistorie – the Biblical account of the Resurrection of Jesus Christ.
Excerpt from Schütz’s Auferstehungshistorie
I personally enjoy this Martin Flämig recording of Schütz’s Auferstehungshistorie.
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