Composer

:

Heinrich Schütz

Genre

:

Choral

Style

:

Psalm

Publication Date

:

ca. 1660

Average_duration

:

7:16

Heinrich Schütz's 'Sumite Psalmum, SWV Anh. 9 (doubtful)' is a sacred choral work that is believed to have been composed in the early 17th century. The exact date of composition is unknown, but it is thought to have been written during Schütz's time as Kapellmeister at the court of Elector Johann Georg I in Dresden. The work is scored for four-part choir and basso continuo, and is divided into three movements. The first movement is a setting of Psalm 81, verses 2-4, and features a lively and joyful melody that is typical of Schütz's sacred music. The second movement is a setting of Psalm 84, verses 2-4, and is more contemplative in nature, with a slower tempo and more complex harmonies. The final movement is a setting of Psalm 150, and is a joyful and exuberant celebration of praise and thanksgiving. One of the characteristics of Schütz's music is his use of the basso continuo, which provides a harmonic foundation for the vocal parts. In 'Sumite Psalmum', the basso continuo is played by a keyboard instrument, such as a harpsichord or organ, and a bass instrument, such as a cello or bassoon. This creates a rich and full sound that supports the choir and adds depth to the music. Another characteristic of Schütz's music is his use of word painting, which involves setting the music to reflect the meaning of the text. In 'Sumite Psalmum', this is evident in the way that the music changes to reflect the different moods and emotions of the psalms. For example, the joyful melody of the first movement reflects the exhortation to "Sing aloud to God our strength", while the more contemplative second movement reflects the longing for God's presence expressed in Psalm 84. Despite its uncertain authorship, 'Sumite Psalmum' is a beautiful and uplifting work that showcases Schütz's skill as a composer of sacred music. Its joyful melodies and rich harmonies make it a popular choice for choirs and audiences alike, and it remains an important part of the choral repertoire to this day.

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