Heinrich Schutz was commissioned to write music for a funeral. The result is a work that is a testament to the piety of the 17th century and its relevance to salvation as it came to be recognized. Please email aafernan@usc.edu for information on each slide. Thank you.

1. MUSIKALISCHE
EXEQUIEN
Significance in context of Lutheran Funeral
By Adan Alejandro Fernandez

2. CONTEXT
What was Germany like in the mid 17th-century?

3. Speech and Rhetoric
■ In reference to Quintilian’s Institutio
oratoria, Gregory Johnston writes
that it was “unquestionably the most
influential classical rhetoric manual
in Germany-indeed, in all of Europe-
throughout the Renaissance and
Baroque.”
■ Heinrich Alsted was a rhetorician,
composer, and Calvinism who wrote
Triumphus Bibliorum Sacrorum in
1625 of the importance of
prosopopoeia
■ Johann Matthaus Meyfart defines
prosopopoeia in his Teutsche
Rhetorica oder Redekunst of 1634:
“…a Representation-Figure, whereby
the orator assumes the charge of
another person and speaks as that
person…”
■ Ferdinand van Ingen wrote Vanitas
und Memento Mori in der deutschen
Barocklyrick of the visual culture, or
Augenkultur, of Baroque Germany

4. Death and Dying
■ Ars moriendi ("The Art of Dying") is the
name of two related Latin texts dating
from about 1415 and 1450 C.E. which offer
advice on the protocols and procedures of a
good death and on how to "die well,"
according to Christian precepts of the late
Middle Ages. It was written within the
historical context of the effects of the
macabre horrors of the Black Death that
occurred sixty years earlier and the
subsequent social upheavals of the
fifteenth century. It was very popular,
translated into mostWest European
languages, and was the first in a western
literary tradition of guides to death and
dying.2
■ Lutheran Funeral Practices:
– “…theological goal of funeral liturgy was to
offer the mourners , first, a consolatory
lesson on death and the ressurrection and,
secondly, an admonitory lesson exhorting
the congregation to ensure their own
salvation by leadingChristian lives and by
preparing their own deaths…”
– Prosopopoeia aided in the funeral services
throughAristotle’s means of persuasion:
■ Logos (logic), ethos (character), and pathos
(emotion)
2http://www.newworldencyclopedia.org/entry/Ars_moriendi, accessed November 11, 2017
3

5. MUSIKALISCHE
EXEQUIEN
A Look into Schutz’s Music

6. Who was it
for?
■ Schutz worked outside of Dresden
– He went to Gera to advise Prince Heinrich
Posthumus of Reuss on the reorganization
of music in the town and its schools and at
the prince’s court
■ The music was commissioned by Prince
Heinrich’s widow and sons
■ The work had been planned in detail before
his death
■ His will specified:
– Which texts to be used
– The character of music to be used in setting
them
– Decorations on his coffin
– Positioning of the attendants and
participants in the service
Prince Heinrich Posthumus von Reuss (1572-1635)

8. WHERE DIDTHETEXT
COME FROM?
The Lutheran Catechesis

9. Part 1: Concert in the Form of a German
Burial Mass
1. Soli: Nacket werde ich wiederum
dahinfahren, der Herr hats gegeben, der
Herr hats grenommen, der Name des
Herren sei gelobet.
2. Chorus: Herr GottVater im Himmel erbarm
dich, erbarm dich uber uns.
3. Soloists: Christus ist mein Leben, Christus
ist mein Leben, Sterben ist mein Gewinn.
Siehe, das ist Gottes Lamm, siehe, das ist
Gottes Lamm, das derWelt Sunde tragt.
4. Chorus: Jesu Christe, Gottes Sohn, erbarm
dich, erbarm dich uber uns.
5. Soli: Leben wir, so leben wir dem Herren,
sterben wir, so sterben wir dem Herren,
darum wir leben oder sterben, so sind wir
des Herren
6. Chorus: Herr Gott heiliger Geist, erbarm
dich, erbarm dich uber uns, erbarm dich,
erbarm dich, erbarm dich, uber uns.
1. Naked came I out of my mother’s
womb, naked shall I return.The Lord
gave and the Lord has taken away,
blessed be the name of the Lord.
2. Lord God, Father in heaven, have
mercy upon us!
3. Christ is my life and to die is gain.
Look, this is the Lamb of God, which
carries the sin of the world.
4. Jesus Christ, Son of God, have mercy
upon us!
5. When we live, we live for the Lord;
when we die, we die for the Lord:
therefore, whether we live or die, we
are the Lord’s.
6. Lord God, Holy Spirit, have mercy
upon us!

10. Concert in the Form of a German Burial
Mass (cont.)
Intonatio:Also hat Gott dieWelt geliebt,
dass er seinen eingebornen Sohn gab,
1. Auf dass alle, die an ihn glauben,
bicht verloren werden, sondern das
ewige Lben haben.
2. Choir: Er sprach zu seinem lieben
Sohn: die Zeit ist zu erbarmen; fahr
hin, mein’s Herzens werte Kron, und
sei das Heil der Armen, und hilf ihn’
aus der Sunden Not, erwurg fur sie
den bitternTod und lass sie mit dir
leben.
3. Das Blut Jesu Christi, des Sohnes
Gottes, machet uns rein von allen
Sunden
Intonation:God loved the world so
much, that he gave his begotten son,
1. so that all who believed in him
would not be lost but have
everlasting life
2. Choir: He spoke to his beloved Son:
now is the time for mercy, go, my
heart’s worthy crown, and be the
salvation of the poor and help them
from the distress of sin; take upon
yourself the bitterness of death and
let them live with you.
3. The blood of Jesus Christ, God’s
Son, cleanses us from all sin.

11. Concert in the Form of a German Burial
Mass (cont.)
4. Chorus: Durch ihn ist uns vergeben
die Sund, geschenkt das Leben. Im
Himmel soll’n wir haben, o Gott, wie
grosse Gaben!
5. Solo: Unser Wandel is im Himmel,
von dannen wir auch warten des
Heilandes Jesu Christi, des Herren,
welcher unsern nichtigen Leib
verklaren wird, dass er ahnlich
werne seinen verklarten Leibe.
6. Chorus: Es ist allhier ein Jammertal,
Angst, Not und Trubsal uberall, des
Bleibens ist ein kleine Zeit, voller
Muhseligkeit, und wer’s bedenkt, ist
immer im Streit
4. Through Him our sin is forgiven, our
life restored. In heaven we shall
have, O God, what wondrous
benefactions.
5. Our life is for heaven:from there
also we look for the Saviour, Lord
Jesus Christ: he will transfigure our
futile body to become similar to His
glorious body.
6. Here all around is a vale of tears,
need, and sorrow everywhere, our
stay here is but for a brief time full
of hardship, and if you think about
it, you are always in disharmony.

12. Concert in the Form of a German Burial
Mass (cont.)
7. Wenn eure Sunde gleich blutrot
ware, soll sie doch schneeweiss
werden; wenn sie gleich ist wie
rosinfarb, soll sie doch wie Wolle
werden.
8. Chorus: Sein Wort, sein Tauf, sein
Nachtmahl dient wider allen Unfall,
der heilge Geist im Glauben lehrt
uns darauf vertrauen.
9. Gehe hin, mein Wolk, in deine
Kammer und schleuss die Tur nach
dir zu! Verbirge dich einen kleinen
Augenblick, bis der Zorn
vorubergehe.
7. If your sin were as red as blood, it
shall be as white as snow, were it
red like crimson, it shall be as wool.
8. Chorus: His word, His baptism, His
Eucharist serve against all
misfortune; belief in the holy spirit
teaches us to have faith.
9. Go, my people into your
chamberand shut the door behind
you! Hide yourself for a little
moment until the wrath has passed.

13. Concert in the Form of a German Burial
Mass (cont.)
10. Der Gerechten Seelen sind in Gottes
Hand, und keine Qual ruhret sie an;
11. Fur den Unverstandigen werden sie
angesehen, als sturben sie, und ihr
Abschied wird fur eine pein
gerechnet, und ihr Hinfahren fur
Verderben, aber sie sind in Frieden.
12. Aber sie sind in Frieden.
13. Herr, wenn ich nur dich habe, so
frage ich nichts nach Himmel und
Erden. Wenn mir gleich Leib und
Seele verschmacht’, so bist du, Gott,
allzeit meines Herzens Trost und
meinTeil.
10. The souls of the righteous are in the
hand of God and no torment shall
touch them;
11. In the sight of the unwise they seem
to die, and their departure is taken
for torment, and their going away
from us to be destruction; but they
are in piece.
12. But they are in peace.
13. Lord, if I have but You, I ask neither
for heaven nor earth. And when my
body and soul are dying, You, God,
are always the comfort of my heart
and part of me.

14. Concert in the Form of a German Burial
Mass (cont.)
14. Er ist das Heil und selig Licht fur die
Heiden, zu erleuchten, die dich
kennen nicht, und zu weiden. Er ist
seines Volks Israel der Preis, Her,
Freud undWonne.
15. Unser Lben wahret siebenzig jahr, und
wenn’s hoch kommt, so sind’s achtzig
Jahr, und wenn es kostlich gewesen
ist, so ist es muh und Arbeit gewesen.
16. Ach, wie elend ist unser Zeit allheir auf
dieser Erden, gar bald der Mensch
darniederleit, wir mussen alle sterben,
allhier in diesem Jammertal ist Muh
und Arbeit uberall, auch wenn dir’s
wohl gelinget.
14. He is the salvation and blessed light
for the heathen, to enlighten those
who don’t know You and to tend
them. He is of His people Israel the
prize, honour, joy, and delight.
15. We live for about seventy years. And
at best for eighty years, and if it was
delightful, it was trouble and labour.
16. Ah, how wretched is our time here on
earth,. Soon man lies down, as we all
must die: Here, in this vale of tears, is
everywhere trouble and labour, even if
you prosper.

15. Concert in the Form of a German Burial
Mass (cont.)
17. Ich weiss, dass mein Erloser lebt,
und er wind mich hernach aus der
Erden auferwecken, und werde
darnach mit diser meiner Haut
umgeben werden und werde in
meinem Fleisch Gott sehen.
18. Weil du vom Tod erstanden bist,
werd ich im Grab nicht bleiben,
mein hochster Trost dein Auffahrt
ist, Todsfurcht kannst du vertreiben,
denn wo du bist, da komm ich hin,
dass ich stets bei dir leb und bin,
drum fahr ich hin mit Freuden.
17. I know that my Redeemer lives, and
he shall make me then stand up
from the earth: and this my skin
then shall cover my body and in my
flesh I shall see God.
18. Since You arose from death, I shall
not remain in the grave, Your
Ascension is y greatest comfort, you
can drive away the fear of death, for
where You are, I will go too, so that I
may live and be with You forever,
therefore I die with Joy.

16. Concert in the Form of a German Burial
Mass (cont.)
19. Herr, ich lasse dich nicht, du segnest
mich denn.
20. Er sprach zu mir: Halt dich an mich,
es soll dir itzt gelingen, ich geb mich
selber ganz fur dich, da will ich fur
dich ringen. Den Tod verschlingt das
Leben mein, mein Unschuld tragt
die Sunden dein, da bist du selig
worden.
19. Lord, I won’t let You go, except if
You bless me.
20. He said to me: Hold on to me, you
will succeed; I give myself all for
You, and I struggle for you. My life
swallows up Death, my innocence
bears your sins, and you found
salvation.

17. Text Origins ■ German theologian and founder of the
Lutheran Church. He influenced all 16th-
century church reformers to a greater or
lesser extent by his writings and activities
but, unlike some of them, Luther gave an
important place to music. (Grove Dictionary
of Music)
Martin Luther (1483-1556)

18. Text Origins ■ Herman, Nicolaus, is always associated with
Joachimsthal in Bohemia, just over the
mountains from Saxony. The town was not
of importance till the mines began to be
extensively worked about 1516. Whether
Herman was a native of this place is not
known, but he was apparently there in 1518,
and was certainly in office there in 1524. For
many years he held the post of Master in the
Latin School, and Cantor or Organist and
Choirmaster in the church. Towards the end
of his life he suffered greatly from gout, and
had to resign even his post as Cantor a
number of years before his death. He died at
Joachimsthal, May 3, 1561. (John Julian,
Dictionary of Hymnology (1907)
Nikolaus Herman (1500-1561)

19. Text Origins ■ JohannesGigas attended the school in his
hometown and later in Magdeburg. Soon he
followed the elder Justus Jonas.After
studies inWittenberg and Leipzig, he
became in 1541 Rector of the Gymnasium
(Latin school) in Joachimsthal (Bohemia).
However, soon after he moved to
Marienberg and in 1543 to Fürstenschule
(prince school) in Pforta.
■ As a humanist he wrote Methodus scribendi
carmina and wrote Epigramme and other
papers.After 1545, tired of the school
service, he worked at the church service. He
went to North Schlesia and from 1546
worked for 27 years long as a minister in
Freystadt, and since 1577 (or 1573) in
Schweidnitz.There he published
Katechismuspredigten, which was used
much, and also sacred hymns.Johannes Gigas (1514-1581)
(Friedrich William Bautz, 1990, from the
Biographisch-Bibliographisches Kirchenlexikon)

20. Text Origins ■ Helmbold, Ludwig, son of Stephan Helmbold,
woollen manufacturer at Muhlhausen, in
Thuringia, was born at Mühlhausen, Jan. 13,
1532, and educated at Leipzig and Erfurt (B.A.
in 1550). After two years' headmastership of
the St. Mary's School at Mühlhausen, he
returned to Erfurt, and remained in the
University (M.A. 1554) as lecturer till his
appointment in 1561 as conrector of the St.
Augustine Gymnasium at Erfurt. When the
University was reconstituted in 1565, after the
dreadful pestilence in 1563-64, he was
appointed dean of the Philosophical Faculty,
and in 1566 had the honour of being crowned
as a poet by the Emperor Maximilian II., but on
account of his determined Protestantism he
had to resign in 1570. Returning to
Mühlhausen, he was appointed, in 1571,
diaconus of the St. Mary's Church, and 1586,
pastor of St. Blasius's Church and
Superintendent of Mühlh(ausen. He died at
Mühlhausen, April 8, 1598. (John Julian,
Dictionary of Hymnology (1907))Ludwig Helmbold (1532-1598)

21. Text Origins ■ Leon, Johannes, was a native of Ohrdruf,
near Gotha. He was for some time an army
chaplain, then in 1557 pastor at Königsee
(Schwarzburg-Rudolstadt), in 1560 at Gross-
Muhlhausen, and in 1575 atWolfis, near
Ohrdruf. He died atWölfis about Easter,
1597.The only hymn ascribed to him which
has passed into English is:—
– Ich hab mein Sach Gott heimgestellt. (My
all I to my God commend)
(John Julian, Dictionary of Hymnology (1907))
Leon, Johannes (d. 1597)

22. Text Origins ■ The central idea of the book is "Wisdom",
which appears in the work under two
principal aspects.
■ In its relation to man,Wisdom is here, as in
the other Sapiential Books, the perfection of
knowledge showing itself in action
(http://www.catholic.org/encyclopedia/view.ph
p?id=12418)
The Book ofWisdom
Image depicts 1 Kings 3:16-28

23. This content downloaded from 132.174.255.86 on Mon, 06 Nov 2017 17:30
All use subject to http://about.jstor.org/terms

26. RHETORICAL DEVICE
How was the music received?

27. TheWhole Picture
■ There was a cohesion between the
sermon, the music, and the
inscriptions on the coffin
■ From the lebenslauf, we could
determine that the prince was a
baritone
– the prince loved music and to sing
■ It was a common thing to have boys
sing the two high soprano parts
– High parts represent seraphims
■ Example:
Text: UnserWandel ist im Himmel…
(Our life is for heaven: from there also
we look for the Savior…)
The bass sings while also accompanied
by a single soprano. Use of
prosopopoeia for the sake of the viewing
congregation.
Gregory S. Johnston, “Rhetorical Personification of the Dead in 17th-Century German
Funeral Music: Heinrich Schutz’s Musikalische Exequien (1636) andThreeWorks by
MichaelWiedemann (1693)”, TheJournal of Musicology, Vol. 9, No. 2 (1991), 186-213.

29. COMPOSITIONAL
STYLE

30. Similarities and Influences
■ GiovanniGabrielli
– strict counterpoint
– Polychoral style
– Unsual combinations
■ Frescobaldi
– Both Schutz’s Musikalische Exequien
and Frescobaldi’s Fiori Musicali were
published about the same time
(1635)
– Both sought to bring out the
charatcer of the text
■ Ex: Frescobaldi uses the toccata to bring
out the transubstantiation of the
elevation

32. Gregory S. Johnston, “Rhetorical Personification of the Dead in 17th-Century German
Funeral Music: Heinrich Schutz’s Musikalische Exequien (1636) andThreeWorks by
Michael Wiedemann (1693)”, The Journal of Musicology, Vol. 9, No. 2 (1991), 186-213.
F. Schoneich, “Zum Aufbau des Gloria-Teils in Schutzens Musikalische Exequien’, Musik und
Kirche, xx (1950), pp. 182-90.
“A Dictionary of Hymnology: Setting Forth the Origin and History of Christian Hymns of All Ages
And Nations”, edited by John Julian, (NewYork, Charles Scribner’s Son, 1892).
“Ars Moriendi,” http://www.newworldencyclopedia.org/entry/Ars_moriendi, accessed November 11, 2017
Joshua Rifkin, et al. "Schütz, Heinrich." Grove Music Online. Oxford Music Online. Oxford
University Press, accessed November 16, 2017,
http://www.oxfordmusiconline.com.ccl.idm.oclc.org/subscriber/article/grove/music/45997pg2.
Robin A. Leaver. "Luther, Martin." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed November 16, 2017,
http://www.oxfordmusiconline.com.ccl.idm.oclc.org/subscriber/article/grove/music/17219.
“The Book ofWisdom,” http://www.catholic.org/encyclopedia/view.php?id=12418,Accessed
FriedrichWilliam Bautz, Biographisch-Bibliographisches Kirchenlexikon
(Germany,Traugott Bautz: 1990).
Bibliography

33. END