Latin Motets of Schütz & Sweelinck
  • madorganist
    Posts: 906
    Both of these composers wrote a considerable number of Latin motets, many (most?) of which are available on CPDL. Does anyone here have recommendations for an SATB choir of average ability, of appropriate length for supplementary offertory or communion music at an EF Mass? There's lots to explore and I was wondering if any of you already have experience with this repertory.
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  • matthewjmatthewj
    Posts: 2,700
    All of the Sweelinck motets I've done in the past have been for at least 5 voices if memory serves.
  • JonLaird
    Posts: 245
    Yes, Matthew is right, the Cantiones Sacrae are all for five voices, though some of the longer ones have sections of three (and possibly four?) voices, perhaps for soloists or a smaller group. These are fairly difficult pieces for an average choir. For those who don't know, they are a fascinating collection historically, being an obviously Catholic repertoire written at the end of Sweelinck's life, when he had for years been faithfully serving the Calvinists.

    Some of the French motets are for four voices; obviously they wouldn't be an option for EF.

    Between the two, Schutz would be a better option, though I am a Sweelinck partisan myself. I hardly know Schutz at all, but I'm fascinated that he has set text from St. Augustine. Glancing through some of these Schutz scores, they seem quite poignant and you've piqued my interest. I'm not sure what you consider to be "average ability," but your best bet is probably just to sift through them.
    Thanked by 1madorganist
  • BruceL
    Posts: 1,072
    Also check out Gallus/Handl's smaller-scale things, as they are similar in style.
    Thanked by 2madorganist rich_enough
  • Chaswjd
    Posts: 268
    My choir has been working on the Sweeklinck Venite for the last couple of months. It's SSATB. Not an easy piece, but I think it will be a lot of fun when it is finally done.
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  • CGM
    Posts: 697
    The Schütz Cantate Domino is a really fun piece. Take a look here. It's long, but it's dancy and light and quick. You could stop after m. 56 (the end of the second system of p. 3 of the linked edition), and use that cadence as a spot to perhaps "sectionalize" the piece into a prima pars (mm. 1-56) and a secunda pars (mm. 57-end). That first section may be enough for your needs.

    While the piece was intended for continuo accompaniment, I've found that it also works well a cappella.
    Thanked by 1madorganist
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