Utwory na płycie:

• I Prima pars O bone, o dulcis, o benigne Jesu
• II Secunda pars Et ne despicias humiliter te petentem
• III Deus misereatur nostri
• IV Prima pars Quid commisisti, o dulcissime puer
• V Secunda pars Ego sum tui plaga doloris
• VI Tertia pars Ego enim inique egi
• VII Quarta pars Quo, nate Dei, quo tua descendit humilitas
• VIII Quinta et ultima pars Calicem salutaris accipiam
• IX Prima pars Verba mea auribus percipe Domine
• X Secunda pars Quoniam ad te clamabo Domine
• XI Prima pars Ego dormio et cor meum vigilat
• XII Secunda pars Vulnerasti cor meum, filia charissima
• XIII Heu mihi, Domine, quia peccavi nimis in vita mea
• XIV In te Domine speravi
• XV Dulcissime et benignissime Christe
• XVI Sicut Moses serpentem in deserto exaltavit
• XVII Spes mea, Christe Deus
• XVIII Turbabor, sed non perturbabor
• XIX Prima pars Ad Dominum cum tribularer clamavi
• XX Secunda pars Quid detur tibi aut quid apponatur tibi ad linguam dolosam
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 21. Aspice, Pater, piissimum Filium, SWV 73
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 22. Nonne hic est, mi Domine, SWV 74
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 23. Reduc, Domine Deus meus, SWV 75
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 24. Supereminet omnem scientiam, SWV 76
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 25. Pro hoc magno mysterio pietatis, SWV 77
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 26. Domine, non est exaltatum cor meum, SWV 78
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 27. Si non humiliter sentiebam, SWV 79
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 28. Speret Israel in Domino, SWV 80
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 29. Cantate Domino canticum novum, SWV 81
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 30. Inter brachia Salvatoris mei, SWV 82
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 31. Veni, rogo, in cor meum, SWV 83
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 32. Ecce advocatus meus apud te, Deum Patrem, SWV 84
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 33. Domine, ne in furore tuo arguas me, SWV 85
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 34. Quoniam non est in morte, SWV 86
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 35. Discedite a me, omnes, SWV 87
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 36. Oculi omnium in te sperant, Domine, SWV 88
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 37. Pater noster, qui es in coelis, SWV 89
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 38. Domine Deus, Pater coelestis, SWV 90
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 39. Confitemini Domino, quoniam ipse bonus, SWV 91
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): Pater noster: Repetatur ut sopra, SWV 92 (= SWV 89)
• Cantiones Sacrae, motets (41) for 4 voices & continuo, SWV 53-93 (Op. 4): 40. Gratias agimus tibi, SWV 93

In the complete works of Heinrich Schütz, performed by the Dresdner Kammerchor under the direction of Hans-Christoph Rademann and produced by Carus, the fifth installment presents the Cantiones Sacrae (SWV 53–93). In 1625 Schütz published this collection as his opus 4. In the 40 Latin motets he used texts from the prayer book of Andreas Musculus, which is based on psalms and verses from the Song of Songs, as well as texts from the Gospels, devotional texts and various prayers. The fact that today these expressive prayers have not gained the popularity of Schütz’s other great collections is due, not least, to the high demands which the composer places upon his performers. With the guiding principle “historically informed – interpreted today,” Rademann and the Dresdner Kammerchor present precisely the lesser-known works of Schütz on the highest artistic level as an open invitation for new discovery

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Recorded at the Stadtkirche „Zum Heiligen Namen Gottes“ Radeberg, 13– 17 February 2012