Andreas Hammerschmidt
was one of the main composers of religious
music in Germany in the mid-17th century.
Today he is overshadowed by the towering
figure of Heinrich Schütz, whom
he greatly admired and who once wrote
a laudatory poem for one of Hammerschmidt’s
publications of music.
The date of his birth
isn’t known for sure. He was born in
Brüx in Bohemia, where his family
belonged to the Protestant community.
During the Thirty Years War Bohemia
became Catholic again, and Hammerschmidt’s
father decided to move to Freiberg in
Saxony.
Very little is known
about his musical education. Some quite
important musicians and composers were
active in Freiberg in the time Hammerschmidt
lived there, like Christoph Demantius
and Stephan Otto, but there is no firm
evidence that he was their pupil, even
though he certainly knew them.
In 1635 Hammerschmidt
was appointed organist at the Petrikirche.
The year after he published his first
collection of music, ‘Erster Fleiss’,
containing a number of instrumental
suites.
In 1639 he moved to
Zittau, where he became the organist
of the Johanniskirche. It was his last
position, and there he composed the
largest part of his oeuvre. The position
of organist was increasingly important,
as he was responsible for composing
and performing all church music and
directing the soloists from the school
choir and the instrumental ensemble
of town musicians. In the early years
in Zittau, though, Hammerschmidt – like
so many of his colleagues in Germany
– had to deal with the disastrous effects
of the Thirty Years War.
His activities as composer
and performer not only made him a man
of reputation, but also brought him
considerable wealth. In the early 1670s
he suffered from ill health. He died
1675; his tombstone calls him the ‘Orpheus
of Zittau’.
Although Hammerschmidt
was first and foremost active as an
organist, no organ music by him has
survived. But he composed a large number
of vocal works, most of them in the
Italian ‘concertato’ style.
This recording contains
pieces from two collections. The ‘Motettae
unius et duorum vocum’ of 1649 contain
20 sacred concertos for one or two voices
with basso continuo, 18 of them on a
Latin text. The ‘Kirchen- und Tafelmusik’
of 1662 is a collection of 12 sacred
concertos for 2 to 5 voices, 2 to 6
obbligato instruments and basso continuo,
as well as 10 concertos for solo voice
with instruments.
Most pieces of both
collections are on biblical texts, the
majority of them from the Old Testament,
with a preference for the Book of Psalms.
Not always the whole Psalm is composed;
Hammerschmidt sometimes chooses a number
of verses. The concertos of 1662 also
contain a number of pieces on chorale
melodies which were well known in the
Protestant churches in Germany, like
‘Vom Himmel hoch’ and ‘Nun lob mein
Seel den Herren’.
Hammerschmidt’s works
recorded here are a demonstration of
his inventiveness in setting texts to
music. Alternation between duple and
triple meters is frequently used to
divide a piece into sections. Some elements
of the text are emphasized by repeating
them. Hammerschmidt also uses textual
elements as a kind of ‘motto’. For instance,
in two of the five stanzas of Luther’s
Easter hymn ‘Christ lag in Todesbanden’
which are sung here this practice is
applied. In the second the words ‘das
macht alles unser Sünd’ (our sin
was the entire cause) is constantly
repeated, in the fourth the motto is
‘ein wunderlicher Krieg’ (a wonderful
war). And in the last piece on this
CD, the Christmas hymn ‘Vom Himmel hoch’
the words ‘gute neue Mär’ (glad
tidings) from the first stanza are repeated
throughout the whole piece.
As one would expect
in German religious music the text is
vividly illustrated in the music. In
‘Anima mea liquefacta est’ a long melisma
is used to express languishing love
("amore langueo"), the rhetorical
figure of ‘exclamatio’ appears a couple
of times in ‘De profundis clamavi’.
And in ‘Inter brachio Salvatoris mei’
the word "exaltabo" (I will
praise) is repeated two times, every
time on a higher tone level.
In Psalm 126 (Wenn
der Herr die Gefangenen Zion erlösen
wird) and the concerto ‘Ein jegliches
hat seine Zeit’ on a text from Ecclesiastes
the contrasts in the text are imaginatively
elaborated.
I am happy to be able
to recommend this recording wholeheartedly.
First of all, Hammerschmidt’s music
isn’t well represented on CD. And considering
the quality of his music and his historical
importance this recording is most welcome.
The performance is
generally outstanding, by first class
singers and players. The two sopranos
have quite contrasting voices, but blend
well in the ensemble pieces. And all
singers master the German language which
is a prerequisite for a convincing performance
of this kind of music.
I was wondering about
the scoring of ‘Gelobet seist du, Jesu
Christ’. According to the booklet it
is for alto, 2 trumpets, 4 trombones
and b.c. But the solo part is sung by
alto and tenor unisono. Perhaps the
thought behind it is that the alto’s
voice wasn’t strong enough to keep the
balance with the wind instruments, in
particular since the solo part is quite
low and the low register is not the
strength of those male altos, who don’t
use their chest register.
In this piece bells
are used on the Kyrie eleis with which
every stanza ends. I could do without
that, but I don't have any problems
with it. The addition of chirping on
the words ‘die Vogel unter dem Himmel’
(the birds of the sky) in the first
piece of this recording (Psalm 8) is
rather kitschy.
The extensive liner
notes are very informative. But the
strict factual information leaves something
to be desired. The first five stanzas
of Luther’s hymn ‘Christ lag in Todesbanden’
are performed. But who made a choice:
Hammerschmidt or the performers? The
booklet doesn’t tell.
And why does it say
that stanzas 2 – 7 of ‘Gelobet seist
du, Jesu Christ’ are by Luther, when
only two stanzas are performed? The
specification of the texts used by Hammerschmidt
isn’t always correct either: ‘Paratum
cor meum’ doesn’t use the verses 3 to
6 of Psalm 108, but verses 2 to 5.
But these are only
minor criticisms of a recording I have
thoroughly enjoyed and which I shall
listen to regularly.
Johan van Veen