Sheet music $2.95

Original

Surrexit pastor bonus. Heinrich Schutz. Choir sheet music. Piano and Keyboard sheet music. Trombone sheet music.

Translation

Surrexit pastor bonus. Heinrich Schutz. Choir sheet music. Piano and Keyboard sheet music. Trombone sheet music.

Original

Surrexit pastor bonus composed by Heinrich Schutz. 1585-1672. Edited by Uwe Wolf. Arranged by Paul Horn. For SSATTB favorit-chor, 2 violins, 3 trombones, basso continuo,. cappell-chore SATB. SATB. Stuttgart Urtext edition. Sacred concertos, Easter and Eastertide. Ripieno chorus score. Text language. Latin. SWV 469. 4 pages. Published by Carus Verlag. CA.2046906. ISBN M-007-16140-8. With Text language. Latin. Sacred concertos, Easter and Eastertide. The Easter concerto Surrexit pastor bonus, for large forces, is based on a Latin responsory for Easter. The work is extant only in handwritten form, and nothing is known regarding the date of composition, although the polychoral design, with two ad libitum tutti choirs. "Capellchore". could indicate a temporal proximity to the Psalms of David 1619. On the other hand, the freer treatment of the instruments in particular suggests the Symphoniae sacrae and especially - given the work's large instrumentation - the third part, dated 1650.

Translation

Surrexit pastor bonus composed by Heinrich Schutz. 1585-1672. Edited by Uwe Wolf. Arranged by Paul Horn. For SSATTB favorit-chor, 2 violins, 3 trombones, basso continuo,. cappell-chore SATB. SATB. Stuttgart Urtext edition. Sacred concertos, Easter and Eastertide. Ripieno chorus score. Text language. Latin. SWV 469. 4 pages. Published by Carus Verlag. CA.2046906. ISBN M-007-16140-8. With Text language. Latin. Sacred concertos, Easter and Eastertide. The Easter concerto Surrexit pastor bonus, for large forces, is based on a Latin responsory for Easter. The work is extant only in handwritten form, and nothing is known regarding the date of composition, although the polychoral design, with two ad libitum tutti choirs. "Capellchore". could indicate a temporal proximity to the Psalms of David 1619. On the other hand, the freer treatment of the instruments in particular suggests the Symphoniae sacrae and especially - given the work's large instrumentation - the third part, dated 1650.