It is curious how, from a composer's entire output, one piece takes on an unwonted prominence through widely repeated performance, while other (sometimes more deserving) works remain wrapped in obscurity. Schutz's Die Sieben Worte unsers lieben Erlosers und Seeligmachers Jesu Christi (''The seven last words'') is a case in point: one suspects that its appropriateness for Good Friday choral society performances has been a major factor in its relative popularity—a kind of poor man's Bach passion. Die Auferstehung unsres Herren Jesu Christi (''The Resurrection'') is in many ways a more interesting piece, with Schutz using the latest Italian developments to greatly expressive effect. Monody is ideally suited to the Evangelist's narration, while the central characters (Jesus and Mary Magdalene) are represented as duets (tenor and bass and Monteverdian equal-voiced respectively) with wonderful musical if not mimetic results.
In this new version from Rene Jacobs and the vocal and instrumental ensemble Concerto Vocale, the role of the Evangelist is taken by Martin Hummel whose lightish tenor is good for the clarity of the words though a little limited in expressive colour; his approach is generally understated rather than declamatory. Still, the rather formulaic patterns of this early recitative are imaginatively accompanied by viols who make use of ornamentation to enliven the texture. The singing and playing are generally of a high standard, though the balance between voices and instruments is not always altogether satisfactory, and the performance is consistently expressive. My only reservation—and it is perhaps rather an important one—is that the pacing could have been so much more effectively dramatic, both within and between the numerous short sections that punctuate the narrative. As in Bach's Passions, the Evangelist needs to anticipate these interventions, which then pick up and take forward the reported speech with exactly the right degree of urgency and impetus. This happens sometimes—notably at Christ's outburst ''O ihr Toren und trages Herzen''—but not always, so that the tension occasionally slackens too much and the momentum is lost.
In the choruses here and in the setting of the Magnificat—Meine Seele erhebt—that accompanies this work a little more discipline and accuracy would have created a tighter, more dramatic effect, though Maria Cristina Kiehr's rather heavier voice has an attractively dark quality that stands out well against the colourful instrumentation that includes violins, recorders and brass. Good performances, then, but perhaps not definitive ones.'