Composers

Andreas Hammerschmidt

Voice
Soprano
Bass
Tenor
Alto
Violin
Mixed chorus
Trombone
Cornett
Trumpet
Religious music
Song
Sacred songs
Motet
Psalms
Sacred concerto
Concerto
Sacred choruses
Choruses
Madrigal
by popularity

#

16 Missae20 Motets

A

Ach Herr, du Sohn DavidAch Herr, gedenke nicht der SündenAch, Jesus stirbtAlso hat Gott Die WeltAnima mea liquefacta estAudi Domine, et miserere meiAusgewählte Werke von Andreas Hammerschmidt

B

Bist du Gottes Sohn

C

Cantate DominoConfitebor tibi, Domine

D

Da aber Johannes die Werk Christi höreteDa pacem, DomineDas Wort ward FleischDe profundis clamavi ad te, DomineDialogi, Teil 1Dialogi, Teil 2Doce me, DomineDomine, quis habitabit tabernaculo tuo?

E

Ehre sei Gott in her HöheEile mich, Gott, zu errettenErbarm dich meinErbarm dich mein, O Herre GottErgo sit nulla ratio salutisErwecke dich, HerrEs danken dir, Gott, die VölkerEs segne dich der Gott Israel

F

Fest- Bus- und Danck-LiederFreue dich sehr, du Tochter ZionFreue dich, du Tochter ZionFreuet euch, ihr Christen alleFreundlicher, lieblicher, süssester JesuFriede sei mit euch

G

Gelobet sei der Herr aus ZionGelobet sey der Herr allelujaGespräche über die Evangelia, Teil 1Gespräche über die Evangelia, Teil 2Gott fähret auf mit Jauchzen

H

Habe deine Lust an dem HerrenHelft mir Gottes güte preisenHerr du weissest alle DingeHerr Jesu ChristHerr, diese letzten haben nur ein Stunde gearbeitetHerr, hast du nicht guten SamenHerr, ich bin nicht wertHerr, nun lässt du deinen DienerHerr, sie haben nicht WeinHerr, wie lange willst du mein so gar vergessenHerzlich lieb hab' ich dich, o HerrHimmel und Erde vergehenHöret zu, es ging ein Sämann aus

I

Ich beschwere euch, ihr TöchterIch bin ein guter HirteIhr lieben HirtenIn te Domine, speraviInter brachia Salvatoris mei

J

Jesu, mein Jesu

K

Kirchen- und Tafel-MusicKomm, Heiliger GeistKommet her zu mir

L

Lobe den Herren meine SeeleLobe den Herrn

M

Machet die Tore weitMein Sohn, warum hast du uns das getan?Musicalischer Andacht, Teil 1Musicalischer Andachten, Teil 2Musicalischer Andachten, Teil 3Musicalischer Andachten, Teil 4Musicalischer Andachten, Teil 5

N

Neuer Paduanen, et al, Teil 1Neuer Paduanen, et al, Teil 2Nun aber gehe ich hinNun komm der Heiden HeilandNun treten wir ins neue Jahr

O

O barmherziger VaterO bone Jesu, O piissime JesuO Domine Jesu ChristeO Domine, quia ego servus tuus sumO frommer GottO Herr, hilf, wir verderbenO ihr lieben Hirten, fürchtet euch nichtO Jesu mein Jesu, selig ist der LeibO süßer, o freundlicherO Vater aller FrommenO Vater, aller Augen warten auf dich

P

Paratum cor meum

R

Revertere anima mea

S

Schaffe in mir, GottSchmücket das Fest mit MaienSechsstimmige Fest- und Zeit-AndachtenSei nun wieder zufrieden, meine SeeleSei willkommen, JesuleinSiehe, der Gerechte kömmt umbSiehe, es hat überwunden der LöweSiehe, wie fein und lieblichSo euch die Welt hasset

U

Und da acht Tage um warenUnd dies ist das Zeugnis JohannisUnser Herr Jesus Christ

V

Vom Leiden ChristiVulnerasti cor meum

W

Wahrlich ich sage euch: ihr werdet weinenWarlich ich sage euch, so ihrWas meinest du wil aus dem Kindlein werden?Wenn der Herr die GefangenenWer von Gott istWer walzet uns den SteinWie der Hirsch schreietWie lieblich sind deine WohnungenWie schön sind dein BrüsteWo ist der neugeborne König
Wikipedia
Andreas Hammerschmidt (1611 or 1612 – 29 October 1675), the "Orpheus of Zittau," was a German Bohemian composer and organist of the early to middle Baroque era. He was one of the most significant and popular composers of sacred music in Germany in the middle 17th century.
He was born at Brüx, a small Protestant community in Bohemia, to a Saxon father and a Bohemian mother. In 1626 the family had to flee Bohemia, during the Thirty Years' War, after it had become Catholic; they settled in Freiberg, Saxony, where Andreas must have received his musical education. He probably did not study with composer Christoph Demantius, who was Kantor at Freiberg and the most significant musician in the city while Hammerschmidt was there; however he may have known him. Many famous musicians of the early Baroque spent time in Freiberg but it is uncertain which of them taught Hammerschmidt; at any rate he received a superb musical training while there.
Hammerschmidt left Freiberg in 1633, through his mentor Stephan Otto, taking a post as organist for Count Rudolf von Bünau in Weesenstein, but returned to Freiberg the next year as an organist. He was married shortly after his return there, and of his six children three died in infancy. In 1639 he left Freiberg again, moving to Zittau, where he succeeded Christoph Schreiber as organist; he remained in Zittau at this post for the rest of his life. While musical life in Zittau was severely damaged by the Thirty Years' War, including the decimation of the choirs and general reduction in musical standards, Hammerschmidt survived; after the end of the war in 1648 musical life slowly regained its former high standard.
Exact records of his activities in Zittau are spotty, for the documents were burned in 1757 when the city was destroyed by the Austrians in the Seven Years' War; however Hammerschmidt during this portion of his career became one of the best-known composers in Germany, and the most famous representative of the concertato style of the generation after Heinrich Schütz. While well-respected and called on as an expert in many matters, he seems to have been prone to outbursts of rage, some of which involved him in brawls. He also seems to have profited well from his activities as a musician and civic leader, and evidently lived in some luxury, having a house in town as well as a country estate.
Hammerschmidt wrote motets, concertos and arias, and almost all of his output is sacred vocal music in the concertato style. According to Manfred Bukofzer (1947), he "watered down the achievements of Schütz for the multitude." Many of his compositions are in the form of the chorale monody, an adaptation of the early Baroque Italian form to a sacred, and specifically Protestant, purpose. Indeed, Hammerschmidt represents the second generation of composers who distilled a native German Baroque tradition out of forms and styles imported from Italy.
Over 400 works by Hammerschmidt survive, in a total of 14 separate collections. The motets represent a more conservative style, as noted by Hammerschmidt himself, and the concertos—concertato pieces with opposing groups of voices and instruments—are in a current idiom.
Some of his concertos are written for large ensembles, with diverse combinations of instruments and voices (for example, the sets from Gespräche über die Evangelia of 1655–1656; this was long enough after the war that large ensembles were available again). He wrote these pieces for Sundays and church feast days; their structure and intent foreshadowed the later German church cantata, as exemplified most famously by Johann Sebastian Bach. Even Hammerschmidt's masses conform to the concertato style, and are best seen as concertos.
While Hammerschmidt was an organist all of his life, no organ music of his has survived; indeed there is no evidence he published any. Some instrumental music of his has survived in three publications; most of these are suites of dances influenced by the English style which was prevalent in the northern part of Germany at that time.