Heinrich Schutz. Cantiones sacrae 1625: Lateinische Motetten fur vier Stimmen und Basso continuo. Neuausgabe von Heide Volckmar-Waschk. Kassel: Barenreiter, 2004. (Neue Ausgabe samtlicher Werke, 8/9.) [Pref., Ger., Eng., p. vii-xii; facsims., p. xiii-xvii; score, 204 p.; Krit. Bericht, p. 205-18; Ger. trans. of the motet texts, p. 219-21. Cloth. ISMN M-00649773-7; Barenreiter-Ausgabe 5961. euro130.] Heinrich Schutz. Symphoniae sacrae III (1650): Die Konzerte zu sieben Stimmen (Nr. 15-21). Herausgegeben von Werner Breig. Kassel: Barenreiter, 2002. (Neue Ausgabe samtlicher Werke, 21.) [Pref., Ger., Eng., p. vii-xvii; facsims., p. xix-xxii; score, 197 p.; Krit. Bericht, p. 199-209; overview of the facsimile reproductions in vols. 18-21, p. 210. Cloth. ISMN M-006-44886-9; Barenreiter-Ausgabe 4474. euro131.] Although the music of Heinrich Schutz (1585-1672) has been relatively well served in modern editions-at least in comparison to his more obscure seventeenth-century German contemporaries-a complete edition serving the needs of both scholars and performers has been slow in coming. In 1885, Philipp Spitta brought out the first volume of Schutz's Samtliche Werke (Leipzig: Breitkopf & Hartel), a project that would only see completion in the hands of Arnold Schering and Heinrich Spitta in 1927 (the entire set was reprinted by Breitkopf & Hartel in 1968). Spitta remained relatively faithful to the appearance of Schutz's notation, although his retention of the original clefs made these volumes rather unappealing to many performers. The editors of the earlier volumes of the Neue Ausgabe samtlicher Werke (Kassel: Barenreiter, 1955-) demonstrated somewhat more concern with the needs of performance, using modern clefs exclusively; however, scholars and many performers can be forgiven for their dismay at the frequent, clumsy transpositions of the music into remote keys, presumably for the comfort of modern SATB choirs. Gunter Graulich's Stuttgarter SchutzAusgabe, published originally by Hanssler but now in the hands of Carus-Verlag in Stuttgart, showed some promise in balancing the needs of research and performance, but since its inception in 1971, only a handful of volumes have appeared, with uncertain prospects for its continuation. Scholars and performers will even more enthusiastically welcome the final installment of Werner Breig's four-part edition of the third book of Symphoniae sacrae (1650), a collection of the greatest importance in Schutz's oeuvre and one formerly available only in the old compete edition. The exigencies of the Thirty Years War, with its attendant pestilence, famine, and economic collapse, had discouraged Schutz from publishing music on the grand scale of the Psalmen Davids (1619), but he seems to have greeted the Peace of Westphalia (1648) with an even more opulent collection: indeed it is difficult not to hear a measure of relief and hope in the repeated strains of "und verleihe immerdar Friede" (and grant us eternal peace) that form the central section (mm. 87-113) of the concluding concerto, "Nun danket alle Gott" (no. 21). The latter is one of seven works found in the present volume (nos. 15-21, SWV 412-18), scored for seven voices and obbligato instruments in various combinations and with (mostly) optional vocal and instrumental complementa. As Breig stresses in his fine general preface, Schutz's own description of these works as scored for eight voices obscures their remarkable diversity: each concerto, indeed, calls for eight obbligato parts-either six voices and two instruments or five voices and three instruments-but the complementum invariably adds considerable depth and musical interest, and is all but required for the full effect of no. …