Schein: Israelsbrünnlein

Hans-Jörg Mammel, Marnix De Cat, Constanze Backes, Susanne Ryden

Paru le 28/01/2022 chez CPO
Artistes principaux : Susanne Ryden
Genre : Classique

Disponible en

16-Bit/44.1 kHz Stereo

Musique illimitée

Écoutez cet album en haute-qualité dès maintenant dans nos applications

Démarrer ma période d'essai et lancer l'écoute de cet album

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Souscrire

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Téléchargement digital

Téléchargez cet album dans la qualité de votre choix

Langue disponible : anglais

Johann Hermann Schein's Israelsbrünnlein (Fountains of Israel), published in the year 1623 and dedicated to the Leipzig city government, is designated as a set of sacred madrigals for five voices and continuo. The printed music indicated further that they were composed "in a special graceful Italian madrigal manner." Picking our way through the murky terminology of the early Baroque, we find a set of 27 short (four-minute) settings of psalms and other lyrical passages from the Bible, with affinities to the Italianate style of Schein's younger contemporary Schütz, but with differences as well. The Italian manner Schein adopts is, for the most part, that of early Monteverdi and even the earlier Italian madrigalists rather than the majestic Venetian polychoral style of Giovanni Gabrieli. The continuo, which usually just doubles the bass line, is rendered on this Weser-Renaissance recording by a chitarrone, a large bass lute. Often Schein begins by setting his text in five-part polyphony, using considerable chromaticism to illustrate appropriate words. Then, for a final couplet or section, he shifts to antiphonal music in the Venetian manner, a compelling treatment that does justice to the vividness of these texts. Israelsbrünnlein emerges as a worthwhile find for lovers of Schütz's better-known sacred concertos, which Schein doubtless influenced profoundly (check out the opening of Schein's third madrigal Die mit Tränen säen for an example of how).
Weser-Renaissance, a German group from Bremen, performs Israelsbrünnlein with one voice to a part, a questionable decision since these pieces were intended for a choir, however small. Two CDs of unfamiliar music is a lot to swallow, and this may tend to restrict sales to buyers with a preexisting interest in the composer or the era. Philippe Herreweghe and the Chapelle Royale have recently recorded Israelsbrünnlein on a Harmonia Mundi disc that has won strongly positive reviews in Europe, and Americans may wish to hope for U.S. availability or pay overseas shipping charges. Nevertheless, there's a certain X factor that recommends this recording strongly. The madrigalian performance forces bring out the pungent dissonances in Schein's music, and the members of Weser-Renaissance (one of whom has the charming name of Marnix de Cat) accurately delineate the music's varied harmonies without being mannered about it. And one comes away, in the end, with the feeling that this rather obscure composition yields to few others in its emotional response to biblical texts. The intensity and density of Bach's music are in some ways prefigured here, a century in advance.

© TiVo

Plus d'informations

Schein: Israelsbrünnlein

Susanne Ryden

Vous êtes actuellement en train d’écouter des extraits.

Écoutez plus de 100 millions de titres avec votre abonnement illimité.

Écoutez cette playlist et plus de 100 millions de titres avec votre abonnement illimité.

À partir de 12,49€/mois

Israelsbrünnlein (Johann Hermann Schein)

No. 1, O Herr, ich bin dein Knecht