Johann Hermann Schein  
Johann Hermann Schein
Johann Hermann Schein (20 January 1586 – 19 November 1630) was a German composer of the early Baroque era. He was born in Grünhain and died in Leipzig. He was one of the first to import the early Italian stylistic innovations into German music, and was one of the most polished composers of the period.

On the death of his father, Schein moved to Dresden where he joined the choir of the Elector of Saxony as a boy soprano. In addition to singing in the choir, he received a thorough musical training with Rogier Michael, the Kapellmeister, who recognized his extraordinary talent. From 1603 to 1607 he studied at Pforta, and from 1608 to 1612 attended the University of Leipzig, where he studied law in addition to liberal arts. Upon graduating, he was employed briefly by Gottfried von Wolffersdorff as the house music director and tutor to his children; later he became Kapellmeister at Weimar, and shortly thereafter became cantor at the Thomasschule zu Leipzig, conducting the Thomanerchor, a post which he held for the rest of his life.
Unlike his friend Heinrich Schütz, he was afflicted with poor health, and was not to live a happy or long life. His wife died in childbirth; four of his five children died in infancy; he died at age 44, having suffered from tuberculosis, gout, scurvy, and a kidney disorder.


Schein was one of the first to absorb the innovations of the Italian Baroque—monody, the concertato style, figured bass—and use them effectively in a German Lutheran context. While Schütz made more than one trip to Italy, Schein apparently spent his entire life in Germany, making his grasp of the Italianate style all the more remarkable. His early concertato music seems to have been modeled on Lodovico Grossi da Viadana's Cento concerti ecclesiastici, which was available in an edition prepared in Germany.
Unlike Schütz, who composed only sacred music (except for an early and unrepresentative collection of madrigals), Schein wrote sacred and secular music in approximately equal quantities, and almost all of it was vocal. In his secular vocal music he wrote all of his own texts. Throughout his life he published alternating collections of sacred and secular music, in accordance with an intention he stated early on — in the preface to the Banchetto musicale — to publish alternately music for use in worship and social gatherings. The contrast between the two kinds of music can be quite extreme. While some of his sacred music uses the most sophisticated techniques of the Italian madrigal for a devotional purpose, several of his secular collections include such things as drinking songs of a surprising simplicity and humor. Some of his works attain an expressive intensity matched in Germany only by those of Schütz, for example the spectacular Fontana d'Israel or Israel's Brünnlein (1623), in which Schein declared his intent to exhaust the possibilities of German word-painting "in the style of the Italian madrigal."
Possibly his most famous collection was his only collection of instrumental music, the Banchetto musicale (Musical banquet) (1617) which contains twenty separate variation suites; they are among the earliest, and most perfect, representatives of the form. Most likely they were composed as dinner music for the courts of Weissenfels and Weimar, and were intended to be performed on viols. They consist of dances: a pavan-galliard (a normal early Baroque pair), a courante, and then an allemande-tripla. Each suite in the Banchetto is unified by mode as well as by theme.

Published works

Sacred vocal
Cymbalum Sionium (1615)
Opella nova, geistlicher Concerten (1618)
Fontana d'Israel, Israelis Brünnlein (1623)
Opella nova, ander Theil, geistlicher Concerten (1626)
Cantional oder Gesangbuch Augspurgischer Confession (1627, 1645)

Secular vocal

Venus Kräntzlein (1609)
Musica boscareccia (1621, and several portions published later)
Diletti pastorali, Hirten Lust (1624)
Studenten-Schmauss (1626)
So da, mein liebes Brüderlein (1626)

From Wikipedia, the free encyclopedia
Johann Hermann Schein - Cantata - Maria, gegrüßet seist du
Johann Hermann Schein: Ist nicht Ephraim
Ferenc Erkel Mixed Choir, Conductor: Zsófia Cseri, 2006
Schein - Cantata 'Halleluja! Lobet den Herrn'
Schein: Zion spricht - Ars Nova Sacra
Ars Nova Sacra Vocal Ensemble
directed by Dénes Répássy

Örökimádás templom, Budapest

Zion spricht: Der Herr hat mich verlassen,
der Herr hat mein vergessen.
Kann auch ein Weib ihres Kindeleins vergessen,
daß sie sich nicht erbarme über den Sohn ihres Leibes?
Und ob sie desselbigen vergesse,
so will ich doch dein nicht vergessen.
Siehe, in die Hände hab' ich dich gezeichnet.
(Jesaja 49, 14-16)

Padouana from Banchetto Musicale - Johann Hermann Schein
Dennoch bleibe ich stets an dir (by Johann Hermann Schein)
Schein, Allemande
Schein „Israelsbrünnlein" 5. „Dennoch bleibe ich stets an Dir", Dir. Ole Irenæus Wierød
Schein „Israelsbrünnlein" 6. „Wende Dich, HErr", KAMMA", Dir. Ole Irenæus Wierød
Gli Angeli Genève, Schein: Israelis Brünnlein
Gli Angeli Genève weet als geen ander raad met de schitterende 17de-eeuwse motettenbundel Israelis Brünnlein. Johann Hermann Schein omarmde de muzikale vernieuwingen van beneden de Alpen en vertaalde ze in krasse staaltjes van expressieve Duitse woordschildering.

Hana Blazikova, sopraan
Aleksandra Lewandowska, sopraan
Robert Getchell, tenor
Jan Kobow, tenor
Stephan MacLeod, bas & artistiek leider
François Guerrier, orgel
Hager Hanana, cello
Giovanna Pessi, harp

Geertekerk Utrecht, 17 oktober 2011

Johann Hermann Schein - Banchetto Musicale, Jordi Savall
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