Ich will schweigen

Johann Hermann Schein and the heritage of the Leipziger Stadtpfeiffer

Mach-dich-auf-241x300When Johann Hermann Schein takes up the position of Kantor in Saint-Thomas in Leipzig in 1616, he has to tackle a delicate problem: on the one hand he has to satisfy the liturgical needs of a parish that is quite a novice to the Lutheran practices and on the other he has to compose truly contemporary music, brimming with the novelties of the new style coming from Italy.
In 1618, inspired by the Concerti Ecclesiastici written by Lodovico Viadana, he publishes a collection with an evocative title: Opella Nova.

This motet collection explores the new possibilities offered by the basso continuo; it shows a real mastery in the use of the rhetorical figures and always has very specific instrumental settings, undoubtedly in order to create a different atmosphere for each text set to music. Schein’s Opella Nova is a very ambitious work of great expressive strength.

Most often Schein hired his musicians from those available amongst the Stadtpfeiffer and the Ratsmusiker, the guilds of players attached to the city of Leipzig since the 15th century. The motets of that period very often require cornetti, trombones or dulcian.
To complement this musical portrait of Schein, one of the greatest German composers of the 17th century and one of the most gifted predecessors of J.S Bach in Leipzig, InAlto presents a whole journey to the sources of the German cantata and a testimony of the extraordinary tradition of these city musicians throughout the centuries. Besides the music of Schein, InAlto performs music by Johann Schelle, Gottfried Reiche and J.S Bach.

The repertoire requires ca.11 musicians : 2 singers, 2 cornetti, 3 trombones, 1 dulcian, 1 percussion, 1 theorbo, 1 organ.

Singers invited : Alice Foccroulle & Reinoud van Mechelen.

The recording team (Cd release for Ramée, January 23rd 2015) :

Alice Foccroulle : soprano
Béatrice Mayo-Félip : soprano
Reinoud van Mechelen : tenor

Lambert Colson, Adrien Mabire : Cornetti
Guy Hanssen, Fabien Moulaert, Bart Vroomen : Sackbutts
Anaïs Ramage : Dulcians
Pieter Theuns : Archilute, theorbo and guitar
Marc Meisel : Organ and harpsichord
Maxime Fiorani : Drums

Johann Hermann Schein et l’héritage des Stadpfeiffer des Leipzig.

Lorsque que Johann Hermann Schein prend la suite de Sethus Calvisius au poste de Kantor de la paroisse de Saint-Thomas à Leipzig en 1616, il se doit de répondre à un cahier des charges complexe. D’une part satisfaire les besoins liturgiques de sa paroisse luthérienne depuis relativement peu de temps, et d’autre part composer de la musique véritablement contemporaine, sensible au nouveau style venu d’Italie.

Il s’inspire pour cela des Concerti Ecclesiastici du lombard Lodovico Viadana et compile une collection de motet au titre évocateur Opella Nova, imprimée en 2 éditions successives en 1618 et 1626. Chaque motet possède une instrumentation spécifique, Schein ayant sans doute souhaité fixer avec soin l’atmosphère de chacun des textes mis en musique.

Les nouvelles possibilités apportées par la basse continue, la maitrise des figures de style identifiées par les développements récents de la rhétorique musicale permettent à Schein de signer une œuvre extrêmement ambitieuse, d’une grande force expressive.

Cette instrumentation fait appel bien souvent à des instruments tels que le cornet, le trombone et la dulciane, Schein puisant ses musiciens dans l’effectif des Stadtpfeiffer et des Ratsmusiker, corporations d’instrumentistes attachés à la ville de Leipzig depuis le 15ème siècle.

En regard d’un portrait musical de Schein, l’un des plus grands compositeurs allemand du 17ème siècle et l’un des plus talentueux prédécesseurs de J.S Bach à Leipzig, InAlto présente un parcours aux sources de la cantate allemande et un témoignage de cette extraordinaire tradition des musiciens de villes perpétuée à travers  les siècles. Outre la musique de Schein, cet héritage est ici mis en musique par Johann Schelle, Gottfried Reiche et J.S Bach.

11 musiciens : 2 cornets, 3 trombones, 1 dulciane, 1 percussion, 2 chanteurs, orgue et clavecin. Chanteurs : Alice Foccroulle, Soprano et Reinoud van Mechelen, Ténor.


Mein Herz ist bereit - Christmas in a desolate land

Dec 15, 4:00pm - Dec 15, 6:00pm

Mein Herz ist bereit - Christmas in a desolate land

Kloster Malgarten
Am Kloster 6
Bramsche,  49565 Map

Heinrich Schütz published his second opus of Symphoniae Sacrae in 1647, just a year before the peace treatises of Westphalia finally put an end to the thirty years war (1618-1648). Recent demographic studies claim that 60% of the population of the Holy Roman Empire and central Europe perished during the terrible conflict. In this particular post-war context, and considering that Advent is one of the most important time of the christian year, the celebrations carried multiple meanings and values. Advent was a time of conversion, patience and hope and the typical relation to time can be felt in the choices of texts set to music by 17th century composers. A relation to the past, related to the prophecy mentioned in the old testament upon the Messiah’s arrival, to the present, with voices heard on the spot, actually welcoming Jesus among the people’s hearts and to the future, looking forward to its coming glory at the end of time.
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Schütz and his legacy

Mar 15, 3:00pm

Schütz and his legacy

Colmar-Berg, Schieren (Luxembourg)


6 interested  ·  1 going