Johann Hermann Schein
Compositions for: Bass
Studenten-SchmausLobet den Herrn in seinem HeiligtumEhr sei Gott in der Höh alleinDas ist mir liebMaria MagdalenaAch Äsculapi wohl erfahrnHaec est diesIngrediente DominoExaudiat te DominusO Fortun, wie dass du mich so gar sehr betrübestFrisch auf du edle MusikkunstDie mit Tränen säenIch will nun fröhlich singenAlleluia. Ich danke dem HerrenKickehihi, kakakanei!Ach, edles Bild, von Tugend mildAch Filli, Schäfrin zart!Quem vidistis pastoresHerr, nu lässt du deinen Diener in Frieden fahrenVerbum caro factum estPost Martinum bonum vinumAmor, wie ist dein LieblichkeitAlleluia, Wohl dem, der den Herren fürchtetBenedicam DominoO Amarilli zartFrau Nachtigall mit süssem SchallAch weh, bin ich Amor?Gott sei mir gnädigAll wilden Tier im grünen WaldRings um mich schwebet TraurigkeitIst nicht Ephraim mein teurer SohnSurge, illuminare JerusalemO Amarilli, schönste ZierGleich wie ein kleines VögeleinLaetatus sumHerbei, wer lustig sein will hierMit Lust zu tragen mir gefälltAch, Amor, du LiebesgottDer kühle MaienVenite, exultemus DominoVergiss aller der TraurigkeitAurora schön mit ihrem HaarFreut euch, ihr Hirten meinSinget fröhlich GotteAmor heut triumphieretFrisch auf, ihr Kloster Brüder meinSollt' ich mein' Freud' verschweigenHolla, gut GsellAmor, das blinde GötteleinDie Vöglein singenCupido blind, das Venus KindFrau Venus in ihr GärteleinLasset die Kindlein zu mir kommenA Domino factum est istudItzund ich mich vergleicheWo ist dein Freund hingangenIn grosser TraurigkeitAls Filli zart einst etwas durstig wardO Kanarivögelein!Concordia zu jeder ZeitO Filli, schön und subtilSoll denn so mein Herz bezahlt werdenViel schöner BlümeleinCupido von eim BienenstichMein Freund komme in seinen GartenSoll es denn nun nicht anders seinFilli, deine lieb Äuglein klarDer edle Schäfer CoridonO Scheiden, o bitter Scheiden!Juch holla, freut euch mit mir!Gehe hin, bis das End kommeTret't heran, ihr Hirten all!Mit Freuden, mit ScherzenRelation, RelationCupido klein, das Göttlein blindMirtillo mein, dein DeliaIn Filli schönen ÄugeleinSic Deus dilexit mundumFilli, die schöne SchäferinHört, Wunder, hört!So dir mein liebes BrüderleinO Berg und Tal, ihr Felsen all!Unverhofft kommet oftEinsmals von einem BieneleinO Sternenäugelein!O Tirsi, freu dich sehr!O Coridon, lass dein Schalmei!Frau Venus und ihr blinder SohnWenn Filli ihre LiebestrahlDer Hirte Coridon IFreu dich, mein lieber CoridonSiehe, also wird gesegnet der MannSieh da, sieh da, ihr lieben HerrnGott grüss euch, Schäfr und SchäferinMirtillo hat ein SchäfeleinO Coridon, heut blüht dein GlückWohlauf, du edle Lyr!Der Hirte Coridon IIDie Myrtensträuch und Wälder grünSo freue dich, Jüngling, in deiner JugendGleichwie ein armes HirscheleinO seidene Härelein!Unlängst dem blinden GötteleinO brennende Äugelein!O Schäferin, o Filli mein!Mirtillo gut in einem WaldCura d'amoreO Filli, schönste Zier!O schönste Filli mein!Sieh da, mein lieber CoridonEinsmals wett CoridonWie kommt's, o zarte Filli meinWenn ich durch Ach mein LiebesqualNun hat sich's Blättlein umgewendtO Filli, wärt Ihr mein!Wenn der Herr Zion erlösen wird
WikipediaJohann 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 were available in an edition prepared in Germany.
Unlike Schütz, who concentrated mainly on sacred music (although it must be borne in mind that at least two operas composed by him, among other secular works, have been lost), 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.
