Schein - Israels Bruennlein - Weser Renaissance, Cordes
Vocal | flac, cue | no log, scans | 2 CD, 465 MB
August 17, 2004 | CPO | RapidShare
Johann Hermann Schein's Israels Brunnlein, which has received no less than six recordings since the advent of CDs, clearly is his most celebrated composition.
It's basically a compilation of 26 German motets merging Old Testament texts with fashionably Italian secular madrigal stylistic elements. Unlike the other three available recordings (Herreweghe/Harmonia Mundi, Rademann/Carus, and Flamig/Berlin Classics), which offer generous single-CD programs, this new two-disc offering by Manfred Cordes and his ensemble Weser-Renaissance not only is complete, but arguably is the most authentically accurate cycle as well. For instance, Rademann and Flamig both employ full choirs that, while heightening the grandeur and beauty of Schein's inspired score also undermine the intimacy of the composer's madrigal setting. Like Cordes, Herreweghe also correctly uses only six vocalists throughout, though he doubles the continuo, adding a cellist and contrabass to the more historically accurate (and certainly sufficient) lute or chitarrone and positiv organ accompaniment. All approaches ultimately serve Schein well (admittedly Rademann and Flamig's full choral treatments really do sound spectacular!), though purists intent on hearing Israels Brunnlein as Schein most likely did needn't look further than this release.
Favorite selections include "Die mit Tranen saen" (Those who sow with tears), with its subtle elongated introduction that gradually evolves into a series of thematically diverse polyphonic displays. Of the many harmonically rich offerings, "Ist nicht Ephraim mein teurer Sohn" (Is not Ephraim my dear son) must be counted as one of the more memorable, with the men and women frequently and often dramatically echoing one another. The soaring soprano lines that open "Siehe, nach Trost war mir sehr Bange" (Behold, I was very anxious for consolation) are equally stunning, as is the imaginatively conceived ensemble fugue that follows. The final motet "Nun danket alle Gott" is joyously upbeat and celebratory, an appropriate conclusion to this auspicious cycle. CPO's sound is superb, with excellent clarity and detail, and Walter Werbeck's informative notes rightly draw frequent comparisons between Schein and his better-known contemporary Heinrich Schütz. Recommended.--John Greene
It's basically a compilation of 26 German motets merging Old Testament texts with fashionably Italian secular madrigal stylistic elements. Unlike the other three available recordings (Herreweghe/Harmonia Mundi, Rademann/Carus, and Flamig/Berlin Classics), which offer generous single-CD programs, this new two-disc offering by Manfred Cordes and his ensemble Weser-Renaissance not only is complete, but arguably is the most authentically accurate cycle as well. For instance, Rademann and Flamig both employ full choirs that, while heightening the grandeur and beauty of Schein's inspired score also undermine the intimacy of the composer's madrigal setting. Like Cordes, Herreweghe also correctly uses only six vocalists throughout, though he doubles the continuo, adding a cellist and contrabass to the more historically accurate (and certainly sufficient) lute or chitarrone and positiv organ accompaniment. All approaches ultimately serve Schein well (admittedly Rademann and Flamig's full choral treatments really do sound spectacular!), though purists intent on hearing Israels Brunnlein as Schein most likely did needn't look further than this release.
Favorite selections include "Die mit Tranen saen" (Those who sow with tears), with its subtle elongated introduction that gradually evolves into a series of thematically diverse polyphonic displays. Of the many harmonically rich offerings, "Ist nicht Ephraim mein teurer Sohn" (Is not Ephraim my dear son) must be counted as one of the more memorable, with the men and women frequently and often dramatically echoing one another. The soaring soprano lines that open "Siehe, nach Trost war mir sehr Bange" (Behold, I was very anxious for consolation) are equally stunning, as is the imaginatively conceived ensemble fugue that follows. The final motet "Nun danket alle Gott" is joyously upbeat and celebratory, an appropriate conclusion to this auspicious cycle. CPO's sound is superb, with excellent clarity and detail, and Walter Werbeck's informative notes rightly draw frequent comparisons between Schein and his better-known contemporary Heinrich Schütz. Recommended.--John Greene
CD Content
# Israelis Brünlein, motets (26) for 5 voices & continuo ("Fontana d'Israel")
Composed by Johann Hermann Schein
with Weser-Renaissance
# Wer unter dem Schirm, motet for 6 voices (Cymbalum Sionium)
Composed by Johann Hermann Schein
with Manfred Cordes, Weser-Renaissance
# Israelis Brünlein, motets (26) for 5 voices & continuo ("Fontana d'Israel")
Composed by Johann Hermann Schein
with Weser-Renaissance
# Wer unter dem Schirm, motet for 6 voices (Cymbalum Sionium)
Composed by Johann Hermann Schein
with Manfred Cordes, Weser-Renaissance
Can you reupload this record? Some parts in the FileFactory are dead,Thanks.
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