Johann Herman SCHEIN (1586-1630)
Opella Nova - Fontana D’Israel (1618-1626)
Christ Unser Herr Zum Jordan Kam [4.55]
Wende Dich, Herr [3.41]
Die mit Tränen säen [3.22]
Freue dich des Weibesdeiner Jugend [3.51]
Lieblich und schöne sein [3.55]
Da Jakob vollendet hatte [4.44]
Unser Leben währet siebnzig Jehr [3.36]
Ich ruf zu dir, Herr Jesu Christ [2.52]
Was Betrübst du dich, meine Seele [4.55]
Aus tiefer Not schrei ich zu dir [2.54]
O Jesu Christe, Gottes sohn [4.37]
Ist nicht Ephraim mein teurer Sohn [4.10]
Erbarm dich mein [2.49]
Vom Himmel Hoch [2.04]
Christ lag in Todesbanden [4.14]
Zion Spricht; der Herr hat mich verlassen [4.46]
Komm heiliger Geist [4.31]
Ensemble Sagittarius (Dagmar Saskova (soprano); Sophie Pattey (soprano); Pierre
Sciama (alto); Olivier Fichet (ténor); Marcos Loureiro de Sà
(basse); J. Prahmsohler (violon); R. Martin-Alonso (ténor de viole);
M. Zeoli (basse de viole); Continuo: J. Griffin (basse de viole); R. Lopes
(théorbe); G. Vernhes (basson); J.M. Aristizabal (orgue de tribune))/Michel
Laplénie
rec. 21-23 October 2009, Saint-Etienne-de-Baïgorry Church, Pyrenées-Atlantique,
France
HORTUS 075 [66.05]
This release has already been given some attention on this site, with a comprehensive
review by Gary Higginson covering plenty of background and content (see review).
This is a selection mixing movements from the Opella Nova and Fontana
d’Israel, and while there are more complete programmes of the latter
are to be found the majority pick choice morsels and place them amongst Schein’s
contemporaries. The Ricercar Consort on the Ricercar label RIC254 have
a nicely performed handful of movements from Opella Nova on a disc
you will find under Samuel Scheidt: Concertuum Sacrorum, and similar
snippets have appeared on the CRD
label.
With Fontana d’Israel there is more complete competition from
Weser-Renaissance on the CPO label (see review)
and in the form of Hermann Max’s recording on Capriccio C10290-91, a
little of which appears on a crazy compilation reviewed here
but is examined more closely here
by Johan van Veen. This is a beautifully sung version, but Laplénie’s
less homogenous sound is more intimate and lively, Max’s grander scale
very nice indeed but with a fairly generalised feel over the span of the whole
sequence. Even grander is Martin Flämig on Berlin Classics 0090782BC
though we’re comparing chalk with cheese with these releases, the selections
of movements by no means overlapping for any kind of useful comparison. If
you are looking for a complete version, 83.350 on the Carus label (see
review)
may well do the trick, though the emphasis is again here on the more rounder
sound of a larger choir rather than the emotional impact individual voices
can have. Take the rising chromatic lines of Die mit Tränen säen
and you will hear what I mean. The Dresdner Kammerchor makes this opening
into more into a stately procession, and the quick changes of mood from sorrow
to joy are in many ways better suited to the madrigal style of Michel Laplénie’s
ensemble. The Dresden voices do however create gorgeous dissonances, spending
more time on Sie gehen hin und tragen edlen Samen to great effect.
In the end this kind of release avoids pacing itself against rivals through
intelligent and sensitive programming, and of course highly refined and at
times strikingly effective performances. Schein’s placing of female
against male voices creates its own little dramas and tensions, and a piece
such as Lieblich und schöne sein shows this off to perfection.
Beautiful clarity of tone and diction make each piece special, and the sequence
has been well chosen, the more lyrical forms contrasting with those which
have heartrendingly extended passages, with polyphony both slow and swift
rising through the soloistic and more choral movements. Each piece explores
its own inner worlds of dialogue and variety of expression but in a programme
which works superbly. Little touches such as the bells at the end of Vom
Himmel Hoch also make all the difference. It pays to linger on one or
two pieces to see how Schein sets the texts and draws his expression from
the words, though playing the whole thing through is in no way a punishing
experience. All of the singers are terrific, and instrumental support very
well balanced and perfectly placed. The booklet mentions the set-up for the
recording, describing how the performance space was used, at which point we
all dive for the final track, Komm heiliger Geist, to hear the tenor
singing from up in the gallery.
Dominy Clements
Nicely conceived and well worth having.
See also review by Gary
Higginson
Support us financially by purchasing
this disc through MusicWeb
for £14.99 postage paid world-wide.
