Schein: Opella Nova II - Lyrica Davidica [Deutsche Harmonia Mundi][IMPORT]
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CD Details
Composer: Johann Hermann ScheinConductor: Roland Wilson
Orchestra: Musica Fiata
Performer: Rheinische Kantorei
Performer: Martina Lins
Performer: Johanna Koslowsky
Performer: Rufus Muller
Performer: Wilfried Jochens
Performer: Harry Van Der Kamp
Performer: Franz-Josef Selig
Edition: Music CD
CD Release Date: 1992-12-03
Music Label: DHM
Music reviews of Schein: Opella Nova II - Lyrica Davidica [Deutsche Harmonia Mundi][IMPORT]
Music Review: A very special recording indeed
Rating: 5 Stars
Right from the start of "Mach dich auff, werde Liecht Zion", the first track on this album, I knew that I was going to love this magical recording. I bought this recording in 1990 and I have loved it very much ever since. I bought a copy and gave it away to a girlfriend in the early 1990s.
I return to this recording very often and I've been listening to it again recently. Like the Concerto Palatino recording of Heinrich Schütz' "Symphonię Sacrę I" on the ACCENT label, this recording is very special, sublime and powerful.
So what's the story? Well, the music comes from Johann Hermann Schein's Opella Nova II publication - sacred vocal "concerti" for voices, instruments and basso continuo. I guess it could be said that this kind of music would eventually be seen as an important part of the development of the German cantata form, which, obviously, culminated in the great cantatas of Johann Sebastian Bach and Georg Philipp Telemann. Schein's music was clearly influenced by the Italian style and some of the works in the Opella Nova II publication owe a clear debt to the genius of Claudio Monteverdi. As a Northern European composer, Johann Hermann Schein had a good range of musical instruments available to him, we hear violins, cornetts, mute cornett, recorder, trombones, dulcian and a trumpet in this recording. The Opella Nova II also contained a work for two solo voices, three "Bombardons" (shawms?), choir and basso continuo. This work was not presented by Mr. Wilson and his Musica Fiata ensemble on this recording.
Johann Hermann Schein was clearly very sensitive to the timbres and expressive possibilities of the instruments he scored in these works. Schein combines instrumental sounds with voices in a very satisfying and interesting way in these works, too. In "Mach dich auff" we hear a cornett, descant recorder, mute cornett, violin and three trombones "encasing" the solo soprano and tenor voices and joying the cappella choir in the tutti sections. "Komm heiliger Geist, Herre Gott" is a "Sonata con voce", in much the same style as Monteverdi's and Crotti's "Sonata sopra Sancta Maria" and Giovanni Gabrieli's "Sonata sopra Dulcis Jesu à 20 voci". Schein uses two violins, a recorder, four trombones and basso continuo to play an extensive sonata, with the soprano singing a cantus firmus in various sections. "Herr, nun lest du deinen Diener im Friede fahren" features a bass soloist, two cornetti, bass dulcian and basso continuo. "Nun ist das Heyl" is, perhaps, one of the most interesting works on the disc, it features a solo male alto voice, sung by Rufus Müller here, accompanied by a cornetto, trumpet and three trombones.
The solo singers are:
Johanna Koslowsky, Martina Lins, soprano
Rufus Müller, tenor/alto
Wilfried Jochens, tenor
Harry van der Kamp, bass
Franz-Josef Selig, bass
The Rheinische Kantorei provide the choir for the ripieno/cappella section of the sacred concerti.
Musica Fiata (playing at Chorton pitch circa a' = 466 Hz)
Roland Wilson - cornett, mute cornett & recorder
Hans-Peter Westermann - cornett, recorder
Friedmann Immer - cornett, Baroque trumpet in C
Yuji Fujimoto - trombone
Peter Sommer - trombone
Robin Schwerdtfeger - trombone
Richard Lister - trombone
Michael McCraw - bass dulcian
Anette Sichelschmidt - Baroque violin
Ghislaine Wauters - Baroque violin
Hartwig Groth - violone
Christoph Lehmann - organ, spinett
Stephen Stubbs - chitarrone, organ
Direction: Roland Wilson
This recording was the first and best solo recording featuring a mute cornett that I ever heard. It encouraged me to devote much more time to my own mute cornetts (I own two cornetti muti), an instrument for which I have a deep love. Listen to "Uns ist ein Kind geboren" or "Also heilig ist der Tag" to hear Mr. Wilson playing solos on his mute cornett on this recording. I played my own mute cornett in a performance of "Uns ist ein Kind geboren" in Melbourne, Australia, in the early 1990s as a result of my inspiration from this recording.
This recording isn't easy to obtain now. However, I cannot recommend this recording too highly, it is, as I said before, very special.
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