Performers: Johanna Koslowsky (soprano), Susanne Ryden (soprano), Lena Susanne Norin (alto); Gerd Türk (tenor), Wilfried Jochens (tenor), Stephan Schreckenberger (bass); La Fenice: Jean Tubéry (cornet, recorder), Jean-Jacques Herbin (trombone), Serge Guillou (trombone), Frank Poitrineau (trombone); Andrea Keller (violin), Verena Guido (recorder), Carsten Lohff (organ), Konrad Junghänel (lute)
Playing time: 75'
Recording date: February 1995
Although he apparently never traveled to Italy, Schein's style is even more dramatic & Italianate than Schütz'. The majority of this recording (tracks 1, 2, 4, 5, 7, 8, 10, 11, 13-15, 17) is taken from Israels Brünnlein (1623), a collection of motets in five voices. These are described by Schein as "sacred madrigals" bearing some similarity to Monteverdi's work.
Opella Nova II (1626) consists of more emphasis on solo & duo voice parts with obligato instrumental accompaniment (tracks 3, 6, 12, 16) in the manner of a vocal concerto. Track #9 is from Cantional (1627) and presents the hymn in both a simple 4-part and more complex 5-part setting.
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Todd M. McComb