O Herr, ich bin dein Knecht. Johann Hermann Schein. Dresden Chamber Choir, Hans-Christoph Rademann
Siehe, nach Trost war mir sehr bange
Johann Hermann Schein (20 January 1586 – 19 November 1630)
Dresden Chamber Choir, Hans-Christoph Rademann, conductor
No. 1 from Israelsbrünnlein, 1623 (26 Motets)
In the choral text, Herr is written. In the original it is written HErr to distinguish HErr ( Lord ) from Herr (mister).
Johann Hermann Schein’s Israels Brünnlein (Fountains of Israel), 1623 was dedicated to the Leipzig city government, is a set of sacred madrigals for five voices and continuo.“Nu danket alle Gott” is number 26 The printed music indicated further that they were composed “in a special graceful Italian madrigal manner.” A century before Bach, music in northern Germany came under the influence of a new and powerful musical language originating in Italy and perfected by Claudio Monteverdi. Obsessed with eloquence, rhetoric and the marriage of text to music, the Italian madrigal was the choice musical form of the day. Johann Hermann Schein, who held J.S. Bach’s position at the Thomas Kirche in Leipzig exactly 100 years before him, was one of three German composers (Schutz, Schein, Scheidt) who successfully adapted and converted this new form to fit the German language. Schein’s “Israelisbrünnlein” or “The Fountains of Israel”, written in 1623, is an exquisite and moving collection of madrigals written on biblical texts from the Lutheran Bible. Though relatively unknown, it is a seminally important work in German musical history that was the foundation for the uniquely German relationship between text and music that reached its zenith with the sacred works of Johann Sebastian Bach.
O Herr, ich bin dein Knecht,
deiner Magd Sohn.
Du hast meine Bande zurrissen.
Dir wil ich danckopfern;
und des Herren Namen predige.
O Lord, I am your servant,
the son of your handmaid.
You have broken my bonds.
To you I will offer thanksgiving sacrifices;
I will call on the name of the Lord.
#history #JohannSchein
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