Concert from the CANTEMUS series! Before the genius of Johann Sebastian Bach shone on the firmament of history, during the 16th and 17th centuries many talented creators shaped the image of German sacred music. One of the first composers to draw on Italian innovations in his work was Johann Hermann Schein (1586–1630). Although he never left his homeland, careful studies of, among others, the works of Lodovico Viadana allowed him to absorb principles from Italy. He drew on this knowledge when writing madrigal motets, collected in Israelsbrünnlein, in which he applied rhetorical figures, sound-painting, textural contrasts and interesting harmonic solutions, achieving a particular kind of expression. The first to explore the possibilities of incorporating illustrative elements into works in the German language was Leonhard Lechner (1553–1606), an outstanding pupil of Orlando di Lasso. He mastered the secrets of his master's polyphonic craft while also drawing from the refined style of Italian madrigals. The combination of these inspirations with an individual sonic imagination and independence of thought allowed him to create moving settings of German texts; the cycle Deutsche Sprüche von Leben und Tod contained in a 1606 manuscript stands out for its originality and skilful use of polyphonic technique and text-illustrating means. The programme also includes selected motets in stile antico from Heinrich Schütz's (1585–1672) Geistliche Chormusik. Considered the most important German composer before Bach, he included in this collection his own 5-, 6- and 7-voice works, as well as German arrangements of motets by his master Andrea Gabrieli. The excellent integration of the Italian style and the prosody of the native language is one of this composer's key achievements. The concert will conclude with the impressive motet Singet dem Herrn BWV 225 by Johann Sebastian Bach. Although intended for two choirs accompanied only by basso continuo, thanks to original technical solutions it evokes the sound of the full range of biblical instruments mentioned in the verses taken, among others, from the Davidic psalms nos. 149 and 150. The theological depth enclosed in musical form shapes — as John Elliot Gardiner aptly observes — "one of the most joyful, dance-suffused vocal works Bach ever wrote." PROGRAM: Johann Hermann Schein (1586–1630) — selected madrigal motets from the collection Israelsbrünnlein (1623): - O Herr, ich bin dein Knecht - Freue dich des Weibes deiner Jugend - Die mit Tränen säen - Ich lasse dich nicht - Zion spricht: Der Herr hat mich verlassen Leonhard Lechner (1553–1606) — Deutsche Sprüche von Leben und Tod (before 1606): - Alles auf Erden… - Auch Sonn, Mond und Sterne… - In Gottes Händen… - Gedenk mit nichten… - Wenn sich erschwinget… - So überfallen… - Was jetzt im Laufen… - Weil dann so unsteht… - Wir Menschen reisen… - Heint frisch, wohlmächtig… - Wir wöllen kehren… - Ihn fürchten, lieben… - Sein Gnad und Güten… - Sein Hand wird retten… - Nach diesem Leiden… Heinrich Schütz (1585–1672) — selected motets from Geistliche Chormusik (1648): - Herr, auf dich traue ich, SWV 377 - Also hat Gott die Welt geliebt, SWV 380 - Die mit Tränen säen, SWV 378 - Unser keiner lebet sich selber, SWV 374 - So fahr ich hin zu Jesu Christ, SWV 379 J. S. Bach — motet Singet dem Herrn ein neues Lied, BWV 225 PERFORMERS: Chamber Choir of the Polish Royal Opera Jakub Jastrzębski — positive organ Renata Szczypior — conductor Place: Evangelical-Augsburg Church of the Holy Trinity, Plac S. Małachowskiego 1, Warsaw Duration: approx. 1 h If you have any questions, we are available at the event or by phone: +48 500 309 424 (Monday to Friday, 9:00–17:00)
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