LE CONCERT BRISE - The Art of Heinrich Scheidemann (2016)
Artist: LE CONCERT BRISE
Title: The Art of Heinrich Scheidemann
Year Of Release: 2016
Label: Accent Records
Genre: Classical
Quality: FLAC (tracks+booklet)
Total Time: 68:11 min
Total Size: 366 MB
WebSite: Album Preview
Title: The Art of Heinrich Scheidemann
Year Of Release: 2016
Label: Accent Records
Genre: Classical
Quality: FLAC (tracks+booklet)
Total Time: 68:11 min
Total Size: 366 MB
WebSite: Album Preview
Tracklist:
01. Praeambulum in D Major, WV 33 (Arr. for Organ)
02. Surrexit pastor bonus, WV 10 (After H.L. Hassler) [Arr. for Cornet & Organ]
03. Dic nobis Maria, WV 51 (After G. Bassano) [Arr. for Violin, Cornet & Organ]
04. Benedicam domino, WV 48 (After M. Praetorius) [Arr. for Chamber Ensemble]
05. In dich hab ich gehoffet, Herr, WV 8 (Arr. for Chamber Ensemble)
06. Fuga in D Minor (Arr. for Organ)
07. Alleluia, Laudem dicite nostro, WV 45 (After H.L. Hassler) [Arr. for Violin, Cornet & Organ]
08. Jesus Christus, unser Heiland, WV 10 (Arr. for Recorder, Cornet & Organ)
09. Verbum caro factum est, WV 56 (After O. di Lasso) [Arr. for Violin & Organ]
10. Dixit Maria ad angelum, WV 52 (After H.L. Hassler) [Arr. for Cornet & Organ]
11. Betrübet ist zu dieser Frist, WV 104 (Arr. for Organ)
12. Englische Mascarada oder Judentanz, WV 108 (Arr. for Chamber Ensemble)
13. Paduana lachrymae, WV 106 (After J. Dowland) [Arr. for Recorder & Organ]
14. Galliarda in D Minor, WV 107 (Arr. for Chamber Ensemble)
Heinrich Scheidemann (1596-1663), student and follower of Jan Pieterszoon Sweelinck, was organist at St. Catherine’s Church in Hamburg from 1629 until his death. Mere traces of his music have survived in manuscript form that were transcribed from performances. A reason for Scheidemann’s oeuvre being nearly forgotten may be the high technical standard required for the execution of his music. Due to his talent for improvisation, Scheidemann wrote very virtuosic compositions emerging from various musical works in which seriousness and exuberance play side by side. The improviser’s demeanour can be felt in every note of these compositions. For contemporary musicians dealing with early music, a composition merely represented a framework upon which the musicians could improvise. In order to appreciate Scheidemann’s masterpieces of diminution and improvisation, William Dongois and Le Concert Brisé presents a programme with adaptations of his works on the present CD. The arrangement became a rewriting but one in which the basic form and intention of the original was never discarded.