Author Topic: Sweelinck’s pupils: Scheidemann, Jacob Praetorius, Scheidt, Siefert, Schildt  (Read 535 times)

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Online Mandryka

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Scheidemann’s music sounds well on this 2009 organ, and Joseph Rassam’s playing is perfectly tasteful. The registrations are contrasted enough to make the counterpoint very clear, but he never lapses into tawdry symphonic colours; he manages to make the music sing, dance and pray,  without ever lapsing into  fausse naïveté.

Booklet is here for anyone like me who listens to a stream.

https://issuu.com/klassiek.nl/docs/digital_booklet_scheidemann_keyboar

The sound quality is very good.

I haven’t listened to the music on virginal/harpsichord properly yet. The instruments he chose are excellent.
« Last Edit: June 03, 2018, 06:52:44 AM by Mandryka »
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Offline 71 dB

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Sweelinck’s pupils include also Andreas Düben (1597-1662) and there are two Scheidts, Samuel (1587-1654) and Gottried (1593-1661).
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Online Mandryka

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Sweelinck’s pupils include also Andreas Düben (1597-1662) and there are two Scheidts, Samuel (1587-1654) and Gottried (1593-1661).

Thanks for mentioning Andreas Düben, your mentioning it has led me to what is, I think, a  fine discovery from the point of view of music, organ (Norrfjärden) and performance



Andreas DÜBEN Praeludium Pedaliter Wo Gott der Herr nicht bei uns hält
Melchoir SCHILDT Gleichwie das Feuer Paduaria Lachnymae
Gustav DÜBEN Suite in D minor
A & M DÜBEN Allein Gott in der Höh sei Ehr
Martin DÜBEN Praeluium Erstanden ist der heiley Christ
ANONYMOUS Frantzösches Liedelein
J.R. RADECK Engellischer Mascharada Courant. Sarand
H. SCHEIDEMANN Englische Mascarada oder Judentanz
M. DÜBEN Praembulum Pedaliter
G. DÜBEN (?) Nun lob, mein Seel, den Herren.
« Last Edit: June 03, 2018, 11:10:22 AM by Mandryka »
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Offline 71 dB

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Thanks for mentioning Andreas Düben, your mentioning it has led me to what is, I think, a  fine discovery from the point of view of music, organ (Norrfjärden) and performance



Andreas DÜBEN Praeludium Pedaliter Wo Gott der Herr nicht bei uns hält
Melchoir SCHILDT Gleichwie das Feuer Paduaria Lachnymae
Gustav DÜBEN Suite in D minor
A & M DÜBEN Allein Gott in der Höh sei Ehr
Martin DÜBEN Praeluium Erstanden ist der heiley Christ
ANONYMOUS Frantzösches Liedelein
J.R. RADECK Engellischer Mascharada Courant. Sarand
H. SCHEIDEMANN Englische Mascarada oder Judentanz
M. DÜBEN Praembulum Pedaliter
G. DÜBEN (?) Nun lob, mein Seel, den Herren.

You're welcome. I didn't know that CD, but I have this:


The problem with these rather obscure baroque composers is that more often than not only a few minutes or their music has survived to us. So, you can fit "complete" works by half dozen composers on one CD.  ::) It seems three short organ works just over 10 minutes in all we have from Andreas Düben.  :-X
Spatial distortion is a serious problem deteriorating headphone listening.
Crossfeeders reduce spatial distortion and make the sound more natural
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Offline XB-70 Valkyrie

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Interesting. I will certainly look into these. I am glad someone gives a Scheidt about this music.

We need another thread (resurrect an old one?) about Sweelinck himself. For months now, I have been enamored by the Radio Netherlands (purple box) set of his complete keyboard works played on various organs and harpsichords. I would like to hear some of this on clavichord and (heresy) piano. Obviously there is the Glenn Gould, but I would be interested in hearing others on piano and possibly playing some myself.

(further OT) I have also been listening to the Sweelinck psalms, and, although exquisitely crafted, these are harder for me to enjoy. For one thing, I don't think that they were written to be listened to back to back for very long.
« Last Edit: June 04, 2018, 03:08:56 PM by XB-70 Valkyrie »
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Offline Marc

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Online Mandryka

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There are three recordings which contain substantial amounts of music by Melchior Schildt, played by Leon Berben, Annette Richards and Friedhelm Flamme. All three bring their own slants on this attractive music.

All of these recordings contain fillers by other composers, there just isn’t enough music available by Schildt to fill a whole CD.

By temperament Schildt had a reputation for being a fiery, violent and difficult character, with strong and sometimes rather eccentric views. None of this comes out in the performances on these recordings, for better or for worse.






Once I start listening to this recording of music by Melchior Schildt played by Leon Berben at the Tangermünde Scherer, I can’t stop. This is mainly because the music, which, benefits IMO very much from the meantone tuning of the organ, is coloured with dusky shades of grey by Berben. The recording quality is wonderfully soft and sweet, it’s a great piece of sound engineering. The music is affecting, as befits the reputation of the composer. The interpretations are articulate, but not IMO overly so. I very much enjoy this recording,



The playing here by Annette Richards is also  commendable.It lacks the interior nuanced quality of Berben’s shades of grey - like a Rembrandt etching -  which I find irresistible. But it is partly compensated for by her choices of bright and contrasted colours. The organ at Roskikde, which no doubt Schildt knew, is equally tuned, and I wonder whether it would have been in his day.




Friedhelm Flamme choses the organ at St.-Bartholomäus-Kirche in Dornum Germany. His registrations, and indeed his performances, show a sort of unnuanced and unsubtle nativity, he simplifies the music sometimes and giving it a quasi-folkloric quality. This is the recording I find the least rewarding of the three, I don’t like it.

« Last Edit: June 04, 2018, 10:07:23 PM by Mandryka »
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Offline Que

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What can I say?

I greatly admire Léon Berben and thoroughly dislike Friedhelm Flamme, so you must be right on the mark... :D

Q
À chacun son goût.

Online Mandryka

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I want to make a post in praise of Julia Brown, whose Scheidemann vol 4 I’ve been enjoying all day.

The first thing to say about her is that she is spiritual, which is exactly what this CD of mostly liturgical music needs. She plays slowly and expressively, so the complexity and the expressive profundity of the music can be savoured. She is brilliant at registration, the registrations are sweet and colourful, but her genius consists less in that than in her knack for using registration to enhance the musical affects.

The spirituality which I talked of must come from this combination of expressiveness and just tempi. She makes the music seem  to be, paradoxically, both alive and both still. The still point of the turning  world.

Pupil of Wolfgang Rubsam, you can hear his influence I think, both in the desire to be  expressive  and to avoid trying to impress with virtuosity - she’s not a musician for people who want a quick thrill. You can also hear it in her tempos, and, occasionally, in her rhythmic rubato.

(Is this the way to play Stylus Fantasticus, the way to play Buxtehude? The question remains unanswered, but it has to be an interesting avenew to explore.)

And the music - well it contains two magnificats which Julia Brown makes sound like summits of the form to me. Scheidemann is every bit the equal of Sweelinck at echoes in the 5th.  Fabulous organ too boot, with pipes which sound almost old, pipes with character.

« Last Edit: August 13, 2018, 12:23:16 PM by Mandryka »
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Offline (: premont :)

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The playing here by Annette Richards is also  commendable.It lacks the interior nuanced quality of Berben’s shades of grey - like a Rembrandt etching -  which I find irresistible. But it is partly compensated for by her choices of bright and contrasted colours. The organ at Roskikde, which no doubt Schildt knew, is equally tuned, and I wonder whether it would have been in his day.

No, it is tuned unequally with four pure fifths, according to the Marcussen page here;

http://marcussen-son.dk/orgler/roskilde-domkirke-·-hovedorgel/


« Last Edit: August 13, 2018, 01:03:16 PM by (: premont :) »
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Online Mandryka

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No, it is tuned unequal with four pure fifths, according to the Marcussen page here;

http://marcussen-son.dk/orgler/roskilde-domkirke-·-hovedorgel/

Well done, I was confusing it with the choir organ

http://marcussen-son.dk/en/orgler/roskilde-domkirke-%C2%B7-choir-organ/
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Online Mandryka

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Elke Bestehorn plays Scheidt's Varum Betrubst du Dich mein Herz, from the Tabulatura Nova, on the Compenius organ. It's outstanding. I think there's only one other recording of this, by Zerer in Kantens, where he uses some imaginatively colourful  registrations and is quite introspective through most of it. Bestehorn seems very much "in the zone" - she communicates an infectious sense of her joy in performance, and that's good.  As far as I can see Raml didn't record this one.

Going back to the Scheidt again I feel the same way about Bestehorn. However I have found Raml’s recording, and a beautiful performance of about half of the verses by Harald Vogel. And one I didn’t like at all, by Helmut Walcha.



I feel sufficiently inspired by the way Vogel plays Scheidt to want to seek out his other recording at the Aa church, does anyone have it? Can I have an upload?

« Last Edit: August 23, 2018, 01:52:02 AM by Mandryka »
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