Johann Hermann Schein, Cantus Cölln, Konrad Junghänel - Israels Brünnlein, Opella Nova II album flac

Complete your Johann Hermann Schein, Cantus Cölln, Konrad Junghänel collection.

Konrad Junghänel (born 27 February 1953) is a German lutenist and conductor in the field of historically informed performance, the founder and director of the vocal ensemble Cantus Cölln. Junghänel studied at the Hochschule für Musik und Tanz Köln. He has given solo concerts internationally and has worked with ensembles such as Les Arts Florissants, La Petite Bande, Musica Antiqua Köln and Tafelmusik Baroque Orchestra. As a lutenist, he recorded works by Jacques Bittner in 1984.

Schein: Israels Brünnlein, Etc, Junghänel, Cantus Cölln. Label: Dhm Deutsche Harmonia Mundi Catalog: 77359 Release Date: 06/02/2008 Number of Discs: 1. Composer: Johann Hermann Schein Performer: Konrad Junghänel Conductor: Konrad Junghänel Orchestra/Ensemble: Cantus Cölln. Composer: Johann Pachelbel, Johann Michael Bach, Johann Christoph Bach Performer: Christoph Anselm Noll Conductor: Konrad Junghänel Orchestra/Ensemble: Cantus Cölln Recommendation.

Schein: Israels Brünnlein. Schein: Vom Himmel hoch, da komm' ich her. Konrad Junghänel. Schein: Opella Nova II. Schein, Johann Hermann (1586-1630). Schein: Israels Brünnlein. Conductors. Groups & Artists.

Cantus Cölln, Konrad Junghänel, Albert: Musikalische Kürbisblüte. Germany's Konrad Junghänel identifies himself primarily as a lutenist, and it was in that capacity that he first became known for sheer virtuosity combined with mastery of style and ornamentation technique. His lute repertory, centered on the German Baroque standards of Silvius Leopold Weiss (whose complete works he has recorded to critical and prize-committee acclaim) and .

All about Schein: Israels Brünnlein/Opella Nova II by Johann Hermann Schein. Schein: Israels Brünnlein/Opella Nova II. by Johann Hermann Schein.

Johann Hermann Schein was one of the most famous predecessors of Johann Sebastian Bach as Thomaskantor in Leipzig. Like Bach he was very much interested in and influenced by the Italian music of his time, although neither of them were ever in Italy. The similarity stretches further with each aiming at combining the contemporary Italian style with traditional polyphony. This comes to the fore particularly in his Opella Nova, a collection of sacred concertos from 1618. Several pieces in Fontana d'Israel contain episodes for two or three voices, and here Schein resorts to the concertato style as well. The main feature of these sacred madrigals is the expression of the text.