Grove's dictionary of music and musicians

6
256 SCHEIN SCHELBLE
Sohein is chiefly known to later times by
his 'Cantional,' first published in 1627. Its
original title is 'Cantional oder Gesangbuch
Augspurgischer Confession, in welohem des
Herrn D. Martini Lutheri vnd anderer frommen
Christen, auch des Autoris eigne Lieder vnd
Psalmen. . . . So im Chur- vnd Fiirstenthiimern
Sachsen, insonderheit aber in beiden Kirohen
und Gemeinen allhier zu Leipzig gebriiuchlioh,
verfertiget und mit 4, 5, 6 Stimmen componirt.'
A second (enlarged) edition appeared in
1645 after Schein's death. As the title shows,
it consists of Choral-melodies, both old and
new, harmonised for ordinary church use,
mostly note against note. Schein himself
appears in this book in three capacities, viz.
as poet, melodist, and harmonist. Of the 200
and odd Choral-melodies in the book about 80
are Schein's own, a few of which have still held
their ground in modern chorale books, though
some appear to be attributed to him by mistake.
Schein's book differs from Criiger's similar book
of later date (1 6 48) in retaining the old irregular
rhythm of Choral-melodies, while Crilger has
transformed their rhythms according to more
modern ideas. But if Schein still retains the
old rhythm in the melodies, in his harmonies
he has almost entirely lost, as Winterfeld points
out, the feeling for the peculiarities of the old
church modes in which those melodies are
written, though otherwise his harmonies are
serious and dignified. With Michael Praetorius
and Heinrich Schiitz, and probably through
their influence, Schein was one of the pioneers
in Germany of the new movement in music
proceeding from Italy at the beginning of the
17th century. Naturally his other works
show this more plainly than the ' Cantional,' as
many of them are avowedly written in imitation
of Italian models. These other works are as
follows :—
1. Venus-Kiiinzlein mittallerley lieblichen und acbonen Blumen
gezieret und gewunden, Oder Neue Weltliche Lieder mit 5 Stimmen,
neben etlichen Intraden, Oagliarden, und Canzonen . . . Leipzig,
1609. Thia worlc constats of sixteen secular stropliic aouga a 6
and one a 8, in tlie aimpleat Italian canzonetta atyle, homoplionlc
ttarouglioat, besides eigbt instrumental pieces a 5 and 6.
2. Gymbalum Sionium siye Cautiones Sacrae 5, 6, 8, 10 et 12
Tocum. Leipzig, 1615. This work contains thirty sacred motets,
some to Latin texts, some to German, besides an instrumental
canzone a 5 as Corollarium.
3. BanchettoMusicale,neueranmutbigerPadouanen, Gagliaiden,
Courenten und Allemanden a fi auf allerley Instrumenten, beporans
auf Violen nicht ohne sonderbare gratia lieblicb und lustig zu
gebrauchen . . . Leipzig, 1617. This woT^L was dedicated to Dulre
Jobann Ernst of Weimar, and contains twenty instrumental suites
consisting of Paduanas, Oagliardas, Courentes a S and Allemande
and Tripia a 4, with two seP'irate pieces at the end,
4. Opella Nova, erster Theil Geistlicber Concerten mit 3, 4 und 5
Stimmen zusampt dem Oeneral-Bass auf jetzo gebr^uchllche Italienische
Invention ,componlrt, Leipzig, 1618. This work contains
thirty sacred compositions on German texts in the new Italian
style, with Instrumental basso coutlnuo, which, however, seems to
be purely ad libitum.
5. Musica Boscareccia, Waldliederlein auf Italian-Vlllanellische
Invention, Beides fUr slch alleln mit lebendiger Stiih, Oder in ein
Clavicembel, Spinet, Tlorba, Lauten, etc. This work appeared in
three parts published In 1621, 1626. 1628 respectively, and contains
altogether fifty secular compositions a 3 on poems by Schein himself
written in the artificial pastoral style of the time. These pieces
are more polyphonic in their character than those of the 'Venus-
Krttnzlein,' and, as the title indicates, they may be sung by voices
alone or with the substitution of instruments for one or other of
the vocal parts or instrumental accompaniment generally. A new
edition of the work appeared in 1644, with the substitution of sacred
texts for the original secular.
6. 5'ontana d' Israel, Israels Brilnlein auserlesener Kraft-sprilchleln
altes und neuen Testaments von 5 und 6 Stimmen sambt dem
General Basa auf eine sonderbare anmutlge Italian-Madrigalische
Manier sowol filr sich alleln mit lebendiger Stim und Instrumenten
als auch in die Orgel Clavicembel bequemlich zugehniuchen. Leipzig
162S This work consists of twenty-six sacred pieces a 6 and 6,
on 'German texts, composed in the later freer Madrigal atyle of
Monteverde and others, allowing greater boldness of harmonic
7 Dlletti pastorali, Hirten Lust von 5 Stim. zusampt dem
General-Bass auf Madrigal Manier, Leipzig, 1624. IB Nos.
8. Studenten-SchmauB a 5. Leipzig, 1626. 5 Nos.
Besides these works, and the Cantional of
1627, the Quellen-Lexikon enumerates a large
number of occasional compositions for weddings
and funerals, many of which, however, Schein
himself incorporated into the publications above
specified.
In 1895 Herr Arthur Priifer published a.
monograph on Schein'S Life and Works, by
way of preparation for a complete edition of
his works, two volumes of which have since
appeared, containing the Venus ' -Kranzlein,'
'Banchetto Musicale,' and 'Musica Boscareccia.'
J. R. M.
SCHELBLE, JohannNbpomuk, a thoroughly
excellent and representative German musician,
born May 16, 1789, at Hiifingen, in the Black
Forest, where his father was superintendent of
the House of Correction. His strict musical
education was begun in a Monastery of Marchthai
1 800-3 ; and continued at Bonaueschingen,
under Weisse. He then spent some time, first
with Vogler at Darmstadt, and then with Krebs,
a distinguished singer at Stuttgart, and there, in
1812, he filled the post of elementary teacher
in the Eoyal Musical Institution, a very famous
and complete school of those times.' In 1813 he
went to Vienna, lived in intimate acquaintance
with Beethoven, Moscheles, Weigl, Spohr, etc.,
composed an opera and many smaller works,
and went on the stage, where, however, his
singing, though remarkable, was neutralised by
his want of power to act. From Austria in 1 8 1
he went to Frankfort, which became his home.
Here the beauty of his voice, the excellence of
his method, and the justness of his expression,
were at once recognised. He became the favourite
teacher, and in 1817 was made director of the
Musical Academy. This, however, proved too
desultory for his views, and on July 24, 1818,
he formed a Society of his own, which developed
into the famous Caecilian Society ' ' of Frankfort,
and at the head of which he remained till his
death. The first work chosen by the infant
institution was the ' Zauberflote ; '
then Mozart's
Keqiiiera ; then one of his Masses ; and then
works by Handel, Cherubini, Bach, etc. In
1821 the Society assumed the name of the
Cacilienverein
'
; the repertoire was increased
'
by works of Palestrina, Scarlatti, and other
Italian masters, and at length, on March 10,
1828, Mozart's 'Davidde penitente' and the
Credo of Bach's Mass in B minor were given
then. May 2,
;
1829 (stimulated by the example
of Mendelssohn in Berlin), the Matthew Pas-
1 See the A.M.Z. 1812, p. 334.