Johann Hermann Schein (20 January 1586 – 19 November 1630) was a German composer of the early Baroque era. He was born in Grünhain and died in Leipzig. He was one of the first to import the early Italian stylistic innovations into German music, and was one of the most polished composers of the period. On the death of his father, Schein moved to Dresden where he joined the choir of the Elector of Saxony as a boy soprano.
Thomaskantor (Cantor at St. Thomas) is the common name for the musical director of the Thomanerchor, now an internationally known boys' choir founded in Leipzig in 1212. The official historic title of the Thomaskantor in Latin, Cantor et Director Musices, describes the two functions of cantor and director. As the cantor, he prepared the choir for service in four Lutheran churches, Thomaskirche (St. Thomas), Nikolaikirche (St. Nicholas), Neue Kirche (New Church) and Peterskirche (St. Peter)
Johann Hermann Schein was clearly very sensitive to the timbres and expressive possibilities of the instruments he scored in these works.
Canzon à 6 (Schein, Johann Hermann). 1609 in Venus-Kränzlein (N. 4). Canzonas; For 6 instruments; Scores with open instrumentation; For 6 players; For orchestra (arr); For orchestra; Scores featuring the orchestra; For 3 lutes (arr); Scores featuring the lute; For 3 players; For 3 guitars (arr); Scores featuring the guitar. Johann Hermann Schein: Sämtliche Werke, 1 Bd. (p. 6-56) Leipzig: Breitkopf & Härtel, 1901.
Category:Johann Hermann Schein. Media in category "Johann Hermann Schein". The following 4 files are in this category, out of 4 total. Grünhain Nicolai-Kirche . pg 4,000 3,000; . 8 MB. Johann Hermann Schein 1620. jpg 956 1,219; 940 KB. Johann Hermann Schein. png 523 634; 94 KB. JohannSchein. php?title Category:Johann Hermann Schein&oldid 343044538".
Banchetto Musicle 1617.
Johann Hermann Schein’s Israelsbrünnlein, published in Leipzig in 1623, is a supreme achievement not only among the works of this composer, who had been Thomaskantor in Leipzig since 1616, but also for the entire body of German music written during the first half of the 17th century. Among the 26 motets written in the Italian madrigal manner 23 are settings of Old Testament texts, a fact to which the collection owes its title.