Reviewed by Steven Whitehead

Along with his colleagues Schütz and Schein, Samuel Scheidt belongs to the "three great Schs", whose compositions spread from Middle Germany and influenced early German Baroque. Whereas Schütz was rediscovered from the end of the 19th century, Schein and Scheidt are still not widely known. Apart from two years of study with Jan Pieterszoon Sweelinck in Amsterdam, Scheidt spent his entire life in his native city of Halle. He became court organist in 1609 and court conductor 10 years later. Despite the ravages of the Thirty Years War and resulting sieges, epidemics, and little means of making a living, Scheidt managed to get many of his compositions printed and distributed. The Ensemble I Sonatori and the tenor Knut Schoch here present a selection of religious concertos from across the liturgical year. They offer a pleasant insight into the vocal religious works of this hitherto little-known contemporary of Heinrich Schütz. Along with some even more obscure contemporaries in Melchior Franck, Johann Erasmus Kindermann and Andreas Hammerschnidt. Stylistically all are much of a muchness, no doubt reflecting their shared time and place. If you enjoy the music of Schütz to the point that you cannot get enough then you are sure to appreciate this collection but if it sounds too specialist for you then it probably is. Knut Schoch has a pleasant voice and sings very well and is supported by the early music consort I Sonatori ("The Players"), featuring Isolde Kittel-Zerer on organ. Indeed the instrumental pieces are just as enjoyable as the songs including some sprightly canons that I am sure Bach would have liked if ever he heard them. And there's the rub. Outside of 17th century Halle does anyone know Samuel Scheidt? All credit to I Sonatori and their record label Christophorus for giving us the opportunity to make his acquaintance but, in the overall scheme of things, Scheidt will not replace Schütz in anyone's musical hierarchy and neither of them can hold the proverbial candle to Johann Sebastian Bach.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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