{"id":42890,"date":"2026-03-06T12:04:07","date_gmt":"2026-03-06T11:04:07","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=42890"},"modified":"2026-03-23T12:18:53","modified_gmt":"2026-03-23T11:18:53","slug":"protestant-polyphonies","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/protestant-polyphonies\/","title":{"rendered":"PROTESTANT POLYPHONIES"},"content":{"rendered":"\n

Before the genius of Johann Sebastian Bach blazed across the firmament of history, many talented creators shaped the character of German sacred music throughout the sixteenth and seventeenth centuries. One of the first composers to draw on Italian innovations in his work was Johann Hermann Schein (1586\u20131630). Although he never left his homeland, his diligent study of the works of Lodovico Viadana, among others, enabled him to absorb Italian principles of composition. He drew on this knowledge when writing madrigal motets collected in Israelsbr\u00fcnnlein<\/em>, in which he employed rhetorical figures, tone painting, textural contrasts, and interesting harmonic solutions, achieving a particularly unique kind of expression.<\/p>\n\n\n\n

He was not, however, the first composer to explore the possibilities of incorporating illustrative elements into works in the German language. The first to undertake this task was Leonard Lechner, born in South Tyrol in 1553, an outstanding pupil of Orlando di Lasso. He mastered the inner workings of his teacher\u2019s polyphonic craft while also drawing from the refined style of Italian madrigals. The combination of these inspirations with his individual sonic imagination and independence of thought enabled him to create deeply moving settings of German texts. The cycle of four- and five-voice works Deutsche Spr\u00fcche von Leben und Tod<\/em>, preserved in a manuscript from 1606, stands out for its originality, skillful use of polyphonic technique, and expressive means illustrating the text.<\/p>\n\n\n\n

The concert program also includes selected motets in stile antico<\/em> from Geistliche Chormusik<\/em> by Heinrich Sch\u00fctz (1585\u20131672). Considered the most important German composer before Bach, he included in this collection his own five-, six-, and seven-voice works, as well as German settings of motets by his master \u2013 Andrea Gabrieli. The excellent integration of the Italian style with the prosody of the native language is one of this composer\u2019s key achievements.<\/p>\n\n\n\n

The concert will conclude with the monumental motet Singet dem Herrn<\/em>, BWV 225, by Johann Sebastian Bach. Although written for two choirs accompanied only by basso continuo, thanks to its original technical solutions, it evokes the sound of an entire array of biblical instruments mentioned in the verses \u2013 drawn, among others, from Psalms 149 and 150 of David. The theological depth enclosed in musical form shapes \u2013 as John Eliot Gardiner aptly observed \u2013 \u201cthe most secular, dance-impregnated vocal music Bach ever wrote.\u201d<\/p>\n\n\n\n

Marta Dziewanowska-Pachowska<\/p>\n\n\n\n

<\/div>\n\n\n\n

PROGRAM<\/h4>\n\n\n\n

Johann Hermann Schein (1586\u20131630) \u2013 Selected madrigal motets from the collection Israelsbr\u00fcnnlein<\/em> (1623) <\/p>\n\n\n\n

O Herr, ich bin dein Knecht
Freue dich des Weibes deiner Jugend
Die mit Tr\u00e4nen s\u00e4en
Ich lasse dich nicht
Zion spricht: Der Herr hat mich verlassen<\/em><\/p>\n\n\n\n

Leonhard Lechner (1553\u20131606) \u2013 Deutsche Spr\u00fcche von Leben und Tod<\/em> (before 1606) <\/p>\n\n\n\n

Alles auf Erden\u2026
Auch Sonn, Mond und Sterne\u2026<\/em>
Wir Menschen reisen…<\/em>
Heint frisch, wohlm\u00e4chtig\u2026
In Gottes H\u00e4nden\u2026
Gedenk mit nichten\u2026
Wenn sich erschwinget\u2026
So \u00fcberfallen\u2026
Was jetzt im Laufen\u2026
Weil dann so unsteht\u2026
Wir w\u00f6llen kehren\u2026
Ihn f\u00fcrchten, lieben\u2026
Sein Gnad und G\u00fcten\u2026
Sein Hand wird retten\u2026
Nach diesem Leiden\u2026<\/em><\/em><\/p>\n\n\n\n

Heinrich Sch\u00fctz (1585\u20131672) \u2013 wybrane motety ze zbioru Geistliche Chormusik<\/em> (1648) <\/p>\n\n\n\n

Herr, auf dich traue ich<\/em>, SWV 377
Also hat Gott die Welt geliebt<\/em>, SWV 380
Die mit Tr\u00e4nen s\u00e4en<\/em>, SWV 378
Unser keiner lebet sich selber,<\/em> SWV 374
So fahr ich hin zu Jesu Christ<\/em>, SWV 379<\/p>\n\n\n\n

J. S. Bach \u2013 motet Singet dem Herrn ein neues Lied<\/em>, BWV 225 <\/p>\n\n\n\n

<\/div>\n\n\n\n

PERFORMERS<\/h4>\n\n\n\n

THE CHAMBER CHOIR OF THE POLISH ROYAL OPERA<\/strong><\/p>\n\n\n\n

JAKUB JASTRZ\u0118BSKI<\/strong> POSITIVE ORGAN<\/p>\n\n\n\n

RENATA SZCZYPIOR<\/strong> CONDUCTOR<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n\n\n\n

Duration: approx. 1h<\/p>\n","protected":false},"excerpt":{"rendered":"

Before the genius of Johann Sebastian Bach blazed across the firmament of history, many talented creators shaped the character of German sacred music throughout the sixteenth and seventeenth centuries. One of the first composers to draw on Italian innovations in his work was Johann Hermann Schein (1586\u20131630). Although he never left his homeland, his diligent […]<\/p>\n","protected":false},"author":15,"featured_media":35778,"template":"","meta":{"_acf_changed":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[],"cykle":[112],"sezon":[105],"class_list":["post-42890","repetoire","type-repetoire","status-publish","has-post-thumbnail","hentry","cykle-cantemus-season-2025-2026","sezon-2025-2026-2"],"acf":[],"yoast_head":"\nPROTESTANT POLYPHONIES - Polska Opera Królewska<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operakrolewska.pl\/en\/repetoire\/protestant-polyphonies\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"PROTESTANT POLYPHONIES - Polska Opera Królewska\" \/>\n<meta property=\"og:description\" content=\"Before the genius of Johann Sebastian Bach blazed across the firmament of history, many talented creators shaped the character of German sacred music throughout the sixteenth and seventeenth centuries. 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