Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Click cover art to view larger version
Track(s) taken from CDH55373
Recording details: November 2000
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: May 2001
Total duration: 10 minutes 53 seconds

Cover artwork: The Leipzig Thomaspforte (c1790) by an unknown artist
AKG London
Lobe den Herrn, meine Seele  [10'53]


'Charming music from one of Bach’s 17th-century predecessors as Kantor of the Thomaskirche, Leipzig. Strongly recommended' (Gramophone)

'The choral blending is fresh, vital and alert, with particularly alluring contributions from the soprano voices. The big brass arsenal is arresting and provides an effective foil for the more contemplative pieces. Thanks, King and Co' (BBC Music Magazine)

'This important recording is fine proof of Schelle’s imagination and invention … Robert King should be congratulated for an outstanding espousal of another of Bach’s forebears' (Early Music Review)

'I feel unusually evangelical about this new disc. Its riches are thrillingly overt: the music radiates a glowingly optimistic sense of spirituality comparable with the most outgoing of Bach’s later cantatas' (International Record Review)

'The man who is gifting this superlative disc to his friends is doing them the greatest favor imaginable. It contains an absolute treasure trove whose only common denominator is the high quality throughout every one of these nine works … King's fervent espousal of Schelle's marvelous music is apparent in every bar of this flawless disc' (Fanfare, USA)

'The King’s Consort are on top form throughout. Highly recommended' (The Organ)

'Anyone who has yet to investigate King's indispensable 'Bach's Contemporaries' should rectify the omission without a moment's further ado. Start with this treasure of a disc, then investigate the Kuhnau, Knüpfer and Zelenka. By that time you'll be ready to get down onto your knees and pray for further additions to the series' (Goldberg)
This is an imposing twenty-five-part setting of the first five verses of Psalm 103, Lobe den Herrn, meine Seele (‘Praise the Lord, my soul’). The glory of the musical setting indicates a special occasion. As the work is already mentioned in a music inventory from 1688, it was probably composed in the first decade of Schelle’s tenure as Thomaskantor. One event during this time was the thanksgiving on 16 September 1683, for victory over the Turkish army, which had besieged the imperial capital of Vienna for nine weeks. The Saxon electoral prince Johann Georg III had been involved in the liberation and had ordered a national celebration for his return to Dresden. One Leipzig chronicle reports that during the celebratory service in St Thomas, after the solemn official sermon, ‘a beautiful music’ was played—maybe this setting of the Psalm by Schelle. The alternating tutti and solo sections display a similarity with the Venetian Psalm settings of Johann Rosenmüller. Towards the end of the piece the first verse is repeated textually and musically, thereby creating a formal rounding off before the work closes with a concise Alleluia-fugue.

from notes by Peter Wollny © 2001
English: Viola Scheffel

Lobe den Herrn, meine Seele («Loue le Seigneur, mon âme») est une œuvre imposante à 25 voix sur les cinq premiers versets du Psaume 103. La nature glorieuse et solennelle de la musique est certainement le signe d’un événement particulier. Étant donné qu’elle est répertoriée dans l’inventaire de 1688, elle a probablement été composée durant les dix premières années de son poste de cantor à l’église Saint-Thomas. Un des événements marquants de cette période se déroula le 16 septembre 1683 quand une action de grâces fut rendue pour la victoire sur l’armée turque qui avait assiégé Vienne pendant neuf semaines. Le Prince électeur de Saxe, Johann Georg III avait pris part à la libération de la capitale impériale et avait pour son retour à Dresde ordonné à tous une fête nationale. Un chroniqueur leipzigois rapporte que durant le service commémoratif de Saint-Thomas, après la solennité du sermon officiel, on joua «une musique d’une grande beauté»—peut-être le psaume de Schelle. Les sections tutti et solo alternent à la manière des psaumes vénitiens de Johann Rosenmüller. Peu avant la conclusion, le texte et la musique du premier verset sont repris, parachevant ainsi la forme avant que ne soit finalement entonné un alléluia-fugue concis.

extrait des notes rédigées par Peter Wollny © 2001
Français: Isabelle Battioni

Lobe den Herrn, meine Seele is eine imposanten 25stimmigen Vertonung der ersten fünf Verse von Psalm 103. Die Prächtigkeit der Besetzung läßt an einen besonderen Anlaß denken. Da das Werk bereits in einem Musikalieninventar von 1688 genannt ist, dürfte es im ersten Jahrzehnt von Schelles Leipziger Tätigkeit entstanden sein. Ein in diese Zeit fallendes Ereignis war das am 16. September 1683 gefeierte Dankfest anläßlich des Sieges über das türkische Heer, das die kaiserliche Residenzstadt Wien neun Wochen lang belagert hatte. An der Befreiung hatte sich auch der sächsische Kurfürst Johann Georg III. beteiligt, der bei seiner Rückkehr nach Dresden eine landesweite Feier anordnete. Eine Leipziger Chronik berichtet, daß anläßlich des Festgottesdienst in der Thomaskirche nach der feierlichen Amtspredigt „eine schöne Music“ erklang—möglicherweise also diese Psalmvertonung Schelles. Das Werk ähnelt in seinem Wechsel vollstimmiger und solistischer Abschnitte den venezianischen Psalmvertonungen Johann Rosenmüllers. Gegen Ende des Stücks wird der erste Vers textlich und musikalisch wieder aufgegriffen und schafft so eine sinnfällige formale Abrundung, bevor das Werk mit einer knappen Alleluia-Fuge schließt.

aus dem Begleittext von Peter Wollny © 2001


There are no matching records. Please try again.