A curious aspect of Scheidemann’s œuvre is the presence of a dozen, very fine, colorations (transcription/arrangements) of vocal motets at a time when this previously widespread practice, in which the original counterpoint is more or less dissolved into runs and other figuration, was already dying out.

Among them are two manualiter pieces, based upon the ebullient six-voice ‘Benedicam Dominum in omni tempore’ by Hieronymus Praetorius and the deeply felt five-voice ‘Omnia quae fecisti nobis Domine’ by Lassus. So much of Scheidemann’s writing, featuring a plain cantus firmus or a solo coloratura treatment, depends on tonal and often textural contrast (however slight) between two manuals, and/or between manual(s) and pedal – or upon the ability of the pedal to take a bass line – that it is interesting to see how masterfully he can also work in a more integrated texture (and a fuller one, since he normally writes in no more than four voices), whether working from a more declamatory (Praetorius) or a somewhat more imitative (Lassus) original. In each case I think his treatment has only heightened the Affekt of the music.

Omnia quae fecisti nobis Domine

Omnia quae fecisti | nobis Domine. a 5 | Orland: Manualiter |

Henrici Scheidem: ||

Finis | Comp Ao 1635 | H. S M.
  Zellerfeld Tablature Ze1

  (Hieronymus Jordan, Braunschweig, ca 1635–45?)

after Orlando di Lasso, ‘Omnia quae fecisti nobis Domine’
  Sacrae cantiones quinque vocum  (Nürnberg 1562)

In the case of ‘Omnia quae fecisti’ that Affekt is a most dolorous one, suited to our present circumstances even if the theology behind it is not (I think the Lord has little need to send plagues upon humanity, who generally do a fine job of bringing disaster upon ourselves). The text is taken from the Prayer of Azariah in the Greek version of Daniel; it serves as the Introit on the XX. Sunday after Pentecost in the traditional Roman Rite: 

All that you have brought upon us, O Lord, you have wrought in righteous judgement: for we have trespassed against you, and your commandments we have not obeyed. But give glory to your Name, and deal with us according to the bounteousness of your loving kindness and mercy.

I have speculated elsewhere that an extraordinary set of chorale variations (‘Mensch, willst du leben seliglich’) by Scheidemann – unusually, dated in the source – might have been inspired by the end of the Thirty Years’ War (1647). The present work is also dated: 1635, the year in which the Peace of Prague, ending part of that conflict in Germany, was signed. Could this event, and a reflection on the destruction and misery left in the wake of war, have prompted the choice of this motet, with its theodical text, and the creation of such a particularly beautiful piece?

Benedicam Dominum

Benedicam | Hier: Praet: | Coll: ab .H.S.M. |

  Manualiter.
  Lüneburg Tablature KN 209

  (Heinrich Baltzer Wedemann, Lüneburg, ca 1660s–70s)

  after Hieronymus Praetorius, ‘Benedicam Dominum in omni tempore’
  Cantiones sacrae de festis praecipuis totius anni  (Hamburg 1622)

In the case of ‘Benedicam Dominum’, the Affekt is clearly one of great joy. The text is Psalm 34.1–3 –

I will bless the Lord at all times;

his praise shall ever be in my mouth.

I will glory in the Lord;

let the humble hear and rejoice.

Proclaim with me the greatness of the Lord;

let us exalt his Name together.

– to which Praetorius added an Alleluia; in addition to all the other keyboard figurations enriching the originally mostly homophonic texture, Scheidemann further enlivens the already lively repeated five-note cascades which set the Alleluias to bring the piece to a brilliant close.
program notes
