James Russell Milne, A Dictionary of Music and Musicians (1900)
“ In this work Schein gives up the basso continuo, and goes back to the more purely vocal style of the old madrigal, permitting himself however the bolder harmonic license of the new style of Monteverde and other Italians. Wherever the words seem to justify his doing so, the composer delights in using unprepared discords, and discords without resolution, with perhaps too much straining after passionate expression. ”
James Russell Milne, A Dictionary of Music and Musicians (1900)
“ SCHROETER, Leonard, born at Torgau towards the middle of the 16th century, became Cantor of the Cathedral of Magdeburg about 1564, in succession to Callus Dressler, also a composer of some importance. Schroeter's chief work is 'Hymni Sacri,' Erfurt, 1587, and consists of 4- and 5-part settings of those Latin Church Hymns which had also been received into the worship of the Lutheran Church. Winterfeld says of these hymns, that they belong to the best musical works of the time; the harmony is rich, clear, and dignified, and shows an unmistakeable advance on the path of the older masters. ”
James Russell Milne, A Dictionary of Music and Musicians (1900)
“ With Michael Praetorius and Heinrich Schütz, and probably through their influence, Schein was one of the pioneers in Germany of the new movement in music proceeding from Italy at the beginning of the 17th century. Naturally his other works show this more plainly than the 'Cantional,' as many of them are avowedly written in imitation of Italian models. ”
