Johann Schelle (1648-1701), a student of Heinrich Schütz who preceded J. S. Bach as the Thomaskantor in Leipzig, would eventually become a central figure in the development of German sacred choral music during the seventeenth century as evidenced by several musicologists including Arnold Schering, Michael Maul, Markus Rathey, and Peter Wollny. Schelle composed polychoral and cantional motets which provide examples of how the motet in the late seventeenth century developed during the recession that followed the Thirty Years War. This volume serves to provide a scholarly performing edition (with preface) of all extant motets by Schelle and consists of three recently discovered motets from the Jacobi collection: Das ist meine Freude, Habe deine Lust an dem Herren, and Wie der Hirsch schreiet nach frischem Wasser; as well as five previously known motets (four of which already have modern editions): Christus ist des Gesetzes Ende, Der Gerechte ob er gleich zu zeitlich stirbet, Komm, Jesu komm, Ich weiss, dass mein Erlöser lebet, and Mein Leben war ein Streit.

The three motets from the Jacobi collection along with Der Gerechte ob er gleich zu zeitlich stirbet appear in their first modern edition in this volume. The musical editions have been created using the oldest known prints or manuscripts available (despite there being modern editions for four of the eight motets). The preface to this volume discusses the context of Schelle’s motets within the choral repertoire, and the current scholarship on their genesis, influence, and overall musical style. Also provided are modernized versions of the original German texts and literal English translations, as well as additional performance material such as transcribed original basso continuo parts and realized keyboard parts created by the editor.