Friday Night Organ Heinrich Scheidemann  

 

The Evil Genius
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20/09/2019 5:11 pm  

Heinrich Scheidemann (1595 – 1663) Scheidemann was the best-known composer for the organ in north Germany in the early to mid-17th century. He was born in Wohrden in Holstein. His father was an organist in both Wöhrden and Hamburg, and probably Scheidemann received some early instruction from him. Scheidemann traveled to Amsterdam and studied with Sweelinck from 1611 to 1614 and evidently was one of his favorite pupils, since Sweelinck dedicated a canon to him, prior to Scheidemann's return to Germany. By 1629, and possibly earlier, Scheidemann was in Hamburg as organist at the Catharinenkirche, a position which he held for more than thirty years, until his death in Hamburg in early 1663 during an outbreak of the plague.

Scheidemann was renowned as an organist and composer, as evidenced by the wide distribution of his works; more organ music by Scheidemann survives than by any other composer of the time. Unlike the other early Baroque German composers, such as Praetorius, Schütz, Scheidt, and Schein, each of whom wrote in most of the current genres and styles, Scheidemann wrote almost entirely organ music. A few songs survive, as well as some harpsichord pieces, but they are dwarfed by the dozens of organ pieces, many in multiple movements.

Scheidemann's lasting contribution to the organ literature, and to Baroque music in general, was in his settings of Lutheran chorales which were of three general types: cantus firmus chorale arrangements, which were an early type of chorale prelude; “monodic” chorale arrangements, which imitated the current style of monody—a vocal solo over basso continuo—but for solo organ; and elaborate chorale fantasias which were a new invention, founded on the keyboard style of Sweelinck but using the full resources of the developing German Baroque organ. In addition to his chorale arrangements, he also wrote important arrangements of the Magnificat, which are not only in multiple parts but are in cyclic form towards liturgical use in alternation with the choir during Vespers a technique in multiple-movement musical construction which was not to return with vigor until the 19th century. Among his students were Johann Adam Reincken, his successor at the St. Catherine Church in Hamburg, and (possibly) Dieterich Buxtehude.

Here is the “Echo” Toccata in G. Please note the “echo” style was something pioneered by Sweelinck and now the student takes a crack at it.

Here is one of the Lutheran Chorale settings: “Vater unser im Himmelreich”.

And another Chorale “Christ lag im Todesbanden”.

YES another chorale “Herr Christ, der einig Gottessohn”.

This is the Magnificat in the 3d tone. (And this one REALLY shows off the registers of the famous Roskilde Domkirke Organ. (1554/1655)

This is the Magnificat in the fourth tone

Prelude in D

 


Beered by Matcha Savage, Uly The Cunning, Old Buck and 1 people
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Old Buck
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20/09/2019 11:54 pm  

I picked up a new bluetooth speaker, and the added base tones really make the difference listening to these works of art.

The Magnificat in the 3rd tone is my favorite.  I think it is the organ, as you can hear quite a few different sounds and tones!  

Do NOT chase tail. Turn yours around and live FREE!


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The Evil Genius
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21/09/2019 8:37 am  

You have an excellent ear my brother--you are right about the Magnificat. 😉 


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