Friday Night Organ Samuel Scheidt  

 

The Evil Genius
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13/09/2019 8:57 pm  

Samuel Scheidt (1587 – 1654) was born in Halle and after early studies there, he went to Amsterdam to study with Sweelinck, the distinguished Dutch composer, whose work had a clear influence on Scheidt's style. On his return to Halle, Scheidt became court organist, and later Kapellmeister to the Margrave of Brandenburg. Unlike many German musicians he remained in Germany during the Thirty Years War, managing to survive by teaching and by taking a succession of smaller jobs until the restoration of stability allowed him to resume his post as Kapellmeister. When Samuel Scheidt lost his job because of Wallenstein, he was appointed in 1628 as musical director of three churches in Halle, including the famous Market Church. Scheidt was the first internationally significant German composer for the organ, and represents the flowering of the new north German style, which occurred largely as a result of the Protestant Reformation. In south Germany and some other countries of Europe, the spiritual and artistic influence of Rome remained strong, so most music continued to be derivative of Italian models. Cut off from Rome, musicians in the newly Protestant areas readily developed styles that were much different from those of their neighbors.

Scheidt's music is in two principal categories: instrumental music, including a large amount of keyboard music, mostly for organ; and sacred vocal music, some of which is a cappella and some of which uses other instrumental accompaniment. In his numerous chorale preludes Scheidt often used a "patterned variation" technique, in which each phrase of the chorale uses a different rhythmic motive, and each variation is more elaborate than the previous one, until the climax of the composition is reached. In addition to his chorale preludes, he wrote numerous fugues, suites of dances and Fantasias.

We'll start with some chamber music on period instruments: “Canzon super O Nachbar Roland”

Here is the Chorale “An Wasserflüssen Babylon”

This is a work entitled “Alamanda”

Here are 6 works taken from the “Tabulatura Nova

  1. Psalmus 'Da Jesus an dem Kreuze stund'
  2. Fantasia à 4 voc. super 'Ich ruf zu dir, herr Jesu Christ' 7:17
  3. Hymnus 'Christe, qui lux es et dies' 16:09
  4. Modus ludendi pleno organo pedaliter à 6 voc. 26:05
  5. Kyrie dominicale IV toni cum Gloria 28:39
  6. Modus pleno organo pedaliter, Benedicamus à 6 voc. 47:22

This is the Modus Ludendi Pedaliter (Again played on a different instrument than above)

Galiarda variirt”

Sinfonia Chromatica, again on period instruments.

And finally one of my favorite works for brass, Galliard Battaglia

 


Beered by #Redpillbible and Old Buck
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