Topic: Sweelinck’s pupils: Scheidemann, Jacob Praetorius, Scheidt, Siefert, Schildt

[bioluminescentsquid]

https://www.youtube.com/watch?v=hEXFlicyd2c

A very "old-fashioned" recording from the 50's (on a Neo-Baroque Paul Ott organ, no less) of Scheidt's Fortune my foe variations that I found to be very intimate and moving.

[Mandryka]

https://www.youtube.com/watch?v=hEXFlicyd2c

A very "old-fashioned" recording from the 50's (on a Neo-Baroque Paul Ott organ, no less) of Scheidt's Fortune my foe variations that I found to be very intimate and moving.

Yes, and the surface noise from the LP gives it the aura of a treasured artefact from the lost golden age that never was. He’s helped by the wonderful tune of Fortune My Foe, one of my favourite tunes ever. Even (especially?) a drunk whistling it makes the hairs on the back of my neck stand in end.

[vers la flamme]

Just dipping my toes in the water here, but I have been listening to works by Scheidemann (organ music—did he write anything else?) and Sweelinck himself (harpsichord music) thanks to two great Naxos discs with Julia Brown and Glen Wilson, respectively. Is there anything I absolutely must hear?

[Scion7]

Scheidemann (organ music—did he write anything else?)

Neither he, nor his father - David, wrote anything but organ music according to the New Grove.
Heinrich's list of works:

keyboard
Chorale arrs. (org): Allein zu dir, Herr Jesu Christ; Ein feste Burg ist unser Gott: ed. K. Beckmann, Zwei Choralfantasien (Wiesbaden, 1992); A solus ortus cardine; Aus tiefer Not schrei ich zu dir; Christ lag in Todesbanden; Erbarm dich mein, o Herre Gott; Es spricht der unweisen Mund wohl; Gott sei gelobet und gebenedeiet; Herr Christ, der einig Gottes Sohn; 2 In dich hab ich gehoffet, Herr; Jesus Christus, unser Heiland; Komm heiliger Geist, Herre Gott; Lobet den Herren, denn er ist sehr freundlich; Mensch, willst du leben seliglich; Nun bitten wir den heiligen Geist; O Gott, wir danken deiner Güt; 3 Vater unser im Himmelreich; Wir glauben all an einen Gott; 2 Ky; O lux beata

Trinitas: all O i; 7 Mag, I–VI, VIII toni, O ii; O lux beata Trinitas, D-CZ (frag.); Te Deum laudamus, CZ (frag.)

Motet arrs. (org): Alleluja, Lauden dicite Deo nostro; Angelus ad pastores ait; 2 Benedicam Dominum; Confitemini Domino; De ore prudentis procedit mel; Dic nobis Maria; Dixit Maria ad angelum; Ego sum panis vivus; Omnia quae fecisti nobis Domine; Surrexit pastor bonus; Verbum caro factum est: all J and B; Jesu, wollst uns weisen, O i
12 praeambula, C, 6 in d, 2 in e, 2 in F, g: O iii, 1 in H; 2 canzonas, F, G: O iii; Fuga, d, O iii; 2 toccatas, C, G: O iii, 1 in H; Fantasia, G, O iii, H

Secular variations and dances (hpd), all H: 5 allemandes, 2 with courantes, 1 with variation, 3 in d, c, G; 2 ballett, d, F; 12 courantes, 7 with variations, 7 in d, 2 in F, 2 in a, g; galliard with variation, d; 2 mascheratas, C, g; Betrübet ist zu dieser Frist; Mio cor se vera sei Salamanca, Madrigal

[Mandryka]

Just dipping my toes in the water here, but I have been listening to works by Scheidemann (organ music—did he write anything else?)

There’s a lot of harpsichord music attributed to Scheidemann, the “standard” recording was by Pieter Dirksen, but Joseph  Rassam has also recorded it all. I haven’t heard the music for years and years, and I don’t think I’ve ever heard the Rassam.

Is there anything I absolutely must hear?

Yes. You absolutely must hear everything on record of music by Sweelinck and Scheidemann.

Just speaking personally, the thing I remember which made me decide to take Sweelinck very seriously as a composer was hearing Bob Van Asperen play some fantasias on a harpsichord, on the big NL set. The music is really complex counterpoint, what Asperen did was very formative for me: I kind of learned how to listen to this sort of stuff, the penny dropped.


And again, just speaking personally, the organist who I love the most with this sort of music is Bernard Winsemius, there’s a whole bunch of recordings called “Sweelinck, his sources and his influences.”

You could do worse than to explore what Leonhardt left.