pipe-organ.wiki - User contributions [en]

GB-Lbl Add.Ms 30513

2026-01-25T21:02:25Z

Fiskfan1999: Redirected page to Mulliner Book

#REDIRECT [[Mulliner Book]]

Mulliner Book

2026-01-25T21:02:09Z

Fiskfan1999: Created page with "{{Stub}} == Links == {{OnlFac|sig=GB-Lbl Add.Ms 30513|url=https://iiif.bl.uk/uv/#?manifest=https://bl.digirati.io/iiif/ark:/81055/vdc_100054738715.0x000001|urlc= iiif.bl.uk |date=25 January, 2026}} Category:Manuscripts"

{{Stub}}

== Links ==
{{OnlFac|sig=GB-Lbl Add.Ms 30513|url=https://iiif.bl.uk/uv/#?manifest=https://bl.digirati.io/iiif/ark:/81055/vdc_100054738715.0x000001|urlc= iiif.bl.uk |date=25 January, 2026}}

[[Category:Manuscripts]]

Johann Nicolaus Hanff

2026-01-03T02:41:53Z

Fiskfan1999: /* Organ Works */

'''Johann Nicolaus''' (or Nikolaus) '''Hanff''' (1665-1711/1712) was a German organist and composer. He wasborn in Wechmar, Thuringia, and was active in Hamburg, Eutin and Schleswig.

== Life ==
Hanff was baptized on September 26, 1664 in Gossel by Arnstadt, Thüringen.

Hanff's music teacher is not known. In 1668, he went to Hamburg. One of his students was [[Johann Mattheson]].

At the end of August 1711, Hanff was named the organist at the Schleswig cathedral after the death of [[Peter Scheidemann]].

Hanff likely passed away around 1711, as [[Johann Balthasar Elsner]] was appointed as his successor.

== Organ Works ==
The organ works by Hanff are preserved in various manuscripts copied by [[Johann Gottfried Walther]].

{| class="wikitable"
|+ Organ Works by Hanff
|-
! Source !! Title !! Incipit !! Notes !! Ref.
|-
| [[Frankenberger Walther Manuscript]] p.288-289 || Ach Gott vom Himel sieh p / J. N. H. || <score><< \relative b { \clef alto b2 c4 b a e' e8 d c4 } \\ \relative e { s1 r2 e } >></score> || || <ref name="b">Beckmann, ''7 Choralbearbeitungen''</ref>
|-
| [[Frankenberger Walther Manuscript]] p.352 || Auf meinen lieben Gott. / J. N. H. || <score><< \relative fis' { \key g \major r16 fis g a b fis g dis e2*1/2 } \\ \relative e { R2 r8 <e g>8 } >></score> || || <ref name="b"></ref>
|-
| [[Frankenberger Walther Manuscript]] p.303-304 || Ein feste Burg ist unser Gott. / J. N. H. || <score><<\relative g' { \clef alto R1 g2 g4 4 } \\ \relative c' { c2 c4 c g a8 b c4 b }>></score> || || <ref name="b"></ref>
|-
| [[Frankenberger Walther Manuscript]] p.123-124 || Erbarm dich mein o Herre Gott / J. N. H. || <score>\relative e { \time 4/2 \clef bass r2 e4. fis8 g2 gis a b }</score> || || <ref name="b"></ref>
|-
| [[Frankenberger Walther Manuscript]] p.125 || Erbarm dich mein o Herre Gott. / J. N. H. || <score>\relative e' { \time 4/2 \clef alto r2 e4. d8 cis2 c | b1*1/2\laissezVibrer }</score> || || <ref name="b"></ref>
|-
| [[D-B Mus.ms. 22541/1]] p.158-159 [[D-B Mus.ms. 22541/2]] p.109 || <nowiki>[/1]</nowiki> Helfft mir gottes Güte preisen / J. N. H. <nowiki>[/2]</nowiki> Helfft mir Gottes Güte preisen / J. N. Hanff. || <score><< \relative g { \clef alto r4 g d' e f4. 8 } \\ \relative d { R1 r4 d } >></score> || || <ref name="b"></ref>
|-
| [[RUS-KAu Mus. ms. Gotthold 15839]] || Wär Gott nicht mit uns diese Zeit || <score><< \relative a' { \clef alto a4. b8 c4 c d e } \\ \relative a { r4 a4~8 g f e d4 cis } \\ \relative e' { r4 e4 e a8 g f4 e } \\ \relative c' { r4 c4~c8 b a4^~ a1*1/2 } >> </score> || || <ref name="b"></ref>
|}

The first edition of ''Wär Gott nicht mit uns diese Zeit'' was in ''Choralvorspiele alter Meister, ...'' edited by [[Karl Straube]] and published by C.F. Peters in 1907 p. 77-79 (see {{IMSLP|292605}}). The source of this edition (likely also a J.G. Walther copy) has been lost, it was held in the university library in Königsberg (now Kaliningrad, Russia).

== Analysis ==
[[File:PPN79292276X 00000118.jpg|thumb|''Helft mir Gottes Güte preisen'' in [[D-B Mus.ms. 22541/2]]]]
=== Klaus Beckmann<ref>{{NdS2 2009}} 252.</ref> ===
[[Klaus Beckmann]] stated that Hanff's surviving choral works are oriented in the formal style of the simple choral works by [[Dietrich Buxtehude]], but Hanff arrives at interesting different conclusions by using a high level of linear and harmonic thoughts to produce colorful and expressive musical sentences.

== References ==
[[Klaus Beckmann|Beckmann, Klaus]] (editor), ''Johann Nicolaus Hanff: 7 Choralbearbeitungen''. Wiesbaden: Breitkopf & Härtel Nr.8085, 1980.

{{NdS2 2009}} 251-252.

[[Category:Composers|Hanff, Johann]][[Category:German Composers|Hanff, Johann]][[Category:Baroque Composers|Hanff, Johann]][[Category:Organists|Hanff, Johann]][[Category:German Organists|Hanff, Johann]][[Category:Baroque Organists|Hanff, Johann]][[Category:Baroque|Hanff, Johann]][[Category:German|Hanff, Johann]]

Cathedral Basilica of the Sacred Heart, Newark NJ

2026-01-03T02:27:57Z

Fiskfan1999: Created page with "The '''Cathedral Basilica of the Sacred Heart''' is a Minor Basilica located in Newark, NJ. It contains a Schantz organ in the gallery and chancel, and a separate Manuel Rosales organ in the Chapel of Our Lady of Grace. = Main Organ = == References == Gallery Organ: [https://www.newarkbasilica.org/s/gallery_organ.pdf www.newarkbasilica.org] Chancel Organ: [https://www.newarkbasilica.org/s/chancel_organ.pdf www.newarkbasilica.org] = Chapel = File:Basilica n..."

The '''Cathedral Basilica of the Sacred Heart''' is a Minor Basilica located in Newark, NJ. It contains a [[Schantz]] organ in the gallery and chancel, and a separate [[Manuel Rosales]] organ in the Chapel of Our Lady of Grace.

= Main Organ =
== References ==
Gallery Organ: [https://www.newarkbasilica.org/s/gallery_organ.pdf www.newarkbasilica.org] Chancel Organ: [https://www.newarkbasilica.org/s/chancel_organ.pdf www.newarkbasilica.org]

= Chapel =
[[File:Basilica newark nj rosales.jpeg|thumb|right|Organ facade]]
The ''Chapel of Our Lady of Grace'' houses a small unit organ containing pipework by [[Abbott and Sieker]] and put together by [[Manuel Rosales]] in 1989. It contains 3 ranks totaling 231 pipes expanded to 12 stops.
== Disposition ==
{{Disposition|begin}}
{{Disposition|header|3|Manual I|Manual II|Pedal}}
{{Disposition|body|3|Spitz Principal|8|Rohr Flöte|8|Subbass|16}}
{{Disposition|body|3|Rohr Flöte|4|Spitz Principal|4|Spitz Principal|8}}
{{Disposition|body|3|Spitz Principal|2|Nazard (TC)|2 2/3|Rohr Flöte|8}}
{{Disposition|body|3|Quinte|1 1/3|Rohr Flöte|2|Spitz Principal|4}}
{{Disposition|end}}
== References ==
[https://www.newarkbasilica.org/s/chapel_of_our_lady_of_grace_organ.pdf www.newarkbasilica.org]

File:Basilica newark nj rosales.jpeg

2026-01-03T02:23:43Z

Fiskfan1999:

== Licensing ==
{{PD}}

Klaus Beckmann

2025-11-01T02:15:16Z

Fiskfan1999: move some information around and enhance introduction

[[File:Beckmann Klaus 100px.jpg|alt=Picture of Klaus Beckmann|thumb|Beckmann]]
'''Klaus Beckmann''' (1935-) is a German organist and musicologist. He has published editions of early organ music for Breitkopf & Härtel<ref>[https://obis.oberlin.edu/record=b2585134~S4 obis.oberlin.edu]</ref>, Forum music<ref>[https://obis.oberlin.edu/record=b1859730~S4 obis.oberlin.edu]</ref>, and Edition Schott<ref>[https://obis.oberlin.edu/record=b2343194~S4 obis.oberlin.edu]</ref>.

Beckmann's contributions to early organ music are countless and unmistakable, and his editorial style, analysis, and re-attributions have reshaped the landscape of this repertoire. He was instrumental in developing a new approach to playing early organ music in which the surviving sources are examined more critically in order to arrive at a more original music instead of being lead astray from later additions and mistakes, showing a deeply-ingrained knowledge of this music. In 1963, he discovered that one section of the Toccata in D Minor by [[Dietrich Buxtehude]] should be notated in 3/4 time instead of 4/4 time. His research into this music goes beyond simple stylistic analysis to reach striking new conclusions that increase our understanding and help us reach new solutions regarding performance practice. In one instance, his re-attribution of a piece to [[Hieronymus Praetorius III]] was based on thorough research over decades, including not only stylistic analysis of the organ piece itself, but also information about the surviving source of the piece and new discoveries of epitaphs for members of the Praetorius family. This research manifests itself in his editions of music from the [[North German Organ School]]. Through his 36-volume series [[Meister der Norddeutschen Orgelschule]], published from 2003-2015 and edited in conjunction with [[Claudia Schumacher]], Beckmann brought the works of countless composers with surviving outputs large and small to performing organists. In addition to scores, he has published many monumental works of literature such as the two-volume [[Die Norddeutsche Schule (book)|Die Norddeutsche Schule]] and the staggering [[Repertorium Orgelmusik]], a bio-bibliography of all organ music.

{{Stub}}

== Life ==
Klaus Beckmann was born in Wanne-Eickel (in Ruhr), Germany, in 1935.

Beckmann's early musical education was hindered by [[WWII]]. During WWII, his father [[Wilhelm Beckmann]] worked as a military band director (previously as a school teacher and headmaster). Due to threats of bombings in the Ruhr area, his family moved to Preussisch-Holland (in Poland, now Pasłęk). In 1945, his family fled back to Wanne-Eickel, where his father continued to direct musical productions including symphonies, choirs, and operas.

Klaus started learning the piano when he was 12 years old from his father, later with Elfi Gerlach. He performed the A Major Piano Concerto by [[Wolfgang Amadeus Mozert]] conducted by [[Wilhelm Beckmann]].

During his confirmation around March 1950, Beckmann heard the organ for the first time, and he started taking lessons shortly after. His first organ teacher was [[Ernst Richter]], who later taught Klaus harmony as well. He later studied with [[Gisbert Schneider]], [[Dietram Schubert]], and Dr. Eckart. While still a student, Klaus Beckmann directed a performance of ''Wir bauen eine Stadt'' by [[Paul Hindemith]] and played the Sergei Rachmaninoff ''Prelude in C-Sharp Minor Op. 3 No. 2''. Around February, 1956, after graduating from high school, Klaus Beckmann performed his first organ recital, which included the ''Ciaconna in E Minor'' by [[Dietrich Buxtehude]].

Klaus Beckmann attended secondary level 1 music conservatory in Detmold. His thesis was concerning the structure of settings of vocal songs by contemporary composers. Some organ pieces he studied include Trio Sonata no. 4 by [[Johann Sebastian Bach]], [[Max Reger]] ''Introduction and Passacaglia in D Minor'', [[Jean Langlais]] ''Te Deum'', and [[Jehan Alain]] ''Variations sur un theme de Clément Janequin''. After this, he further studied music in Köln. His thesis covered Antoine de Bertrand's settings of the "Amours" by Pierre de Ronsard.

Feeling a lack of suitable literature for school and church choirs, Klaus Beckmann got his first experience creating editions while working with original sources while preparing an edition of chansons and passions for choir by composers including Sermisy, Passerau, Costeley, Scandello and Beber.

==References==
Beckmann, Klaus. ''Dietrich Buxtehudes Orgelwerke: Überlieferung, Edition, Historisch legitimierte Aufführungspraxis.'' Mainz: Schott, 2021. p. 342-344.

[https://d-nb.info/gnd/121027236 Katalog der Deutschen Nationalbibliothek]. Accessed 19 July, 2023.<references />

[[Category:Persons|Beckmann, Klaus]]
[[Category:Organists|Beckmann, Klaus]]
[[Category:Musicologists|Beckmann, Klaus]]
[[Category:Editors|Beckmann, Klaus]]

Nicolaus Bruhns

2025-11-01T01:43:16Z

Fiskfan1999: /* Works */ Walther and Agricola

'''Nicolaus''' (or '''Nikolaus''') '''Bruhns''' (1665-1697) was a German organist and composer working in Husum.

[[Category:Persons]][[Category:WVlist pages]]

== Life ==
Nicolaus Bruhns was born between December 3 and 24, 1665, in Schwabstedt, around 15 kilometers south-east from Husum, where his father (maybe a student of [[Franz Tunder]]) was working as organist. He likely began learning music from his father, and in 1681 he moved to Lübeck to study the viola da gamba, violin, organ and composition.

His teacher [[Dietrich Buxtehude]] advised him to go to Kopenhagen. Nothing is known about Bruhns's time there, which started in 1686...perhaps he was a student of [[Christian Geist]].

On March 30, 1689, Nicolaus Bruhns became the organist at the state church in Husum.

In 1740, [[Johann Mattheson]] wrote a curious tale in which Bruhns played his violin while sitting at the organ, playing the pedals and the violin at the same time.

Bruhns passed away on March 29, 1697, at only 31 years old.

== Works ==
[[File:Bruhns great em.jpg|thumb|right|The first page of the Prelude in E Minor by [[Nicolaus Bruhns]]]]
The organ works by Bruhns survive in the following sources:
* The [[Möller Manuscript]], which contains the Preludium in E Minor, copied by [[Johann Christoph Bach]]<ref>{{NdS2 2009}} 535.</ref> (as well as a fragment of the Preludium in G Major).
* The [[Schmahl Organ Tablatures]] (and a 19th-century copy of it), containing the Prelude in E Minor.
* A collection of four manuscripts which are all descendants of a fifth, [[B-Bc 26659]] written by [[Johann Friedrich Agricola]]. Each manuscript contains the Preludium in G Major and a version of ''Nun komm der Heiden Heiland'' with more ornamentation inserted by Agricola.
** An ostensibly more original copy of ''Nun komm der Heiden Heiland'' is found in the [[Johann Gottfried Walther]] manuscript [[D-B Mus.ms. Bach P 802]].
* [[DK-Kk mu 7503.0234]], which includes a fragment of another preludium.

{| class="wikitable"
|+ Surviving organ works by Nicolaus Bruhns
|-
! Source(s)<ref>Beckmann, Klaus (editor). ''Nicolaus Bruhns: Sämtliche Orgelwerke.'' Meister der Norddeutschen Orgelschule 13. [earlier edition, not including Brunckhorst] Mainz: Schott, 2004.</ref> !! Title !! Incipit
|-
|[[Möller Manuscript]] f.97v-100r
|Praeludium in E Minor, Groß
|<score>{\relative e' { r8 e16 e' dis fis, gis d' cis }}</score>
|-
| [[Schmahl Organ Tablatures]] [[D-B Mus.ms. 30147]] p.25-29
|Praeludium in E Minor, Kleine
|<score>{\clef bass \key e \minor \relative e { \repeat tremolo 2 { e16 g } \repeat tremolo 2 { fis16 a } \repeat tremolo 2 { g16 b } \repeat tremolo 2 { a16 c } }}</score>
|-
|[[Möller Manuscript]] f.54v [[B-Bc 26659]] f.25r-27v [[D-B Mus.ms. 2683]] f.26v-29v [[D-B Am.B 462]] p.56-63 [[D-B Am.B 430]] p.56-63 [[D-B Mus.ms. 2681/1]] f.28v-32r
|Praeludium in G Major
|<score>{<< \relative g'' { r16 g fis e d c b a b} \\ \relative b' { r8 r16 g fis e d c d } >>}</score>
|-
|[[DK-Kk mu 7503.0234]] f.8v-9r
|Adagio in D Major (Frag.)
|<score>{\key d \major << \relative a' { r8 a d c c4. bes8 bes2*1/2 } \\ \relative d' { r2 d2 d2*1/2 } \\ \\ \relative a' { r2 a2~a4 } >>}</score>
|-
|''Walther'' [[D-B Mus.ms. Bach P 802]] p.162-175 ''Agricola'' [[B-Bc 26659]] f.28r-30r [[D-B Mus.ms. 2683]] f.30r-35r [[D-B Am.B 462]] p.64-75 [[D-B Am.B 430]] p.64-75 [[D-B Mus.ms. 2681/1]] f.32v-38v
|Nun Komm, der Heiden Heiland
|<score>{\clef alto \relative g { g2 g fis bes a4 }}</score>
|}

In 2006, the ''Prelude in G Minor'' which had previously been attributed to Bruhns was found to have been similarities with [[Arnold Matthias Brunckhorst]] by [[Dietrich Kollmannsperger]] (see [[Arnold Matthias Brunckhorst#Prelude in G Minor]]). Following this, the number of fully-extant known präludia by Bruhns was reduced back to 3.

== Editions ==
{{Stub}}

''Note: "Three praeludiua" does not include the Prelude in G Minor.''

Listed in Chronological order:

* [[Alexandre Guilmant]], editor. ''Choral: Nun Komm der Heiden Heiland''. Ecole Classique de L'orgue. Paris: Durand, 1900. <ref>{{IMSLP|177215}}, accessed 21 July, 2023.</ref>
(Ornamented)

* [[Max Seiffert]], editor. [[Organum IV]] vol. 8. ''Leipzig,'' Kistner & Siegel, undated
Contains three Praeludia only.

* [[Fritz Stein]], editor. ''Nicolaus Bruhns: Gesammelte Werke.'' Erbe deutscher Musik. Zweite Reihe, Landschaftsdenkmale. Schleswig-Holstein und Hansestädte; vol. 1-2. Braunschweig: H. Litolff, 1939.
Contains three Praeludia and ''Nun Komm der Heiden Heiland'' (ornamented), as well as all surviving cantatas by him.

* [[Klaus Beckmann]], editor. ''Nikolaus Bruhns: Sämtliche Orgelwerke.'' Wiesbaden: Breitkopf & Härtel, 1972.

* [[Michael Radulescu]], editor. ''Nicolaus Bruhns: Orgelwerke.'' Wien: Doblinger, 1993.

* [[Harald Vogel]], editor. ''Bruhns: Sämtliche Orgelwerke''. Wiesbaden: Breitkopf & Härtel, 2008.<ref>[https://www.breitkopf.com/work/1462/complete-organ-works www.breitkopf.com], accessed 21 July, 2023.</ref>

* [[Klaus Beckmann]], editor. ''N. Bruhns/A. M. Brunckhorst: Sämtliche Orgelwerke.'' [[Meister der Norddeutschen Orgelschule]] 13. Mainz: Schott.<ref>[https://www.schott-music.com/en/saemtliche-orgelwerke-noc185472.html www.schott-music.com], accessed July 21, 2023.</ref>

==References==
{{NdS2 2009}} 531-545.

<references />

[[Category:Persons|Bruhns, Nicolaus]]
[[Category:Composers|Bruhns, Nicolaus]]
[[Category:Baroque Composers|Bruhns, Nicolaus]]
[[Category:Organists|Bruhns, Nicolaus]]
[[Category:Baroque|Bruhns, Nicolaus]]
[[Category:Norddeutsche Orgelschule|Bruhns, Nicolaus]]

Template:RO2001

2025-11-01T01:33:49Z

Fiskfan1999: add 2001 year to template

<nowiki>[</nowiki>'''{{{1}}}''' in [[Repertorium Orgelmusik]]2001{{#if:{{{2|}}}|<nowiki> </nowiki>(page {{{2|}}})|}}<nowiki>]</nowiki>[[Category:Repertorium Orgelmusik citations]]<noinclude>

This template is for when the '''most recent edition''' (2001) of the book by [[Klaus Beckmann]] is included as a citation. The argument should be the composer in "Last, First" form, exactly as it appears in the book, for easy lookups. Optionally put the page number to assist those verifying the information.

== Example ==
<pre>{{RO2001|Tunder, Franz}}</pre>

{{RO2001|Tunder, Franz}}

<pre>{{RO2001|Scheidemann, Heinrich|10}}</pre>

{{RO2001|Scheidemann, Heinrich|10}}</noinclude>

Richard McVeigh

2025-06-23T22:43:31Z

Fiskfan1999:

[[File:347861211 260477956543326 8445682533930186118 n.jpg|thumb|right|Richard McVeigh]]
'''Richard McVeigh''' is a British organist. He operates the Youtube channel '''Beauty in Sound''' and produces a variety of [[Hauptwerk]] and real-life organ-related videos and recordings. His Youtube channel is particularly noteworthy for the ''Virtual Church'' series and professional-quality real-life recordings<ref>See [https://youtu.be/vqIdWT_etDE Recording the ORGAN of ST EDMUNDSBURY CATHEDRAL | Microphone Placement (uploaded 6 December, 2021, www.youtube.com)] and others</ref> of him and other organists.

In May, 2025, McVeigh was featured in an article in [[The American Organist]].<ref>Steere, Randy. " A Time for Optimism. Part 1: An Interview with Richard McVeigh" ''The American Organist'', May 2025. 34-39.</ref>

{{stub}}

== Organ Console<ref name=":0">[https://youtu.be/1VBniwDv2uE www.youtube.com], accessed 27 July, 2023.</ref> ==
In 2021, McVeigh held a successful fundraising campaign<ref>[https://youtu.be/8W_Fsl8RZ5c www.youtube.com], accessed 28 July, 2023.</ref> to design and build a new Hauptwerk digital console. The design was based on the console of the screen organ at York Minster, but with the number of manuals reduced from five to four.

The reasons given for the new console included innovation, to enhance the playing experience (which would result in better content on ''Beauty in Sound''), the wish to bring Hauptwerk "Into the more mainstream market", and the future plans to invite international organists.

The ''Beauty in Sound'' console uses physical stops that physically move to affect the organ registration. To accomodate different Hauptwerk samplesets, the stop-knobs can be pulled completely out and replaced with a stop of a different name.

== Youtube ==
[[File:Bis profile.jpg|thumb|right|The Beauty in Sound channel avatar]]
'''Beauty in Sound''' is a Youtube channel operated by Richard McVeigh which boasts "Quality Organ Videos & An Awesome Community"<ref>Youtube channel bio, as of 27 July, 2023.</ref>. In addition to ordinary [[Hauptwerk]] and real-life organ content such videos performing organ repertoire, McVeigh runs several series to more directly engage with the community aspect of the channel.

The youtube channel was created in 2017. It is hard to assess when the current format of videos and livestreams were first uploaded, because McVeigh periodically privates old videos and livestreams<ref>Source: [https://socialblade.com/youtube/c/beautyinsound/monthly socialblade.com], accessed 27 July, 2023. There is occasionally a large amount of negative views, such as week of 7 Feb-14 Feb, 2022.</ref>.

On 1 May, 2023, ''Beauty in Sound'' crossed 100,000 subscribers.

=== Events ===
On 30 July, 2022, McVeigh hosted a live event with [[Paul Fey]], in which both organists performed various pieces by Fey and other composers and Fey premiered ''Westminster-Toccata''<ref>[https://youtu.be/fovfBxsSpjY www.youtube.com], accessed 27 July, 2023.</ref>.

=== Virtual Church<ref>[https://www.youtube.com/playlist?list=PL7xm8Mh472-eG4ntSX_iYrMMLz-MvbtUT www.youtube.com], accessed 27 July, 2023.</ref> ===
''Virtual Church'' is a series of videos which feature a combination of solo organ repertoire and hymns. The series is usually livestreamed from home using Hauptwerk, but is occasionally pre-recorded at a real-life location<ref>such as [https://youtu.be/phB7mCL9_CI 🎵 Hymns and Organ Music from Gloucester Cathedral for ALL SAINTS' DAY | VIRTUAL CHURCH], accessed 27 July, 2023.</ref>.

One recurring aspect of ''Virtual Church'' is the audience participation. Frequently hymns are requested by viewers of the livestream, and McVeigh also chats with viewers in-between pieces and hymns.

=== Organ Festivals ===
McVeigh organizes seasonal organ festivals which are broadcast on ''Beauty in Sound''. In the same way as ''Virtual Church'', these events primarily use Hauptwerk with some real-life organ content.

So far, these festivals have occured in Summer 2021<ref>[https://www.youtube.com/playlist?list=PL7xm8Mh472-dITlKnH6DZpc5svxqRzKRg www.youtube.com], accessed 27 July, 2023.</ref>, Winter 2021<ref>[https://www.youtube.com/playlist?list=PL7xm8Mh472-c0Y2Bi53mmzUCPSl6jUIQS www.youtube.com], accessed 27 July, 2023.</ref> and Summer 2022<ref>[https://www.youtube.com/playlist?list=PL7xm8Mh472-foBzSnjjdUgvor7Jnm2qaM www.youtube.com], accessed 27 July, 2023.</ref>.

One notable event that has been scheduled for the first two Organ Festivals is the ''Call for Composers'' series, which consisted of a performance of a selection of submitted compositions. In the third organ festival, this culminated in the [[Call for Composers|publication of a selection of these compositions]] under the same name.

=== Other Series ===
Starting in August 2021, McVeigh produced a short-lived ''Friday Music Relay''<ref>[https://www.youtube.com/playlist?list=PL7xm8Mh472-dq6DKSrhKeg6nqsEMQQ0lO www.youtube.com], accessed 27 July, 2023.</ref> series, in which viewers voted on a piece of music to be played in the next week's episode.

== References ==
[https://www.youtube.com/@beautyinsound/about www.youtube.com/@beautyinsound], accessed 24 July, 2023.

[https://www.beautyinsound.co.uk/ www.beautyinsound.co.uk], accessed 24 July, 2023.

[[Category:Persons|McVeigh, Richard]]
[[Category:Organists|McVeigh, Richard]]
[[Category:Hauptwerk Youtubers|McVeigh, Richard]]

D-Lr Mus.ant.pract. K.N. 207/16

2025-04-21T15:37:29Z

Fiskfan1999: /* Anonymous Preludium */

'''Mus.ant.pract. K.N. 20716''' (Also sylized 207/16, or 207-16) is a manuscript held in the ''Ratsbücherei'', Lüneburg.

== Description ==
The manuscript is written in [[New German Tablature Notation]] and contains five preludes, four by [[Franz Tunder]] and one unattributed. It was written by [[Heinrich Baltzer Wedemann]].

The manuscript has been paginated with page 1 being the first page of notation on the ''verso'' side (so that the tablature would extend across pages 1-2, etc.){{Citation needed}}, and the five preludes are numbered from 1 to 5 by a later librarian's hand.

=== Anonymous Preludium ===
The authorship of the anonymous prelude in this manuscript has attracted some musicological attention. In the 10th volume of [[Organum IV]], [[Max Seiffert]] stated that it was reminiscent of the style of [[Franz Tunder]]. However, this weak attribution has not been widely accepted. On the other hand, [[Michel Belotti]] made a passing comment (in the preface to his edition of the organ works of Tunder) that it was stylistically similar to the works of [[Matthias Weckmann]].{{Citation needed}}

It seems that many musicologists believed that the anonymous prelude was composed by Franz Tunder. In her monumental book ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts'', [[Lydia Schierning]] this manuscript was mentioned in passing in a footnote and she said that all five preludes were written by Tunder.<ref>[[Lydia Schierning|Schierning, Lydia]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie.'' Kassel: Bärenreiter, 1961. ''what page?''</ref> However, this attributed was refuted by [[Klaus Beckmann]] in his first edition of Tunder's organ works.{{Citation needed}}

== Contents ==
{| class="wikitable"
|+Works in D-Lr Mus.ant.pract. K.N. 20716
!No.
!Fol.
!Title
!Incipit
|-
|1
|1v-3r
|[1] Praeludium / a. 5.
|<score><< \relative f' {\clef bass \time 4/2 \key f \major f1~f~f } \\ \relative f { f1~1 f,2 f'4 e } \\ \relative c' { c1 d c } \\ \relative a { a1~2 bes2~bes a } \\ \\ \relative f { f1~1~2 2 } >></score>
|-
|2
|2v-3r
|Praeludium [2] / Franc. Tunder.
|<score>\relative d'' { \key g \minor r16 d e f g d f ees d b c d g, b a c << 4. \\ g1*3/8 >> }</score>
|-
|3
|3v-4r
|Praeludium / [3] / Franc: Tunder.
|<score>\relative f'' { \key f \major f8. g16 a e f g c, f e f c d a bes << c1*1/2 \\ { r4 <a f>4 } >> }</score>
|-
|4
|4v-5r
|Praeludium / Franc. Tunder. [4]
|<score>\relative g { \key g \minor g16 b a b g a b c b d c d b c d ees d g e fis g }</score>
|-
|5
|5r-6v
|Praeludium [5] / Franc: Tunder
|<score><< \relative d'' { \key g \minor d8. ees16 d8. c16 b4 c } \\ \relative g' g1 \\ \\ \relative b { b4 c d8. ees16 c8. d16 } >></score>
|}

== Scores ==
''The preludes by Franz Tunder can be found in numerous editions of his works (see [[Franz Tunder#Editions]]).''

'''Anonymous Präludium''' edited by [[William Rehwinkel]]. 11 January, 2024. [https://ftp.williamrehwinkel.net/scores/early/files/mus.ant.pract.%20k.n.%20207-16%20anonymous%20praludium.pdf Score] (mirrored on {{IMSLP|893891}})

The anonymous Präludium can also be found in the 10th volume of [[Organum IV]], edited by [[Max Seiffert]].

== References ==
[[Claudia Schumacher|Schumacher, Claudia]] (editor). ''Franz Tunder: Sämtliche Orgelwerke''. Mainz: Schott Music GmBH, 2022. 94.

{{RISM|450101376}}

[[Category:Manuscripts|K.N. 207/16]]
[[Category:Tablatures|K.N. 207/16]]
[[Category:German Manuscripts|K.N. 207/16]]
[[Category:Lüneburg Tablatures|K.N. 207/16]]

Pipe-organ.wiki:Support

2025-04-21T15:28:42Z

Fiskfan1999:

If you would like to help offset cloud computing costs for '''<nowiki>pipe-organ.wiki</nowiki>''' and other websites that are operated by William, you may make a donation to his Liberapay page here: [https://liberapay.com/fiskfan1999/ liberapay.com/fiskfan1999/]

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Arnold Matthias Brunckhorst

2025-02-18T19:49:55Z

Fiskfan1999: /* Works */ fix wrong note and change link to correct page

[[File:Brunckhorst title.jpg|thumb|right|The heading to the Prelude and Fugue in E Minor by Brunckhorst]]
'''Arnold Matthias Brunckhorst''' (1670?-1725) was an organist and composer.

In 2006, the Prelude in G Minor previously thought to be composed by [[Nicolaus Bruhns]] was connected to Brunckhorst by [[Dietrich Kollmannsperger]].

== Life ==
Brunckhorst worked in Hildesheim from 1693-1697. After this he went to the Stadtkirche in Celle. During this time he worked for Duke Georg Wilhelm of Brunswick-Lüneburg. In 1720, he became the Hanover court organist. He passed away in 1725.

Brunckhorst also worked as an organ tester.

<blockquote>Around 1700 he may have met the young [[Johann Sebastian Bach|J.S. Bach]] on one of his visits from Lüneburg to hear the duke’s famous French instrumentalists.<ref>Schröder</ref></blockquote>

== Prelude in G Minor ==
[[File:Prunth.jpg|thumb|right|The title-page to the Prelude and Fugue in G Minor by a certain "Mons Prunth"]]

When [[D-B Mus.ms. 30381]] was discovered, the Prelude in G Minor by "Mons. Prunth" was attributed to [[Nicolaus Bruhns]] by [[Martin Geck]]. While this attribution remained, it was not considered entirely satisfactory, and other possibilities were considered. This piece was also previously speculated to be composed by his brother [[Georg Bruhns]], although no works survive from him.<ref>Beckmann, Klaus (editor), ''Nicolaus Bruhns: Sämtliche Orgelwerke.'' Meister der Norddeutschen Orgelschule 13 [earlier edition, not including Brunckhorst]. Mainz: Schott, 2004.</ref>

In March 2006, [[Dietrich Kollmannsperger]] published an article in [[Ars Organi]] in which he proposed that the piece was in fact composed by Brunckhorst. Unlike the three other preludes by Bruhns, this piece is only in two parts, a prelude and a fugue. Additionally, the Prelude in G Minor contained a ''rhythmic continuality''<ref>Kollmannsperger: "eine rhythmische Kontinuität"</ref> that was not present in the other works but can be found in the '''Prelude in E Minor''' by Brunckhorst.

Kollmannsperger showed stylistic similarities between the Preludes in E Minor and G Minor, such as the beginning of both pieces and the ending of the Prelude (first half) in which both pieces go into an adagio section before the fugue.

<score>\new PianoStaff <<
\new Staff \with { \clef treble \omit TimeSignature } <<
\relative dis'' { \mark "E Minor" \key e \minor e16 g fis g e g e b dis e fis e dis e dis cis <dis b>2 \tempo "Adagio" r8 <dis fis>8 8 8 | e8 d d d d c c c }
\\
\relative fis' { g16 b a b g b g e fis g a g fis g fis e | fis2 r8 b8 b b | b8 r8 r8 gis a4 r8 a }
>>
\new Staff \with { \clef bass \omit TimeSignature } <<
\relative b { \key e \minor R1 | b2 r8 dis8 8 8 | e8 r8 r8 8 <a e'>4 r8 <a fis'> }
\\
\relative b, { e4 r8 e b4 r8 fis | b2 r8 b a a gis r r e a4 r8 dis8 }
>>
>></score>

<score>\new PianoStaff <<
\new Staff \with { \clef treble \omit TimeSignature } <<
\relative fis' { \mark "G Minor" \key g \minor fis16 a g fis g bes a g fis a g fis g bes a g | fis2 \tempo "Adagio" r8 a bes c d4~8 bes c4~8 a }
\\
\relative fis' { d4 r r r8 ees8 | d2 r2 | r8 f g4 r8 g fis4 }
>>
\new Staff \with { \clef bass \omit TimeSignature } <<
\relative b { \key g \minor a16 c bes a bes d c bes a c bes a bes d c bes | a2 r2 | r8 bes bes4 r8 ees d4 }
\\
\relative b, { r4 r r r8 c | d2 r2 | r8 d ees4 r8 c d4 }
>>
>></score>

[[Klaus Beckmann]] responded to this article in [[Ars Organi]] in June 2006. He agreed with the findings by Kollmannsperger, and furthermore pointed out that the use of the neopolitan 6th in both adagio sections is an unmistakable fingerprint of the same composer.

For even more evidence of the connection beyond stylistic grounds, Beckmann pointed out that ''Prunth:'' was a realistic mispelling of "Brunckhorst" (Brunckh -> Prunckh -> Prunkh -> Prunth), and that the surviving harpsichord sonata by Brunckhorst is signed ''di Mons. Brunckhorst''. It is possible that the sonata was signed ''Mons[ieur] Brunckhorst''.

In closing, Klaus Beckmann wrote that the case of Brunckhorst over Bruhns was ''a convincing, almost certainly correct solution'' based on ''rare clarity'', for which Kollmannsperger was deserving of thanks and recognition. Afterwords, he re-issued the 13th volume of [[Meister der Norddeutschen Orgelschule]] containing the complete works of Bruhns (which had been previously published in 2004) as a two-composer volume including Arnold Matthias Brunckhorst, including both of his compositions.

== Works ==
{| class="wikitable"
|+ Organ works by Arnold Matthias Brunckhorst
|-
! Source !! Title !! Incipit !! Notes !! ref.
|-
!colspan="5"|Organ works
|-
| [[D-LEm Becker II.2.51]] part 5, p.16-19 || Praeludium / ex E. m. / A. m. Brunckhorst || Prelude <score>\relative e'' { e16 g fis e dis cis b a g a b a g }</score> Fugue <score>\relative e' { \time 4/2 r8 e g e b'4 c b g a b }</score> || || <ref>[http://digital.slub-dresden.de/id454398573/134 sachsen.digital], accessed 11 August, 2023. Mirrored: {{IMSLP|870142}}</ref><ref>{{RISM|225006522}}</ref>
|-
| [[D-B Mus.ms. 30381]] No 4 || Praludium con Fuga. ex G b. / pedaliter. / di / Mons: Prunth. || Prelude <score>\relative g'' { \key g \minor r16 g fis g d g fis g c, g' fis g bes, }</score> Fugue <score>\relative g' { \key g \minor r8 g bes c d d d d | bes8. a16 g8 }</score> || || <ref>[http://resolver.staatsbibliothek-berlin.de/SBB00027AC100000000 digital.staatsbibliothek-berlin.de], accessed 11 August, 2023. Mirrored: {{IMSLP|870141}}</ref><ref>{{RISM|455038261}}</ref>
|-
!colspan="5"|Keyboard works
|-
|[[D-B Mus.ms. 30382]] f.86r-87v
|Sonata ex A #. / di / Mons: Brunckhorst.
|Sonata in poco presto <score>
<<
\relative a' {
\key a \major \time 2/4 a16 b cis d e8. a16 | gis8.^\prall fis16
} \\
\relative a {
r4 a16 b cis d | e fis e d
}
>>
</score>
|
|<ref>{{RISM|455038336}}</ref><ref>[http://resolver.staatsbibliothek-berlin.de/SBB0001A74900000176 digital.staatsbibliothek-berlin.de], accessed 16 August, 2023.</ref>
|}

== Links ==
[https://imslp.org/wiki/Category:Brunckhorst,_Arnold_Matthias Works by Brunckhorst on IMSLP]

== Chronological Bibliography ==
[[Dorothea Schröder|Schröder, Dorothea]], ''Brunckhorst, Arnold [Andreas] Matthias [Melchior, Martin],'' 20 January, 2001. [https://doi-org.ezproxy.oberlin.edu/10.1093/gmo/9781561592630.article.04162 Grove Music Online], accessed 11 August, 2023.

[[Dietrich Kollmannsperger|Kollmannsperger, Dietrich]]. "'Mons: Prunth', Präludium g-Moll: Eine Neuzuweisung." [[Ars Organi]] 54. Jfg. Heft 1, March 2006. p.30-31.

[[Klaus Beckmann|Beckmann, Klaus]]. "Diskussion: Zur Neuzuweisund des Praeludiums g-Moll di Mons: Prunth. an Arnold Matthias Brunckhorst." [[Ars Organi]] 54. Jfg. Heft 2, June 2006. p.111-112.

{{NdS2 2009}} 547.

== References ==
<references />

[[Category:Baroque Composers|Brunckhorst]]
[[Category:Composers|Brunckhorst]]
[[Category:Baroque|Brunckhorst]]
[[Category:Norddeutsche Orgelschule|Brunckhorst]]

D-B Am.B 340

2025-02-18T19:40:38Z

Fiskfan1999: /* Contents */

'''D-B Am.B 340''' is a manuscript held in the ''Staatsbibliothek'', Berlin. It was written by an unknown scribe, possibly [[Wilhelm Karges]], in 1664.

The manuscript contains works by [[Jan Pieterszoon Sweelinck]], [[Heinrich Scheidemann]], [[Johann Jakob Froberger]], [[Sebastian Anton Scherer]], [[François Roberday]], and [[Wilhelm Karges]], in addition to some anonymous pieces.

<blockquote>Taken as a whole, AmB 340 reflects that stage in the development of seventeenth-century North German organ music when the focus of attention was shifting away from the Bull-Sweelinck idioms which had been so dominant in the first half of the century, towards new styles coming north from Italy via South Germany.<ref>Webber (1986), 82.</ref></blockquote>

== Scribe ==
[[Geoffrey Webber]] stated that [[Wilhelm Karges]] is the ''most likely candidate'' to be the scribe of this manuscript.

<blockquote>The collection survives in the library of [[Princess Anna Amalia of Prussia]] (1723-1787) and Karges was Organist of the Berlin Court from 1646 to 1699. Of the three works in the manuscript which bear the initials 'W. K.', one is the only piece to carry a date–13 July 1664–and another is the only instance in the manuscript where two names occur in connection with a single piece. Here 'W. K.' replaced the first section of Froberger's ''Fantasia sopra Sol La Re'' with a short parody of Froberger's original–a process very similar to the techniques employed in the Scherer adaptations. Moreover, the style of the dated piece is entirely compatible with the stylistic alterations made to the Froberger, Roberday and Scherer works.<ref>Webber (1986), 86.</ref></blockquote>

== Analysis ==
Many pieces in this manuscript which have a known source (where they were copied from) have serious changes when compared with the original. These have been interpreted as examples of how these foreign pieces could be modified by North-German organists to better suit their tastes (while at the same time showing more interest in this different style of music).

Some examples of how pieces would be modified include changing or completely re-writing the final cadence in such a way that the Italian style of trill-like ornaments on the final chord are replaced with more polyphonic and harmonic cadences, re-writing runs in fast notes (like 16th or 32nd notes) in more regular, less trill-like, rhythms, removing some dissonances and chromaticism, and playing some notes in the pedal (including removing fast notes when they are written to be played in the pedal).

Additionally, many ''intonatio'' by Scherer that were included were made longer by adding more opening and concluding flourishes. In this way, the piece conforms more to the ''Präludium'' of the [[North German Organ School]].

=== Examples ===
This manuscript contains a copy of the ''Chromatic Fantasy'' by [[Jan Pieterszoon Sweelinck]] on f.46v-. This copy includes several sections in which an extra voice is written which is a more "ironed-out" version of certain motifs, such as trill-like ornaments.

[[File:DBamb340 1.jpg|frameless|none]]

<score><<
\new Staff \relative fis' {\time 4/2 \partial 1 fis2 f | e2 f2^"[?]" d4 e f g}
\new Staff = "r" \relative d' { \clef bass d4 a2 b4 | << { c16 b a b c a b g a g f g a f g e f4 }
\new Staff \with { alignBelowContext = "r" \omit TimeSignature } \relative c' { \clef bass c8 a c b a g f d \glissando \change Staff = "r" \once\hideNotes f2*1/2 } >> g4 a g8 f }
\new Staff \relative d { \clef bass s1 | r2 d d d }
>></score>

Furthermore, the ending of the piece is different.

[[File:DBamb340 2.jpg|frameless|none]]

<score>
\new PianoStaff <<
\new Staff <<
\relative cis'' { \time 4/2 \partial 1. cis8 c b bes a4 bes a d, | d1 cis4 d d4. cis8 | d\breve\fermata \bar "|." } \\ \relative d' { s2 r8 d d d cis c b bes | a1 a1 | a\breve\fermata | }>>
\new Staff << \relative a { \clef bass a4 g fis g a g f!16 e d e f g a g f e d8 d, d' e4 f e2 | fis\breve\fermata | } \\ \relative d { s2 d1~ | d1 a d,\breve\fermata }
>>
>>

</score>

== Contents ==
Several pieces in this manuscript are marked with initials which have been connected with composers. (A few pieces include more fully written-out names)

In addition to pieces with initials, several unattributed pieces in this manuscript have been found to originate from two books published in the 1660s:

* [[François Roberday]] - ''Fugues et Caprices'' (Paris, 1660)
* [[Sebastian Anton Scherer]] - ''Operum musicorum secundum'' (Ulm, 1664)

With these atttributions, two pieces in the manuscript remain unaccounted for.

== Links ==
{{OnlFac|sig=D-B Am.B 340|url=http://resolver.staatsbibliothek-berlin.de/SBB00005DFB00000000|urlc=digital.staatsbibliothek-berlin.de|date=21 November, 2023}}

== References ==
{{RISM|466000008}}

[[Pieter Dirksen|Dirksen, Pieter]]. ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology.'' Aldershot: Ashgate, 2007. 56.

[[Lydia Schierning|Schierning, Lydia]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie.'' Kassel: Bärenreiter, 1961.

[[Geoffrey Webber|Webber, Geoffrey]]. "New Evidence Concerning the Transmission of Styles in Seventeenth-Century German Organ Music: MS Berlin, Amalien-Bibliothek 340". [[The Organ Yearbook]] 17, 1986. p.81-88.

''20 Freie Orgelwerke der Norddeutschen Schule.'' [[Meister der Norddeutschen Orgelschule]] 29. Mainz: Schott, 2013. p.81.

[[Category:Manuscripts]][[Category:German Manuscripts]][[Category:Baroque Manuscripts]][[Category:German]][[Category:Baroque]]

S-Uu Ms. Ihre 285

2025-01-07T17:04:30Z

Fiskfan1999: Fiskfan1999 moved page S-Uu Ms. Ihre 285 to S-Uu Ihre 285: Fix signature according to online database

#REDIRECT [[S-Uu Ihre 285]]

S-Uu Ihre 285

2025-01-07T17:04:30Z

Fiskfan1999: Fiskfan1999 moved page S-Uu Ms. Ihre 285 to S-Uu Ihre 285: Fix signature according to online database

[[File:S-Uu Ms Ihre 285 Tunder.jpg|thumb|right|Canzona by [[Franz Tunder]]]]
{{Stub}}

== Links ==
{{OnlFac|sig=S-Uu Ihre 285|url=http://urn.kb.se/resolve?urn=urn:nbn:se:alvin:portal:record-151937|urlc=alvin-portal|date=7 January, 2025|imslp=553552}}

[[Category:Manuscripts|Ihre 285]]
[[Category:Tablatures|Ihre 285]]
[[Category:Swedish Manuscripts|Ihre 285]]

S-Uu Ihre 285

2025-01-07T17:01:22Z

Fiskfan1999:

Turin Tablatures

2025-01-06T18:43:37Z

Fiskfan1999:

The '''Turin Tablatures''' are a collection of manuscripts held in the ''Biblioteca Nazionale'', Torino.

Transmitting a staggering 1,170 pieces in 16 volumes, the Turin Tablatures is one of the most monumental collections in all of early music.

{{Stub}}

== History ==
Little is known about the history of the manuscripts before they were owned by the Genoese Durazzo family in the 1700s.

<blockquote>It remained in the possession of this family until well into the 20th century, although the collection was split into two in 1893 because of a heritage division. As early a 1930, however, the halves were reunited when they were acquired by the Biblioteca Nazionale in Turin.<ref>Dirksen, 23.</ref></blockquote>

== Links ==
[https://bnuto.cultura.gov.it/en/digital-library/foa-collection-giordano-collection/ Scans of Ms. Foa and Ms. Giordano] (accessed 6 January, 2025)

== References ==
[[Pieter Dirksen|Dirksen, Pieter]]. ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology.'' Aldershot: Ashgate, 2007. 23-25.

Gentili, Alberto. "La raccolta di musicali 'Mauro Foa' alla Biblioteca Nazionale di Torino." ''Academie e Bibiblioteche d'Italia'' 1, 1927. 36-50.

Gentili, Alberto. "La raccolta M. Foa nella Biblioteca Nazionale di Torino." ''Rivista musicale italiana'' 34, 1927. 356-358.

Gentili, Alberto. "La raccolta di antiche musiche Renco Giordano alla Biblioteca Nazionale di Torino." ''Academie e Bibiblioteche d'Italia'' 4, 1930. 36-50.

Mischiati, Oscar. "L'intavolatura d'organo tedesca della Biblioteca Nazionale di Torino." [[L'Organo]] 4, 1963. 1-154.

Rubsamen, Walter H. "Music Research in Italian Libraries." ''Music Library Association Notes'' 2, 1949. vi, 543-569.

Main Page

2024-12-29T01:33:47Z

Fiskfan1999:

__NOTOC__[[File:Picsart 23-06-12 22-40-16-994.jpg|alt=Live Leon reaction|thumb|[[Léon Berben]]]]
<div style="background:lightblue;padding:5px;border:2px solid black;width: fit-content;text-align:center;">Welcome to pipe-organ.wiki! <big>'''Dedicated to the organ and its music, players, and studiers.'''</big> Do you want to help expand the wiki, add sources or help in any other way? Then '''[[Special:CreateAccount|create an account]]'''!</div>

There have already been [[Special:Statistics|{{NUMBEROFARTICLES}}]] Articles written and {{NUMBEROFEDITS}} Edits made.

== Announcements ==
=== Can you help complete the thematic index of organ compositions by [[Rachel Laurin]]? ===
See [[Talk:Rachel Laurin]] for details

== Article Hall of Fame ==
* [[Arnold Matthias Brunckhorst]]
* [[Anthoni van Noordt]]
* [[Old German Tablature Notation|Old]] and [[New German Tablature Notation|New]] German Tablature Notation
* [[Lynar Tablatures]]
* [[Warsaw Musical Society Tablature]]

''Also see:'' [[Special:LongPages]]

== Content guidelines ==
Think of these like the rules.

* In general, please be rigorous about citing factual information, wether it be from books, online sources, manuscripts. Feel free to leave a "citation needed" template in place of a citation, and someone else may get to it later!
* Please do not make this wiki the place to leave your original research into a topic. Besides not being able to be verified in the same way as any article could be, it would be vulnerable to be overwritten by anyone else (especially if they replace your research with older research). If anything, you may make a blog post or a similar piece of content and cite that.
* All aspects of the pipe organ are allowed. Pipe organs themselves, organ builders, performers, composers, aspects of organ compositions. For composers please focus on their organ compositions, but including a general biography is fine.
* ''How to title an article about an organ''. Please make the title in the form '''"<Organ builder>, <name of church or location>, <Physical location (city, state, country)"'''. More information such as opus number or year are welcome in the opening paragraph of the article. For example [[Austin Organ, First Congregational Church, Westfield NJ]].
* ''How to write stoplists''. Please refer to [[Template:Disposition]].
* ''How to list works by a composer''. This will vary depending on the situation. For some such as north german organ composers from the baroque period, a table with columns '''1) Manuscript, 2) Exact title (not cleaned/modernized), 3) notes''' is preferred. For later composers see [[Jean Langlais]].
* ''How to refer to manuscripts,'' unless the manuscript has a common name (such as [[Lowell Mason Codex]]), please refer to it by the [https://rism.info/community/sigla.html RISM siglum] followed by the shelfmark/signature (granted, the signature designation may be a bit ambiguous as well). For example, '''[[Lynar Tablatures|D-B Mus. Ms. Lynar B 3]]'''.
* You '''ARE ALLOWED''' to make a page about yourself or any pipe organ that you personally know, unlike on Wikipedia. However, please make sure that any factual information is cited just like on any other article, and don't just put personal information that can't be verified.
* If you are creating an article for an organist who primarily operates a youtube channel under a different name (example: [[Titus Grenyer]] -> [[Pep Organ]]), make one article which describes them and the youtube channel, make the article title their name, and make an article with the name of the youtube channel which redirects to the first article.
* You should not cite pipe-organ.wiki as a source. However, if you find an interesting piece of information, please try to track down the citation that it is from, because it will be more authoritative!

Also see [[Pipe-organ.wiki:Incipits style guide]].

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== How to create a page ==

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[[Category:The Wiki]]

Lynar Tablatures

2024-12-22T02:22:55Z

Fiskfan1999: /* Contents */ start incipits for lynar b 3

The '''Lynar tablatures''' are a collection of manuscripts that are currently held in the Staatsbibliothek, Berlin. It has been interpreted as one of the most important sources for the works of the North-German pupils of [[Jan Pieterszoon Sweelinck]].

With a few exceptions, the Lynar Tablatures exclusively transmit keyboard music, mostly for organ. The exceptions are one manuscript which appears to contain an [[Intabulation]] of a cantata (see [[#Lynar B 10|B 10]]) and another which appears to be transcribed from a psalm part book ([[#Lynar C 1|C]]).

The Lynar Tablatures are highly varied in their size and the pieces they contain. The individual manuscripts range in size from containing a fragment of a single piece or two präludia which fit on a single two-page opening to containing as many as 81 pieces or settings of all 150 psalms. The pieces contained in these manuscripts (some attributed to composers, others anonymous) have been connected to many different regions of Europe including the German-speaking Lands, the Netherlands, Poland, Italy, France and England. Likewise, they include a wide variety of genres of pieces including [[Toccata|toccatas]], [[Präludium|Präludia]], dance movements, [[Canzona|canzonas]] and other fugal polyphonic works, variation cycles on chorales psalms and secular songs, and chorale settings–including the more developed German [[Chorale Fantasia]].

The composers who are represented the most within the Lynar tablatures are [[Jan Pieterszoon Sweelinck]], [[Christian Erbach]], and [[Heinrich Scheidemann]]. Over time, many of the other anonymous compositions have been linked to composers based on concordances and stylistic analysis.

The Lynar Tablatures themselves (as well as the pieces within) have been covered in-depth by many musicologists, including [[Lydia Schierning]] in her extensive book on manuscripts of german early keyboard music, and [[Pieter Dirksen]] in various books and publications.

Thankfully, now all of the Lynar Tablatures (except '''C 1''') are available online.

== History<ref>[[Hans Schnieders|Schnieders, Hans]], "Fingersätze für Tasteninstrumente aus dem Umfeld Sweelincks und seiner Schüler". [https://archiv.ub.uni-heidelberg.de/volltextserver/12663/1/Schnieders_2011.pdf], accessed 15 September, 2023. 2.15 Lynar A1</ref> ==
The first Lynar tablatures that were known to musicologists were the '''A 1''' and '''A 2''' manuscripts. These two manuscripts had copies made of them in the middle of the 19th century. Later in the 19th century both manuscripts went missing (In the 1894 edition of keyboard works of Sweelinck, [[Max Seiffert]] could only rely on the 1841 copy). However, the "A" manuscripts were fortunately found in 1920, and around this time the 11 manuscripts in tablature notation were discovered by [[Rochus Friedrich zu Lynar]]. All 13 manuscripts were collected and stored in the Spreewald museum in Lübbenau-Lehde. In 1933<ref>[[Max Seiffert|Seiffert, Max]] (editor), ''Sweelinck: Werken voor Orgel en Clavecimbel.'' Amsterdam: G. Alsbach & Co., 1942. xlvi</ref> [[Max Seiffert]] inspected the manuscripts and assigned the shelfmarks starting with A (referring to staff notation) and B (tablature notation). The description penciled on the front of each manuscript is written by Seiffert.

<blockquote>The Lynar B collection of tablatures was discovered more recently. They were found during the reorganization of the castle papers for removal to a newly founded city museum in the 1920s. According to [[Hans Joachim Moser]], the first musicologist to see them, they consisted of nothing but a ''large, disordered pile of paper–partly gathered in bundles, partly consisting of loose sheets and notated in organ tablature.''<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). Psalm Variations from Lynar B 7. Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. V</ref></blockquote>

In 1956, the manuscripts were moved to the ''Staadtsbibliothek'', Berlin, retaining their previous shelfmarks.

== Description ==
[[File:Lynar A 1 cover.jpg|thumb|The cover of [[D-B Ms. Lynar A 1|Lynar A 1]]]]
Each Lynar Tablature has a sheet pasted on the front with a description penciled in by [[Max Seiffert]] (the text is reproduced below).

According to the Berlin Staatsbibliothek website, the shelfmark for the manuscripts is stylized '''Ms. Lynar A 1''', '''Ms. Lynar B 2''', etc.. One manuscript has the shelfmark '''Ms. Lynar C 1''', but it has been called "Lynar C" or "Lynar B 11" in some sources.

The "A" tablatures are in various types of staff notation, and the "B" (and "C") tablatures are in [[New German Tablature Notation]].

== Analysis ==
=== Lynar A Tablatures ===
<blockquote>...the Lynar A manuscripts must be particularly close to Sweelinck's autographs, if not actually copied directly from them–which seems not only to hold for the large collection of Sweelinck pieces themselves (in Lynar A 1) but for much of the remaining content as well, including the large virginalist section in LyA2.<ref>DirksenScheidemann, 144-145.</ref></blockquote>

=== Lynar B Tablatures ===

==== [[Pieter Dirksen]]<ref name="dirksen">DirksenScheidemann, 9-10.</ref> ====
<blockquote>The Lynar B tablatures as a whole must now be seen as a closely connected series of sources which probably actually originated within the North German Sweelinck school, going back directly to one of the North German Sweelinck pupils.<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. VIII</ref></blockquote>

The Lynar B tablatures have proven valuable as a source of works from the North-German Sweelinck school as well as from Sweelinck himself, as thirteen works (including 10 not known from any other source) by him are found within.

Dirksen interprets the 11 "B" tablatures as forming a unified whole because (among other reasons) it can be identified that some of the unknown copyists wrote more than one manuscript each.

As for the originating location of the manuscripts, the area of Gdańsk (german: Danzig) was theorized based on the inclusion of pieces by [[Paul Siefert]] and [[Andreas Neunhaber]]. Similarly based on circumstantial evidence, the manuscripts can be dated to around the 1620s (even though some pieces within can be dated to later). One date found within the manuscript, 1628, also suggests this.

Dirksen notes that the works by Sweelinck must have been transcribed from Anglo-Dutch staff notation to [[New German Tablature Notation]].

== References ==
{{NdS2 2009}} ("Beckmann (2009)")

[[Pieter Dirksen|Dirksen, Pieter]]. ''The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance and Influence.'' Muziekhistorische Monografieen, vol. 15. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1997. ("DirksenSweelinck")

[[Pieter Dirksen|Dirksen, Pieter]]. ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology.'' Aldershot: Ashgate, 2007. ("DirksenScheidemann")

[[Lydia Schierning|Schierning, Lydia]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie.'' Kassel: Bärenreiter, 1961.

<references />

== Contents ==
=== Lynar A 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar A 1 | Jugendautograph des Hamburger | Organisten Matthias Weckmann | (1620-1674), begonnen 1637 in Ham- | burg. Niederländische Tabulatur auf | 2 x 6 Linien. | Inhalt Kompositionen von | Jan Pieters Sweelinck, Christian | Erbach, Gio. Gabrieli, Peter Philipps, | John Bull, Gilles Farnaby, L. Wood- | sen, La Barre, Gautier, Ballard, | M. Weckmann, Pieter Cornet.'' Ms. Lynar A 1: Young autograph by the Hamburg organist [[Matthias Weckmann]] (1620-1674), begun in 1637 in Hamburg. Dutch tablature on 2x6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 1|url=http://resolver.staatsbibliothek-berlin.de/SBB0002914D00000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671389506 00000170.jpg|thumb|The beginning of ''Mein Junges Leben Hat ein End'' by [[Jan Pieterszoon Sweelinck]]]]
'''Ms. Lynar A 1''' is a manuscript in Dutch 6-line staff notation. It contains 81 keyboard pieces. It is one of the first manuscripts to be known to early musicologists and has been called "the primary source for the keyboard music of [[Jan Pieterszoon Sweelinck]]"<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm variations from Lynar B 7.'' Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. Page V.</ref>.

Despite going missing in the late 19th century, this manuscript has since been rediscovered.

Actually, the scribe of the manuscript is not [[Matthias Weckmann]] (like [[Max Seiffert]] said)<ref>Schierning, 78</ref><ref>DirksenSweelinck, 21</ref>.

==== Description ====
[[Max Seiffert]] said that the scribe of the manuscript was [[Matthias Weckmann]] while he was a student of [[Jakob Praetorius]].<ref>Schierning, 78</ref> One possible reason for this is that the manuscript was located in the Hamburg ''Universitätsbibliothek'' when it was inspected by him.<ref>Schierning, 78. ''Dieses Manuskript war bis zu seiner Vernichtung im letzten Krieg im Besitz der Hamburger Universitätsbibliothek...''</ref>

However, when comparing this manuscript with the [[Visby Tablature]], which was written in similar circumstances (by [[Berendt Petri]] while studying with [[Jakob Praetorius]]), the difference in repertoire can be seen. Actually, based on the use of the organ in North-Germany, Jakob Praetorius and his students would only have use for verses and variations on chorales, hymns, magnificats, motet intabulations and short preludiums.<ref>Schierning, 79</ref>. It seems unlikely that J. Praetorius would have changed his teaching (including choice of pieces) and at the same time it would not be usable for his student from Hamburg.<ref>Schierning, 79</ref> For this reason, a North-German origin of this manuscript (under the teaching of Jakob Praetorius) is doubtful.<ref>Schierning, 79. ''Diese Fragen werden kaum zu bejahen sein, somit ist eine norddeutsche Herkunft der Handschrift stark zu bezweifeln''</ref>

On the question of proximity to Autographs by Sweelinck, Pieter Dirksen says that the manuscript must have had an origin close to Sweelinck and his school, not only based on the selection of pieces included but also their high copying quality.

<blockquote>The Sweelinck pieces are copied with hardly any mistakes at all, and anyone who has worked with manuscript sources knows how rare such a state of affairs is.<ref>DirksenSweelinck 21.</ref></blockquote>

In addition, ''The scribe apparently had access to an exclusive strain of the Sweelinck transmission'',<ref>DirksenSweelinck 22.</ref> as many high-quality pieces (including ''Mein junges Leben hat ein End'') are included which would surely be copied by other scribes if they had access to them. Also, the staff notation layout (two staves with six lines each) and other aspects of the notation (including the ''musicality of the two hands over the two staves'') suggest a direct connection to Sweelinck autographs.<ref>DirksenSweelinck 22.</ref>

However, [[Klaus Beckmann]] noted that it seems odd that someone so close to Sweelinck (or even a student of him) would badly misspell his name, as happens for some of the pieces. This was part of [[Johann Praetorius#Klaus Beckmann|his argument]] that some pieces–in which the written composer name is ''Johann. Pieters.''–were composed by the Sweelinck student [[Johann Praetorius]].<ref>Beckmann (2009) p.166-172.</ref>

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 1<ref>DirksenSweelinck 656-658.</ref>
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==== Analysis ====
<ref>[[Margarete Reimann]]. "Die Autoren der Fuge Nr. 23 in Lüneburg KN 208^1 und der Fantasia Ut sol fa mi in Lübbenau, Ms. Lynar A^1". [[Die Musikforschung]], 16. Jahrg., H. 2 (APRIL/JUNI 1963), pp. 166-167. [https://www.jstor.org/stable/41115511 JSTOR]</ref>One piece, '''Fantasia Ut sol fa mi''' by ''Joan Pieters'' (=[[Jan Pieterszoon Sweelinck]]) is also found in a manuscript from the collection of Messaus (Ms. 18 Bd. 1) which was later owned by William Kitchiner and Richard Clark and is now lost. Here, it is titled ''God save the King'', dated 1616, and attributed to [[John Bull]]. This piece is included in [[Musica Britannica]] volume 14, the keyboard works by [[John Bull]], with this other title (as well as in [[Max Seiffert|Seiffert's]] Sweelinck edition in 1942 titled ''Fantasia...''). On the question of authorship, even though the editor of the ''Musica Brittanica'' edition, [[Thurston Dart]], said that Messaus's attributions could generally not be trusted as much as those by other scribes, the authorship of this piece by Bull is still possible. The appearance of this piece in two manuscripts by two different composers can be explained by the following possibility: it seems likely that John Bull gave his friend Sweelinck a copy of this piece (Bull was already found in Holland in 1613), and this copy was consulted by the copyist of '''Lynar A 1''' (who wrote Sweelinck's name).

==== References ====
{{RISM|1001079614}}

Schierning, 66-81

DirksenSweelinck, 20-22, 656-658

<references />

=== Lynar A 2 ===
----
<blockquote>'''Seiffert:''' ''Italienisch-niederländische Tabulatur eines | süddeutschen Schreibers um 1610; 2 Systeme | 6 + 7 und 6 + 6 Linien. | Enthält Kompositionen von | Christian Erbach und der Engländer Will. | Byrd, Dr. Bull, Orlando Gibbons, | sowie einige von Gio. Gabrieli und Tarq. | Merula.'' Italian-Dutch tablature from south-German scribes from 1610; 2 systems, 6+7 and 6+6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 2|url=http://resolver.staatsbibliothek-berlin.de/SBB0002915200000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671394380 00000020.jpg|thumb|A Canzona by [[Christian Erbach]] in Lynar A 2]]
'''Ms. Lynar A 2''' contains 42 [[Tasteninstrument]] pieces written in staff notation by [[Christian Erbach]], [[Giovanni Gabrieli]], [[Tarquinio Merula]], [[William Byrd]], [[John Bull]], and [[Orlando Gibbons]]. Unlike Lynar A 1, this manuscript doesn't contain any works by Sweelinck.<ref>DirksenSweelinck 21.</ref>

==== Description ====
The manuscript is written by multiple hands in "Italian-Dutch" staff notation. Some pieces are written on two 6-line staves, and some are written on one 6- and one 7-line staff. Each page is 35x24.5cm in size.

In the early 20th century, the first and last pages of the manuscript (probably not written on) were concealed by binding paper for preservation purposes.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 2
|-
! p. !! Title !! Incipit !! Notes !! Ref.
|-
| 2-4 || Toccata. 2. toni / Christ: Erbach || || ||
|-
| 5 || Toccata. 3 tij / Toni || || ||
|-
| 6 || Toccata. 4. tij / toni / Christian Erbach || || ||
|-
| 7-8 || Fuga j.mj / toni / Christian Erbach || || ||
|-
| 8-9 || fantasia / 2. dj / Tonij || || ||
|-
| 9 || Ricercar. 3. tij. / toni / Christian Erbach || || ||
|-
| 10 || Canzon 4stij Toni Chr. Er. || || ||
|-
| 11-12 || Ricercar / coall / Quinti toni / C. E. || || ||
|-
| 12-13 || Canzon / sexti Toni / C. E. || || ||
|-
| 13-14 || Ricercar / 7.mi. Toni / C. E. || || ||
|-
| 15-16 || Canzon / Octavi Toni / C. E || || ||
|-
| 16-18 || Ricercar.g. / Tonj / Johan. Gabriell || || ||
|-
| 19-20 || Canzon || || ||
|-
| 21-23 || Tacato / Secundi Tonj / Dell / Segnor Torquino / merula || || ||
|-
| 23-24 || Canzon || || ||
|-
| 25-26 || Un Cromatico / ouero Capricio / dell Signor / Torquino merula / primo Tuono per / Le semituoni || || ||
|-
| 27-28 || Intonatione / Cromatica / dell 3 / Tono || || ||
|-
| 29-30 || Intonaglio Cromatica / dell / Quarto Tono || || ||
|-
| 29-30 || Praeludium / primj Tonj || || ||
|-
| 31-32 || Intonatio / Crommatica / dell / Nonj Tonj || || ||
|-
| 33-34 || Canzon || || ||
|-
| 35-36 || Canzon || || ||
|-
| 37-38 || Pavan / sz: ae: mpetze / William Bÿrde / Angloss || || ||
|-
| 39-40 || Galiardo / William Bÿrde || || ||
|-
| 41-42 || Galliardo / Orlando Gibbons || || ||
|-
| 43-44 || Pavana. / The Earle / of Salisburÿ / William birde || || ||
|-
| 43-44 || Preludium / Doctor Bull || || ||
|-
| 43-44 || Galliardo || || ||
|-
| 43-44 || Galiardo Secundo / Miss Matye Brosonlo / William Birde || || ||
|-
| 45-46 || Preludium / Orlando Gibbons || || ||
|-
| 47-48 || Galliardo / Orlando Gibbons || || ||
|-
| 49-50 || Galliardo / Orlado Gibbons || || End: ''Finis Coronat / O Puc'' ||
|-
| 51-52 || Galliardo / orlando gibbons || || ||
|-
| 53-58 || ''[no title]'' || || 13 variations ||
|-
| 58 || ''[no title]'' || || ||
|-
| 59-62 || A. Voluntarge / M. Bird || || ||
|-
| 63-66 || Tantasia / M. Bird || || ||
|}

==== References ====
{{RISM|1001079620}}

Schierning, 81-84.

<references />

===Lynar B 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 1 | Deutsche Orgeltabulatur vom 1. Drittel | des 17. Jhdt. | Enthält Kompositionen von | J. P. Sweelinck, Paul Siefert, | Andr. Düben, Jak.Prätorius, Peter | Hasse, Gottfr. Scheidt, Samuel Scheidt | W. Karges, D. H. und M. D.'' 
Ms. Lynar B 1; German tablature from the first 3rd of the 17th century. Contains compositions frome [[Jan Pieterszoon Sweelinck]], [[Paul Siefert]], [[Andreas Düben]], [[Jacob Praetorius]], [[Peter Hasse]], [[Gottfried Scheidt]], [[Samuel Scheidt]], [[Wilhelm Karges]], D. H. and M. D.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 1|url=http://resolver.staatsbibliothek-berlin.de/SBB000253A600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 1''' contains 71 pages. Among other things, it contains a compilation of settings of ''Allein Gott in der Höh sey Ehr'' by different composers.
{| class="wikitable mw-collapsible"
|+Works in D-B Mus. Ms. Lynar B 1
!No.
!Title
!notes
|-
|1
|Fantasia Auff die manier von ein Echo. M. J. P. S.
|[[Jan Pieterszoon Sweelinck]]
|-
|2
|Puer natusin Bethlehem a Paulus Sivert
|[[Paul Siefert]]
|-
|3
|Nun komm der Heÿden Heÿlandt
|Paul Siefert?
|-
|4
|Nun Lobe meine Seele den Herren Auff 2 Clavir D. H.
|Düben?
|-
|5
|Wo Gott der Herr nicht beÿ unß Held auff 2 Clavir Andræ Duben
|[[Andreas Düben]]
|-
|6
|Allein Gott inn der Höh seÿ Ehr. M. J. P.
|Jan Pieterszoon Sweelinck
|-
|7
|Variatio Bicinium M. J. P.
|Jan Pieterszoon Sweelinck
|-
|8
|Variatio coral in Tenor M. J. P.
|Jan Pieterszoon Sweelinck
|-
|9
|Variatio coral in cantu 4 Vocum M. J. P.
|Jan Pieterszoon Sweelinck
|-
|10
|Variatio Choral in Cantu auff 2 Clavier A. Duben
|Andreas Düben
|-
|11
|Variatio choral in Basso A. D.
|Andreas Düben
|-
|12
|Variatio Choral in Bass M. Duben
|[[Martin Düben]]
|-
|13
|Variatio Choral in Baß 3 vocum
|
|-
|14
|Varatio
|
|-
|15
|Variatio Choral in Tenore 3 vocum P Hassen
|[[Petrus Hasse]]
|-
|16
|Variatio 3 Vocum Choral in Basso P. Hass
|Petrus Hasse
|-
|17
|Var. 12 G. S.
|[[Gottfried Scheidt]]
|-
|18
|Var. Choral in Cantu auff 2 Clav. G. S.
|Gottfried Scheidt
|-
|19
|4 vocum
|
|-
|20
|Variatio Zum Alt vndt Tenor muße nur Stimmen von 4 Fuß gezogen werden
|
|-
|21
|Variatio Choral in Cantu auf 2 Clav.
|
|-
|22
|Variatio Choral in Tenore
|
|-
|23
|Allein Gott in der Höh seÿ EHR: S. S.
|[[Samuel Scheidt]]
|-
|24
|Allein Gott â 3 Vocum Choral in Bass W. Karges
|[[Wilhelm Karges]]
|-
|25
|Erstanden ist der Heilige Christ M. D. Simpel - Auff 2. Clavir - Choral in Cantu auff 2. Clavier. - Coral in Basso 3. Voc:
|[[Martin Düben]]
|}

==== Analysis ====
===== Allein Gott in der Höh sei Ehr =====
One of the striking features of this manuscript is a cycle of chorale settings of ''Allein Gott in der Höh sei Ehr'' (with continually incrementing variation number), with some attributed to different composers and others left anonymous.

Theories have surrounded the reasoning for these compositions to have been included together. [[Max Seiffert]] said that they could have been composed by Sweelinck and his pupils together as one complete work. However, this was rejected by [[Margarete Reimann]], who said that it was simply compiled by someone else, perhaps the scribe of '''Ms. Lynar B 1'''. However, [[Pieter Dirksen]] states that the true facts may not be so simple. For instance, many of the variations form strong variation cycles themselves, such as the first few variations by Sweelinck. After these, the rest are more reminiscent of contrapuntal excercises, but several of the anonymous variations have stylistic similarities with each other, and it is possible that they were composed by the same person.

It was noted that variation 15 is a transposed copy of variation 7 (this was pointed out by [[Gisela Gerdes]].

==== References ====
[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Orgelmusik av familjen Düben''. Stockholm: Runa Nototext, 1996. xxi-xxii.

Beckmann (2009)

{{RISM|1001048774}}

Schierning, 32-34

<references />

===Lynar B 2===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 2 | Deutsche Orgeltabulatur ca. 1630 | Darin genannt Melchior Schildt | und J. P. Sweelinck, sonst alles anonyme Stücke'' 
Ms. Lynar B 2; German organ tablature from around 1630. Within it are pieces by [[Melchior Schildt]] and [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 2|url=http://resolver.staatsbibliothek-berlin.de/SBB0000673100000000|urlc=digital.staatsbibliothek-berlin.de|date=28 April, 2024}}
----

====Description====
'''Lynar B 2''' is a folio volume over 30 pages.

It doesn't contain any clues as to its origin, copyist, or date. Some theories include that it was compiled in North Germany around 1620-1630 or by [[Melchior Schildt]] while he was in Copenhagen around 1626-1629. However, different hands can be identified as having copied different pieces in the manuscript, so it may have been compiled over a longer period of time.

The tablature contains only fantasias and chorale/psalm settings. Of the 17 pieces contained within, two are headed by initials which give a hint to the composer. Of the rest, three more can be identified based on concordances with other manuscripts. The composers of these five works are [[Jan Pieterszoon Sweelinck]], [[Melchior Schildt]] and [[Heinrich Scheidemann]]. The rest of these pieces remain anonymous, but can be attributed to various composers on stylistic grounds.

==== Contents ====
{| class="wikitable mw-collapsible"
|+Works in D-B Ms. Lynar B 2
!Fol.
!Title
!Incipit
!Composer/Notes
!Ref.
|-
|1r
|[Fanta]sia [mit B]indungen
|<score><< \relative c'' { \time 4/2 c1. c2 d2. e4 } \\ \relative f { f1 a2 f bes g } \\ \relative a' { a1 a2 a bes2 bes } \\ \relative f' { f1 e2 f~ f g } >></score>
|Jan Pieterszoon Sweelinck
|<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
|-
|1v-3r
|Fantasia A 4
|<score>\relative c'' { \time 4/2 c2. bes4 a2 g f4 g a bes }</score>
|[[Jan Pieterszoon Sweelinck]]
|<ref name="dirkb2"></ref>
|-
|3v-6r
|fantasia primi Toni A 4
|<score><< \relative g' { \time 4/2 g1 g f1*1/4 } \\ \relative g { r2 g bes c d4 } >></score>
|Actually ''Nun komm der Heiden Heiland''
|<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
|-
|6v-8r
|ach Gott / vom him: / mel sieh / darein.
|<score><< \relative a' { \time 4/2 \key d \minor a1 bes2 a g } \\ \relative a' { r2 a2~ a4 g2 f4~ f ees } >></score>
|[[Heinrich Scheidemann]]?
|<ref name="dirkb2"></ref>
|-
|7v-10r
|Herr Christ der / Einig Gottes Sohn a.4 / mit dem pedahll / auch 2 Clauier / M.S
|<score>\relative bes { \clef alto \time 4/2 bes1 bes2 d c bes a2. }</score>
|[[Melchior Schildt]]
|
|-
|10v-12r
|Wie schön / leucht unß / der Morgenstern / A.4.
|1 variation <score><< \relative f' { f2 c' a f c' } \\ \relative c' { \key f \major r2 c f d c } >></score> 2 variatio <score>\relative f' { \key f \major f8 g a bes c4. bes8 a4. g8 }</score> 3 variatio <score><< \relative f' { f2 c' } \\ \relative bes { r8 bes a g f f' e d } >></score> 4 variatio <score><< \relative f' { \time 6/4 \key f \major f4 a bes c2. } \\ \relative c' { r2. c4 d e } >></score> 5 variatio <score><< \relative f' { \key f \major \clef bass f2 } \\ \relative f { f16 c' b c bes d c d } >></score>
|
|<ref name="dirkb2"></ref>
|-
|12v-15r
|Nun freut euch / lieben Christen / gmein / Cohrall im / Tenor
|1 variatio <score><< \relative f' { f1 f2 a } \\ \relative bes { r4 bes bes c d e f2\laissezVibrer } >></score> 2 variatio <score><< \relative f' { \key f \major r4 f8 g a4 a8 bes } \\ \relative f { f2 f } \\ \relative a { a4 a8 bes c2\laissezVibrer } \\ \relative f {\clef alto f2 r4 f8 g }>></score> 3 variatio <score>\relative bes { \clef alto \key f \major bes1 bes2 d c bes }</score> 4 variatio <score><< f'1 \\ \relative bes { \key f \major \clef bass r8 bes a g f ees d c } >></score> 5 variatio <score><< \relative ees' { \key f \major ees8 f16 ees d16 e f d ees8 c'16 bes } \\ \relative c' { c4 bes c } >></score>
|
|<ref name="dirkb2"></ref>
|-
|15v-17r
|psalm 116 / J. P.
|<score><< \relative d'' { \time 4/2 r1 d1 } \\ \relative d' { d2 b4 c d8 c b a g4 g'\laissezVibrer } >></score>
|Jan Pieterszoon Sweelinck
|
|-
|16v-17r
|O Lux Beata / Trinitas:
| <score><< \relative d' { \clef bass d1 c1*1/4 } \\ \relative g { r4 g bes8 a g f ees4 }>></score>
|
|<ref name="dirkb2"></ref>
|-
|17v-18r
|psalm 60 / A 2
| <score><< \relative c'' { \time 4/2 r1 c1*1/2 } \\ \relative c' { c2 f4 f e8 d c b a8 } >></score>
|Anonymus: Jan Pieterszoon Sweelinck
|
|-
|18v-19r
|O Gott du / unser Vater / bist / auff 2 Clauiren
|1 variatio <score><< \relative e' { \clef alto e1 e2 d c b } \\ \relative a { R1 a1 a2 g } >></score> 2 variatio <score><<\relative g' { \clef alto \key f \major g1 } \\ \relative g { r4 g8 a bes g c4}>></score> 3 variatio <score><< \relative d' { \clef alto \key f \major R1 d1 d2 d } \\ \relative g { g1 g2 g d2. e4 } >></score>
|Anonymus: Jan Pieterszoon Sweelinck
|<ref name="dirkb2"></ref>
|-
|19v-21r
|P 23 Mein hütter Undt mein hirtt
|<score><< \relative g' { \key f \major g1 g8 a bes a g4 f8 e } \\ \relative g { R1 <g bes d>1 } >></score>
|Anonymus: Jan Pieterszoon Sweelinck
|<ref name="dirkb2"></ref>
|-
|20v-23r
|die 10 Gebott Gottes
|1 variatio <score><< \relative c'' { c1 c2 d } \\ \relative c' { r4 c c d e f4. d8 g4 } >></score> 2 variatio <score><< \relative c'' { c1*5/8 } \\ \relative a' { r8 a16 g f8 e16 d c8 } >></score> 3 variatio <score><< \relative c'' { c1 } \\ \relative c' { c8 <c e>8 8 <d f> <e g> <d f> <c e> } >></score> 4 variatio <score><< \relative g' { \clef alto r8 g c b a f g e } \\ \relative e { r4 e f e } \\ c'1 >></score>
|Jan Pieterszoon Sweelinck
|<ref name="dirkb2"></ref>
|-
|23v-25r
|Es spricht den / unweisen Mundt / woll
|<score><< \relative c'' { \time 4/2 c1 c2. b8 a } \\ \relative f { r1 r4 f a g8 f } \\ \relative e' { r4 e c d8 e f2 c4 d } >></score>
|Heinrich Scheidemann
|
|-
|24v-25r
|Fuga Cromatico / ex D.la.sol.re.
|<score>\relative d' { \clef alto \time 4/2 d1 d2 d cis c a c }</score>
|
|
|-
|25v-27v
|Fantasia / A. 2: 3: et 4 / Vocum
|<score><< \relative a' { \time 4/2 \clef alto R\breve r1 a1 } \\ \relative a { a1 e' c2 cis d f } >></score>
|Anonymus: Jan Pieterszoon Sweelinck
|
|-
|27v-28v
|Fantasia / Super ut re mi / fa.sol.la. / A. 3. Vocum / pedaliter
|<score><<\relative c' { \clef bass \time 4/2 c4. b8 a4 g fis g a fis g4 } \\ \relative c { c1 d e1*1/4 } >></score>
|
|
|}

==== Analysis ====
After the publishing of 8 more works in Lynar B 2 by [[Pieter Dirksen]] in 1991, two works remain unpublished. The ''Fuga Cromatico'' and ''Fantasia Super ut re mi fa.sol.la.'' were described as "a brief composition employing imitation and simple chromatic lines" and "a pedantic, three-part hexachordal settings, in which the sogetto appears in the bass thirteen times in exactly the same form, constantly alternating between entries on c and G" respectively.

The setting of ''O God die onse Vader bist'' can for now be securely attributed to Sweelinck on the basis of the cantus firmus being a Dutch psalm in addition to stylistic features. Similarly, the setting of Psalm 23 can also be attributed to him, especially based on the similarities to Sweelinck's composition on Psalm 116 (which can be found in other manuscripts).

Confusingly, the manuscript contains a piece titled "fantasia primi / Toni A 4" which is neither a fantasia nor in the first tone. In fact, it is a chorale setting of ''Nun komm, der Heiden Heiland.''

<score><< \relative g' { \clef "treble_8" g1 g f bes a g a g2 r4 g bes2 g a4 g f e d e f g a bes c a bes c d2~ d4 cis8 b cis2_"etc." } \\ \relative g { s1*7 g1 g f bes a g a } \\ \\ \relative g { r2 g bes c d4 c bes a g a bes c d e f d e f g2~4 fis8 e fis2 g d d4 c d e f g a g f e d e f g a f g a g f e2 a } >></score>

It is possible that this heading was written by a different copyist before this work was written at a later date. In any case, this work only uses the first (identical with the last) line of the chorale (which means that this work could be classified as a ''choral ricercare'' or ''choral fugue''), and the contrapuntal writing is strikingly plain and schematic. In fact, this piece has been described as containing a "peculiar monothematic compositional technique, which is probably unparalleled in the surviving corpus of seventeenth century choral settings."

According to [[Pieter Dirksen]], the chorale fantasia ''Ach Gott, vom Himmel sieh' darein'' stands apart from the other works in Lynar B 2, as it transmits a chorale fantasia in the fully mature form. An attribution to [[Heinrich Scheidemann]] is possible. He is the only composer who is known to have composed chorale fantasias before 1650 (actually, this piece was not copied at a later point than the rest of the manuscript, because the same hand can be identified in Lynar B 6 and 7, and the first scribe of the manuscript writes some of the piece). However, this attribution is not secured. Some features which appear in almost all chorale fantasias by Scheidemann such as ''the simpler 'echo' techniques like monodic right-hand echoes, antiphonal echoes or 'trio echoes''', are not found in this work. Also, as shown by [[Michael Belotti]], the practice of showing the Rückpositiv voice in the top line of the manuscript even when it is in the tenor is not found in Scheidemann's music, but it does appear in the Magnificat I. toni by Schildt in the second volume of the [[Zellerfeld Organ Tablatures]]<ref>DirksenScheidemann 114-115.</ref> (This also occurs in the two chorale fantasias by [[Hieronymus Praetorius]] in [[D-W Cod. Guelf. 8 Noviss. 2/o]]<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor), ''Hieronymus Praetorius: Sämtliche Orgelwerke.'' Teil 1. Mainz: Schott, 2002.</ref>).

The setting of ''O Lux beata Trinitas'' appears to be a result of the early Sweelinck school based on some sixteenth-note figurations that can be found within it. However, it can not be found to be similar to any single composer on stylistic grounds. The ''cantus firmus'' appears in the tenor voice completely un-ornamented in long notes. This arrangement suggests that it can be played in pedal, but the voice rises up to f' which would require a 4-foot stop to be used on an organ with a 27-note pedalboard.

==== References ====
Beckmann (2009)

[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht

Schierning, 32-34

{{RISM|466000013}}

<references />

=== Lynar B 3 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 3 | Deutsche Orgeltabulatur ca. 1630 | Genannt sind darin: H. Scheide- | mann, J. P. Sweelinck, David Abel, | Andr. Düben, M. D., Peter Hasse, | M. W. C. B. M.'' 
Ms. Lynar B 3. German organ tablature from around 1630. Contains: [[Heinrich Scheidemann]], [[Jan Pieterszoon Sweelinck]], [[David Abel]], [[Andreas Düben]], M. D., [[Peter Hasse]], [[M. W. C. B. M.]]</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 3|url=http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023|imslp=554336}}
----

==== Contents ====
This manuscript has two sets of foliation which were penciled in at different times: there is a foliation visible at the bottom right of the right-side page, and a foliation which is visible at the top-left of the left-side page. In the table, no.1 refers to both pages which are open when the number is visible on the top left (example: 1v-2r).

{| class="wikitable"
|+ Works in Lynar B 3<ref><nowiki>digital.staatsbibliothek-berlin.de</nowiki>, online scan.</ref>
|-
! no. !! fol. !! Title !! Incipit !! Notes !! Ref.
|-
| 1 || 1r || [missing] || <score><< \relative g' { \omit TimeSignature \clef alto \time 4/2 g1 g4 a8 b c2\laissezVibrer } \\ \relative g { g4 f e d c1 } \\ \relative d' { d2 e e1 } \\ \relative b { b1 c4 b a g } >></score> || Title is on missing verso side ||
|-
| 1 || 1r || Praeludium || <score><< \relative d' { \clef bass \time 4/2 \omit TimeSignature d1~ d4 e8 fis g4 a } \\ \relative d { d1 g,1 } \\ \relative a { a1 bes2. c4 } \\ \relative fis { fis1 g2 d2\laissezVibrer } >></score> || Piece continues on missing verso side. ||
|-
| 2 || 1v-2r || Praludium || <score><< \relative b' { b1~ b8 b c d e4 b8 d } \\ \relative e { e1 e } \\ \relative e' { e1 e1 } \\ \relative gis { gis1 gis } \\ \relative b { b1 b1 } >></score> || ||
|-
| 3 || 2v-3r || Praludium || <score><< \relative a' { \clef alto \time 4/2 a1 a1 a2. b4 } \\ \relative d { d1 a2. b4 cis2 d } \\ \relative d' { d1 cis2. d4 e2 f4 g } \\ \relative f { f1 e a\laissezVibrer } >></score> || ||
|-
| 4 || 3v-4r || Praludium || <score><< \relative g' { \clef alto \time 4/2 g1 g2 c~ c4 d8 c } \\ \relative g { g1 c, g'1*1/2 } \\ \relative d' { d1 ees2. f8 ees d2 } \\ \relative b { b1 g g2 } >></score> || ||
|-
| 5 || 4v-5r || Praludium / [[Heinrich Scheidemann|H S M]] || <score><< \relative g' { \time 4/2 \clef alto g1~ g4 a8 b c4 d } \\ \relative g { g1 c, } \\ \relative d' { d1 ees2. f4 } \\ \relative b { b1 c2 g2\laissezVibrer } >></score> || ||
|-
| 6 || 5v-6r || Vater unser in Himmell / reich. / [[M. W. C. B. M.|MW. C. B. M.]] || [1] <score><< \relative a' { \time 4/2 \clef alto a1 a4 g f e8 f } \\ \relative a { a1 a2 d, } \\ \relative e' { e1 e2 d4 c } \\ \relative cis' { cis1 cis2 a } >></score> 2 Variation <score><< \relative e' { \time 4/2 r8 e f g a g a bes c d c bes a g f a } \\ \relative a { a1 a2 f } >></score> 3 <score><< \relative a' { a1 a2 f g } \\ \relative a { \clef alto \time 4/2 r4 a f d f8 g a4 d, d' bes c } >></score> || ||
|-
| 7-9 || 6v-9r || Fantasia / J. P. || || ||
|-
| 10 || 9v-10r || Fantasia. / 6 toni. || || ||
|-
| 11 || 10v-11r || Praludium / pedaliter || || ||
|-
| 12 || 11v-12r || Herr Christ / der einige Got / tes Sohn. || || ||
|-
| 13 || 12v-12ar || Praludium || || "12a" is the folio number inserted between 12 and 13. ||
|-
| 14 || 12av-13v || Praludium || || ||
|-
| 15 || 13v-14r || Praludium || || ||
|-
| 16 || 14v-15r || Praludium / secundi Toni / Auf 2 Clavir / und pedale. || || ||
|-
| 17-19 || 15v-18r || Fantasia || || ||
|-
| 20-21 || 18v-20r || Vater unser in himmell / reich Corahll / in Bas. || [1] 2 Vers auf / zwei Clavier / und Pedahll. || Actually by [[Heinrich Scheidemann]] || {{Citation needed}}
|-
| 22-23 || 20v-21r || O Mensch Be,, / weine deine / sünde gros auf. / 2 Clavier der Co,, / rahll gecolorirett / [[M. W. C. B. M.]] || || ||
|-
| 24 || [23]v-24r || Praeludium / pedaliter / [[David Abel]]. || || ||
|-
| 25 || 24v-25r || Praludium / [[David Abel]]s. || || ||
|-
| 26 || 25v-26r || Fuga || || ||
|-
| 27 || 26v-27r || Ricercar / primi Toni || || ||
|-
| 28-30 || 27v-30r || Ricercar / primi Toni / ex G.B.moll || || ||
|-
| 31 || 30v-31r || Praludium / Ex E. Vel/ a. pedaliter / A. D. O. || || ||
|-
| 32 || 31v-32r || Praambulum / pedaliter / M. D. O. || || ||
|-
| 33 || 32v-33r || Praambulum / pedaliter || || ||
|-
| 34 || 33v-34r || Praambulum / pedaliter || || ||
|-
| 35 || 34v-35r || Praambulum / pedaliter / P. H. || || ||
|-
| 36 || 35v-36r || Praludium / pedaliter / M. F. P. S. W. || || ||
|-
| 37 || 36v-37r || Praludium / Pedaliter || || ||
|-
| 38 || 37v-38r || Praludium / M. D. O || || ||
|-
| 39 || 38v-39r || Praludium / pedaliter || || ||
|-
| 39 || 38v-39r || Praludium || || ||
|-
| 39 || 38v-39r || Praludium / pedaliter || || ||
|-
| 39 || 38v-39r || Praludium / pedaliter || || ||
|-
| 40 || 39v- || Praludium / pedaliter || || Fragment ||
|}

==== References ====
{{RISM|466000011}}

<references />

=== Lynar B 4 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 4 | Deutsche Orgeltabulatur ca. 1630. | Genannt nur J. P. Sweelinck, | sonst anonyme Stücke. '' 
Ms. Lynar B 4. German organ tablature from around 1630. Containing pieces by only [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 4|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438100000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

The page numbers (instead of folios) have been penciled in by a librarian.

==== Contents ====

This manuscript contains four pieces:

{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 4
|-
! Pages !! Title !! Incipit !! Notes !! Ref.
|-
| 1-3 || In dich hab / ich gehoffet / Herr / auf 2 Clavier / Manualiter || <score><< \relative d' { \clef alto \time 4/2 d1 d2 a' e g } \\ \relative d { r2 d2. e4 f g a8 b c d e2.*2/3 } >></score> || [[Heinrich Scheidemann]] ||
|-
| 4-9 || Jesus Christus / unser Heylandt / auf 2 Clavier / pedaliter || <score><< \relative a { \clef alto \time 4/2 a1 d d2 cis d a4. b8 c2 c } \\ \relative d { R\breve r1 r2 d a'1 } >></score> || [[Heinrich Scheidemann]] ||
|-
| 10-11 || Fantasia / M. J. P. || <score><< \relative d' { R\breve R\breve r2 d } \\ \relative d' { \clef alto \time 4/2 d1 d2 d c bes a1 g2. a4 } >></score> || [[Jan Pieterszoon Sweelinck]] ||
|-
| 14-17 || Fantasia / A 3 Vocum / Transpon: per 4 toni || <score>\relative b' { \time 4/2 b1 b2 b a c b4 a g fis }</score> || ||
|}

Only one piece contains an attribution, the initials M. J. P. (=[[Jan Pieterszoon Sweelinck]]). However, all four pieces can be accounted for based on concordances found elsewhere. The first piece appears in [[D-Lr Mus.ant.pract. K.N. 208/1]] titled ''In dich hab ich gehoffet H.S.M.'', linking the piece to [[Heinrich Scheidemann]] (WV 8<ref name="dirksen">DirksenScheidemann, xviii.</ref>). The second piece is also composed by Scheidemann based on concordances in [[Zellerfeld Organ Tablatures]] vol.1 and the [[Pelplin Tablatures]] (WV 10).<ref name="dirksen"></ref> The fourth piece is a transposed parody of the [[Samuel Scheidt]] ''Tabulatura Nova'', vol. 2 no.6 (the composer of the parody is unknown).

==== References ====
{{RISM|1001048776}}

Schierning, 31.

<references />

=== Lynar B 5 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 5 | Deutsche Orgeltabulatur ca. 1630 | Darin 1 Choralbearbeitung von | Jakob Praetorius (unvollständig)'' 
Ms. Lynar B 5. German organ tablature from around 1630. Contains one choral work from [[Jacob Praetorius]] (incomplete).</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 5|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438200000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:PPN1032686251 00000006.jpg|thumb|The ending of the fragmented ''Durch Adams fall'' by Jacob Praetorius]]
This manuscript contains one piece, a fragment of a [[Chorale Fantasia]] ''Durch Adams Fall ist ganz verderbt'' auff 3 clavier by [[Jakob Praetorius]].

The piece is neatly written in five voices, suggesting that the top voice is to be played on ''Rückpositiv'', the second on ''Brustwerk'', the third and fourth on ''Organum'', and the bottom in ''Pedal''. It is written in the ''Echo'' style; furthermore, this piece provides evidence that Jakob Praetorius was the inventor of the ''Echo-Choralfantasia'' on 3 manuals (this style was also written in by [[Nicolaus Hasse]]).

==== References ====
{{RISM|1001048780}}

Beckmann (2009), 151-152.

[[Werner Brieg|Brieg, Werner]] (editor). ''Jacob Praetorius: Choralbearbeitunen für Orgel.'' Kassel: Bärenreiter, 1974.

Schierning, 37-38.

<references />

=== Lynar B 6 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 6 | Deutsche Orgeltabulatur ca. 1630 | Enthält 1 Toccata von Heinrich | Scheidemann'' 
Ms. Lynar B 6. German organ tablature from around 1630. Contains one toccata by [[Heinrich Scheidemann]].</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 6|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438300000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 6''' contains a manualiter Toccata auf 2 clavir (WV 43) by [[Heinrich Scheidemann]] on 10 pages.

An autograph manuscript of this piece has been discovered in [[D-W Cod. Guelf. 8 Noviss. 2/o]]. Besides this, copies are also found in many other manuscripts including the first volume of the [[Zellerfeld Tablatures]], [[D-W Ms. 227]], and various different (corrupted) forms in [[D-Lr Mus.ant.pract. K.N. 208-1]] and [[D-Lr Mus.ant.pract. K.N. 209|209]], and [[D-B Am.B 340]] (the last three manuscripts transmit the piece in a "pedaliter version" and are assigned WV number 43a by Dirksen).

Before the discovery of the Wolfenbuttel manuscript, Breig stated that the copy in '''Ze 1''' is likely the most accurate.

==== References ====
{{RISM|1001048781}}

[[Werner Breig|Breig, Werner]]. ''Die Orgelwerke von Heinrich Scheidemann.'' Beihefte zum Archiv für Musikwissenschaft 3. Wiesbaden: Franz Steiner, 1967. 87-93, 108.

DirksenScheidemann xvii, 3-5.

<references />

=== Lynar B 7 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 7 | Deutsche Orgeltabulatur ca. 1640. | Enthält Psalmen und Choräle, alle anonym'' 
Ms. Lynar B 7. German organ tablature from around 1640. Contains psalms and chorales, all anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 7|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438500000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:Lubbenauer.jpg|right|thumb|The heading to Psalm 100 in Lynar B 7]]
Ms. Lynar B 7 consists of single- and multi-verse settings of various Genevan psalms and the chorale ''Erhalt uns, Herr, bei deinem Wort''.

This manuscript was published by [[Pieter Dirksen]] in 1996.

==== Description ====
The header of each piece is stylized by a three-pronged symbol followed by the number of the psalm. Some verses are also marked "3 voci" or "Corall in tenor" for example.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 7
|-
! fol. !! Title !! Incipit !! Notes
|-
| {{TT|1r-2r}} || P 66 || <score>{ \time 4/2 \clef alto << \relative f' { f1 d2 c f f } \\ \relative f { f1 bes,2 f'~ f4 e d2 } \\ \relative c' { c1 bes2 a c d\laissezVibrer } \\ \relative a { a1 f2 s2 a2 a } >> }</score> 2. V. <score>{ \time 4/2 \clef bass << \relative f' { f1 d2 c f } \\ \relative f, { r1 r2 f2~ f4 g } \\ \relative f { r2 f2~4 g a2~a4 bes } \\ \relative f { s1 s2 f2~f4 d8 e } >> }</score> ||
|-
| {{TT|2v-3r}} || P 5 || <score>{ \time 4/2 \clef alto << \relative d' { \clef alto d2~ d8 e f g a2 b } \\ \relative d { r2 d2~ d4 a'2 gis4 } \\ \relative d' { s1 f4 e e2\laissezVibrer } \\ \relative a { s2 r4 a d c b2 } >> }</score> 2 Vari / in Basso <score>{ \time 4/2 \clef alto << \relative d' { \clef alto r4 d8 e f g a b c4 a d8 c b a } \\ \relative d { d1 a'2 b } >> }</score> 3 V. / im Tenor <score>{ \time 4/2 \clef alto << \relative a' { \clef alto r4 a4. g8 f4 e a4~ a gis } \\ \relative a, { r1 r4 a e'2 } \\ \relative f' { s4 f4. e8 d4 c8 b c d e2 } \\ \relative d { d1 a'2 b } >> }</score> ||
|-
| {{TT|3v-5r}} || P 116 || <score>{ \time 4/2 \clef alto << \relative d'' { d1 b2 c d1 } \\ \relative g { g1 g2 e d1 } \\ \relative g' { g1 g2. g4 fis2 g\laissezVibrer } \\ \relative b { b1 d2 c~c b } >> }</score> 2 Vari: <score>{ \time 4/2 \clef alto << \relative d'' { d2~d8 e c d b2 c } \\ \relative a { r1 r2 a8 b g a } \\ \relative g' { r2 g2~g8 a f g e2 } >> }</score> 3. Vari / Corahll in / Tenor <score>{ \time 4/2 \clef alto << \relative g' { r1 g2 e4 fis g2 a } \\ \relative g { r2 g2~4 e2 a4~4 g2 fis4 } \\ \relative d' { d1 b2 c d1 } >> }</score> 4 Variatio / a 4 <score>{ \time 4/2 \clef treble << \relative d'' { r2 d2~4 d c2\laissezVibrer } \\ \relative d' { d1 b2 c } \\ \relative a' { a1 b2 g4 a\laissezVibrer } \\ \relative fis' { fis1 g2 e } >> }</score> ||
|-
| {{TT|5v-7r}} || P 100 || <score>{ \time 4/2 \clef alto << \relative a' { a1 b g2 c2*1/4 } \\ \relative a { a1 g g2 c,8 } \\ \relative e' { e1 g d2 g2*1/4 } \\ \relative c' { c1 d b2 e2*1/4 } >> }</score> [2 V] <score>{ \time 4/2 \clef alto << \relative a' { a2~a8 fis g a b2~ b8 c b a } \\ \relative f { f4 e d2 } \\ \\ \relative f' { r2 d2~ d8 e f d e2\laissezVibrer }>> }</score> 3 variation <score>{ \time 4/2 \clef alto << \relative e' { r4 e f2 d g2~g4 f e2 } \\ \relative d { r2 d~ d e2~ e4 d c2 } \\ \relative a { a1 b g2 c } >> }</score> [4 V] <score>{ \time 4/2 \clef alto << \relative a' { a1 r2 d~ d4 c b2\laissezVibrer } \\ \relative a, { a2. b4 cis2 d g1 } \\ \relative a { a4 b cis d e2 fis g d } \\ \relative a { s1 a1 b2. a4 } >> }</score> || Written in second hand
|-
| {{TT|6v-7r}} || Erhalt uns / Herr beij / deinen wortt || <score>{ \time 4/2 \clef alto << \relative g' { r1 g2. a4 bes2 g } \\ \relative g { r1 r1 g2. a4 } \\ \relative c' { c2. d4 ees2 c bes4 a bes c } >> }</score> 2 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2 g } \\ \relative g, { r1 r4 g bes g } \\ \relative d' { d4 ees d8 ees c4 d1 } \\ \relative g { g4 c b8 c a4 g2 r4 g } >> }</score> 3 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2*1/2 } \\ \relative ees { ees8 d c b r c b a g2*1/2 } \\ \relative g' { g8 f ees d ees4 d8 c d1*1/4 } \\ \relative d { s1 r8 d16 e } >> }</score> || Written in second hand
|-
| {{TT|7v-8r}} || P 24 || <score>{ \time 4/2 \clef alto << \relative d' { d1 a' f g } \\ \relative a { r1 r2 a2 d a b c\laissezVibrer } >> }</score> 2 V. / a 3 <score>{ \time 4/2 \clef alto << \relative a' { r2 a2~4 b c b a g f e } \\ \relative d { d1 a' f } \\ \\ \relative d' { d2. e4 f2 e f4 e d c } >> }</score> ||
|}

==== Analysis ====
Dirksen states that the pieces in this manuscript can be conclusively connected with the Netherlands. While such psalm variations (and the psalm melodies themselves) are ''wholly unknown'' in Germany, they were abundantly found in the Netherlands, always in ''variation'' form (instead of German forms such as the [[Chorale Fantasia]]).

According to Dirksen, the five psalm melodies found in '''Ms. Lynar B 7''' were the most popular melodies from the Genevan Psalter during this time period.

The psalm variations ''are marked by a great unity of style''. On the other hand, the setting of ''Erhalt uns, Herr, bei deinem Wort'' is found to be slightly more sophisticated, and it has more rhythmic and harmonic variety. The compositions share a number of recurring musical patterns with pieces by [[Jan Pieterszoon Sweelinck]], but the pieces are too conservative in character to have been composed by him. They were likely written by another composer who lived around the same time. They were probably brought to the German-speaking lands by a student of Sweelinck who copied them into tablature notation.

==== References ====
{{RISM|1001048782}}

[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996.

<references />

=== Lynar B 8 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 8 | Deutsche Orgeltabulatur ca. 1630. | darin der Siefertschüler Andreas | Neunaber vertreten'' 
Ms. Lynar B 8. German organ tablature from around 1630, containing [[Andreas Neunhaber]], the student of Siefert.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 8|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----
[[File:Lynar b8 neunhaber.jpg|thumb|The beginning of the second piece]]
This manuscript contains two pieces, "Ich ruff zu / dir herr / Jesu Christ / auff 2. clavier" and "Alio modo / auff 2. und 3. / Clavir, und auff der / Pedal zu gebrauch: / Anton Neunhaber." These are thought to be two verses of the same piece by [[Andreas Neunhaber]] (Max Seiffert made the connection from Anton -> Andreas Neunhaber).

==== Description ====
Unlike all of the other Lynar B tablatures, this manuscript splits the octave at 'h' instead of 'c'.

[[Lydia Schierning]] said that Neunhaber was only the composer of the second piece and that it is possible the scribe was planning to create a larger compilation of chorale settings on this chorale tune by different composers. On the other hand, [[Klaus Beckmann]] said that these are two verses of one piece by Neunhaber.<ref>Beckmann (2009), 397.</ref>

The second piece is in five voices and has detailed manual change indications written into the tablature.<ref>[[Klaus Beckmann|Beckmann, K.]] (editor). ''3 Choralbearbeitunten von Anton Neunhaber und Ewald Hintz''. Wiesbaden: Breitkopf & Härtel, 1974.</ref>

==== Contents ====
<score><<
\new Staff \relative a' { \mark "1" \time 4/2 r2 a f4 e8 f g4 f8 g f8 g f e d c d e f16 e f g f g a f g f g a g a bes g a1 }
\new Staff \with { \clef bass } << \relative f { f1 a2 c a bes a e f4 d2 cis4 } \\ \relative d { d1 d2 e f g d c f,4. g8 a2 } >>
>></score>

<score><<
\new Staff \relative a' { \mark "2" \time 4/2 r1 r1 r1 a f2 g f8 g e f d g d e }
\new Staff \with { \clef bass } << \relative a { r1 r4 a f g f d f g f2 e d2. e4 a2 bes } \\ \relative a { r4 a f g f d d8 c bes4 a f a8 d bes c a4 d d cis d bes bes c d2 g } >>
>></score>

==== References ====
{{RISM|1001048783}}

Schierning, 39.

<references />

=== Lynar B 9 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 9 | Deutsche Orgeltabulatur ca. 1630 | 2 anonyme Praeludien.'' 
Ms. Lynar B 9. German organ tablature from around 1630. Two anonymous preludes.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 9|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438800000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----
Lynar B 9 contains two preludes on two pages. The title page lists the keys/tonality "A cis" and "F a".

Both preludes were edited by [[Partitura Organum]] in 2019.

==== Description ====
Both preludes are typical of the north-German präludium.

Some notes are not visible on the edge of the left page.

==== Contents ====
[[File:Lynar b 9.jpg|thumb]]

<score><<
\new Staff << \relative e'' { \mark "Praeludium 1" e1 f2 e d4 e f2 e1 a,2. 4 a2 d~ d d c2 a4 b } \\ \relative a' { a1 a2 a a1 e2 e~ e4 e e2 f4 g a2~ a a a r2 } >>
\new Staff \with { \clef alto } << \relative cis' { cis1 d2 e f4 e d2 cis2 cis~4 4 2 d4 e f2~ f f e1 } \\ \relative a { a1 a2. 4 a1 a r1 r2 a~a a4 b c a c d } >>
\new Staff \with { \clef bass } \relative a, { \time 4/2 a1 d2 cis d1 a2 a'~ a4 a a2 d,2. e4 f d f g a1 }
>></score>

<score><<
\new Staff << \relative c'' { \mark "Praeludium 2" \time 4/2 c1 d4. ees8 d4 c bes2 bes~ bes4 c8 bes a4 g a1 } \\ \relative f' { f1 f f f f4 e8 d c4 d } >>
\new Staff \with { \clef bass } << \relative a { a1 bes2 bes4 c d1 c2. bes4 c2 a4 bes } \\ \relative f { f1 bes, bes4 c d e f1 f } >>
>></score>

==== Scores ====
'''Prelude 1:''' [https://partitura.org/index.php/anonymus-praeludium/ partitura.org], 31 October, 2019. ([https://partitura.org/wp-content/uploads/2019/10/Anonymus-Lynar-B9-Praeludium-1.pdf Score]) Accessed 14 January, 2023.

'''Prelude 2:''' [https://partitura.org/index.php/anonymus-praeludium-2/ partitura.org], 5 November, 2019. ([https://partitura.org/wp-content/uploads/2019/11/Anonymus-Lynar-B9-Praeludium-2.pdf Score]) Accessed 14 January, 2023.

==== References ====
{{RISM|1001048784}}

Schierning, 39.

<references />

=== Lynar B 10 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 10 | Deutsche Orgeltabulatur ca. 1640. | Inhalt 1 anonyme Choralbearbeitung'' 
Ms. Lynar B 10. German organ tablature from around 1640. Contains one anonymous choral work.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 10|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438900000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

This manuscript contains one piece, anonymous ''Sei nun wieder zufrieden'' a 3. The composition ends after the first system on the third page, the final symbol is a cut time signature.

The texture of the piece is very odd compared to all the other pieces contained in the Lynar Tablatures.

<score><<
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor g1 a2 bes2 bes c d d r r d d d4. g,8 c2. c4 | bes1 bes2 bes1 a2 bes1 r2 R1. R1. R1. r2 f' ees }
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor R1. g1 a2 bes2 bes c d bes bes bes a2. a4 bes2. c4 d2 c2 c1 bes2 bes c d2. ees4 c2 bes2 bes r2 R1. r2 d c }
\new Staff \with { \clef bass } \relative g { \time 3/2 \key g \minor g1 f2 ees1 c2 bes1 a4 g f2 g d ees f1 g2. a4 bes2 ees,2 f1 bes2 bes' a g g, a bes bes c d2. ees4 f2 | bes1 c2 }
>></score>

Actually, it appears that it is an intabulation of a cantata instead of an original organ piece (Scierning says that it seems to have been written for two sopranos and basso continuo).

The title is from Psalm 116, verse 7.

==== References ====
{{RISM|1001048785}}

Schierning, 106

<references />

=== Lynar C 1 ===
----
<blockquote>'''Title label, mid-20th century:''' ''Ms. Lynar C 1 Melodien zum 1. bis 150. Psalm'' 
Ms. Lynar C 1: Melodies of Psalms 1-150.</blockquote>
----

'''Lynar C 1''' (also called '''C''' or '''B 11'''{{Citation needed}})contains anonymous 4-voice settings of the 150 genevan psalms (actually only 124 settings, because of the reuse of psalm tunes). It is written on 119 sheets in [[New German Tablature Notation]].

The settings are extremely simple. It appears that this was a psalm-book that used privately by people gathered together, who would sing the psalms, or play them on all different instruments, at social gatherings (or it was a copy of this type of book).

==== References ====
{{RISM|1001300420}}

Schierning, 106-109.

<references />

[[Category:Manuscripts|Lynar]]
[[Category:Tablatures|Lynar]]
[[Category:German Manuscripts|Lynar]]

Lynar Tablatures

2024-12-22T01:59:27Z

Fiskfan1999: /* Description */

The '''Lynar tablatures''' are a collection of manuscripts that are currently held in the Staatsbibliothek, Berlin. It has been interpreted as one of the most important sources for the works of the North-German pupils of [[Jan Pieterszoon Sweelinck]].

With a few exceptions, the Lynar Tablatures exclusively transmit keyboard music, mostly for organ. The exceptions are one manuscript which appears to contain an [[Intabulation]] of a cantata (see [[#Lynar B 10|B 10]]) and another which appears to be transcribed from a psalm part book ([[#Lynar C 1|C]]).

The Lynar Tablatures are highly varied in their size and the pieces they contain. The individual manuscripts range in size from containing a fragment of a single piece or two präludia which fit on a single two-page opening to containing as many as 81 pieces or settings of all 150 psalms. The pieces contained in these manuscripts (some attributed to composers, others anonymous) have been connected to many different regions of Europe including the German-speaking Lands, the Netherlands, Poland, Italy, France and England. Likewise, they include a wide variety of genres of pieces including [[Toccata|toccatas]], [[Präludium|Präludia]], dance movements, [[Canzona|canzonas]] and other fugal polyphonic works, variation cycles on chorales psalms and secular songs, and chorale settings–including the more developed German [[Chorale Fantasia]].

The composers who are represented the most within the Lynar tablatures are [[Jan Pieterszoon Sweelinck]], [[Christian Erbach]], and [[Heinrich Scheidemann]]. Over time, many of the other anonymous compositions have been linked to composers based on concordances and stylistic analysis.

The Lynar Tablatures themselves (as well as the pieces within) have been covered in-depth by many musicologists, including [[Lydia Schierning]] in her extensive book on manuscripts of german early keyboard music, and [[Pieter Dirksen]] in various books and publications.

Thankfully, now all of the Lynar Tablatures (except '''C 1''') are available online.

== History<ref>[[Hans Schnieders|Schnieders, Hans]], "Fingersätze für Tasteninstrumente aus dem Umfeld Sweelincks und seiner Schüler". [https://archiv.ub.uni-heidelberg.de/volltextserver/12663/1/Schnieders_2011.pdf], accessed 15 September, 2023. 2.15 Lynar A1</ref> ==
The first Lynar tablatures that were known to musicologists were the '''A 1''' and '''A 2''' manuscripts. These two manuscripts had copies made of them in the middle of the 19th century. Later in the 19th century both manuscripts went missing (In the 1894 edition of keyboard works of Sweelinck, [[Max Seiffert]] could only rely on the 1841 copy). However, the "A" manuscripts were fortunately found in 1920, and around this time the 11 manuscripts in tablature notation were discovered by [[Rochus Friedrich zu Lynar]]. All 13 manuscripts were collected and stored in the Spreewald museum in Lübbenau-Lehde. In 1933<ref>[[Max Seiffert|Seiffert, Max]] (editor), ''Sweelinck: Werken voor Orgel en Clavecimbel.'' Amsterdam: G. Alsbach & Co., 1942. xlvi</ref> [[Max Seiffert]] inspected the manuscripts and assigned the shelfmarks starting with A (referring to staff notation) and B (tablature notation). The description penciled on the front of each manuscript is written by Seiffert.

<blockquote>The Lynar B collection of tablatures was discovered more recently. They were found during the reorganization of the castle papers for removal to a newly founded city museum in the 1920s. According to [[Hans Joachim Moser]], the first musicologist to see them, they consisted of nothing but a ''large, disordered pile of paper–partly gathered in bundles, partly consisting of loose sheets and notated in organ tablature.''<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). Psalm Variations from Lynar B 7. Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. V</ref></blockquote>

In 1956, the manuscripts were moved to the ''Staadtsbibliothek'', Berlin, retaining their previous shelfmarks.

== Description ==
[[File:Lynar A 1 cover.jpg|thumb|The cover of [[D-B Ms. Lynar A 1|Lynar A 1]]]]
Each Lynar Tablature has a sheet pasted on the front with a description penciled in by [[Max Seiffert]] (the text is reproduced below).

According to the Berlin Staatsbibliothek website, the shelfmark for the manuscripts is stylized '''Ms. Lynar A 1''', '''Ms. Lynar B 2''', etc.. One manuscript has the shelfmark '''Ms. Lynar C 1''', but it has been called "Lynar C" or "Lynar B 11" in some sources.

The "A" tablatures are in various types of staff notation, and the "B" (and "C") tablatures are in [[New German Tablature Notation]].

== Analysis ==
=== Lynar A Tablatures ===
<blockquote>...the Lynar A manuscripts must be particularly close to Sweelinck's autographs, if not actually copied directly from them–which seems not only to hold for the large collection of Sweelinck pieces themselves (in Lynar A 1) but for much of the remaining content as well, including the large virginalist section in LyA2.<ref>DirksenScheidemann, 144-145.</ref></blockquote>

=== Lynar B Tablatures ===

==== [[Pieter Dirksen]]<ref name="dirksen">DirksenScheidemann, 9-10.</ref> ====
<blockquote>The Lynar B tablatures as a whole must now be seen as a closely connected series of sources which probably actually originated within the North German Sweelinck school, going back directly to one of the North German Sweelinck pupils.<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. VIII</ref></blockquote>

The Lynar B tablatures have proven valuable as a source of works from the North-German Sweelinck school as well as from Sweelinck himself, as thirteen works (including 10 not known from any other source) by him are found within.

Dirksen interprets the 11 "B" tablatures as forming a unified whole because (among other reasons) it can be identified that some of the unknown copyists wrote more than one manuscript each.

As for the originating location of the manuscripts, the area of Gdańsk (german: Danzig) was theorized based on the inclusion of pieces by [[Paul Siefert]] and [[Andreas Neunhaber]]. Similarly based on circumstantial evidence, the manuscripts can be dated to around the 1620s (even though some pieces within can be dated to later). One date found within the manuscript, 1628, also suggests this.

Dirksen notes that the works by Sweelinck must have been transcribed from Anglo-Dutch staff notation to [[New German Tablature Notation]].

== References ==
{{NdS2 2009}} ("Beckmann (2009)")

[[Pieter Dirksen|Dirksen, Pieter]]. ''The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance and Influence.'' Muziekhistorische Monografieen, vol. 15. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1997. ("DirksenSweelinck")

[[Pieter Dirksen|Dirksen, Pieter]]. ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology.'' Aldershot: Ashgate, 2007. ("DirksenScheidemann")

[[Lydia Schierning|Schierning, Lydia]]. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie.'' Kassel: Bärenreiter, 1961.

<references />

== Contents ==
=== Lynar A 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar A 1 | Jugendautograph des Hamburger | Organisten Matthias Weckmann | (1620-1674), begonnen 1637 in Ham- | burg. Niederländische Tabulatur auf | 2 x 6 Linien. | Inhalt Kompositionen von | Jan Pieters Sweelinck, Christian | Erbach, Gio. Gabrieli, Peter Philipps, | John Bull, Gilles Farnaby, L. Wood- | sen, La Barre, Gautier, Ballard, | M. Weckmann, Pieter Cornet.'' Ms. Lynar A 1: Young autograph by the Hamburg organist [[Matthias Weckmann]] (1620-1674), begun in 1637 in Hamburg. Dutch tablature on 2x6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 1|url=http://resolver.staatsbibliothek-berlin.de/SBB0002914D00000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671389506 00000170.jpg|thumb|The beginning of ''Mein Junges Leben Hat ein End'' by [[Jan Pieterszoon Sweelinck]]]]
'''Ms. Lynar A 1''' is a manuscript in Dutch 6-line staff notation. It contains 81 keyboard pieces. It is one of the first manuscripts to be known to early musicologists and has been called "the primary source for the keyboard music of [[Jan Pieterszoon Sweelinck]]"<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm variations from Lynar B 7.'' Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. Page V.</ref>.

Despite going missing in the late 19th century, this manuscript has since been rediscovered.

Actually, the scribe of the manuscript is not [[Matthias Weckmann]] (like [[Max Seiffert]] said)<ref>Schierning, 78</ref><ref>DirksenSweelinck, 21</ref>.

==== Description ====
[[Max Seiffert]] said that the scribe of the manuscript was [[Matthias Weckmann]] while he was a student of [[Jakob Praetorius]].<ref>Schierning, 78</ref> One possible reason for this is that the manuscript was located in the Hamburg ''Universitätsbibliothek'' when it was inspected by him.<ref>Schierning, 78. ''Dieses Manuskript war bis zu seiner Vernichtung im letzten Krieg im Besitz der Hamburger Universitätsbibliothek...''</ref>

However, when comparing this manuscript with the [[Visby Tablature]], which was written in similar circumstances (by [[Berendt Petri]] while studying with [[Jakob Praetorius]]), the difference in repertoire can be seen. Actually, based on the use of the organ in North-Germany, Jakob Praetorius and his students would only have use for verses and variations on chorales, hymns, magnificats, motet intabulations and short preludiums.<ref>Schierning, 79</ref>. It seems unlikely that J. Praetorius would have changed his teaching (including choice of pieces) and at the same time it would not be usable for his student from Hamburg.<ref>Schierning, 79</ref> For this reason, a North-German origin of this manuscript (under the teaching of Jakob Praetorius) is doubtful.<ref>Schierning, 79. ''Diese Fragen werden kaum zu bejahen sein, somit ist eine norddeutsche Herkunft der Handschrift stark zu bezweifeln''</ref>

On the question of proximity to Autographs by Sweelinck, Pieter Dirksen says that the manuscript must have had an origin close to Sweelinck and his school, not only based on the selection of pieces included but also their high copying quality.

<blockquote>The Sweelinck pieces are copied with hardly any mistakes at all, and anyone who has worked with manuscript sources knows how rare such a state of affairs is.<ref>DirksenSweelinck 21.</ref></blockquote>

In addition, ''The scribe apparently had access to an exclusive strain of the Sweelinck transmission'',<ref>DirksenSweelinck 22.</ref> as many high-quality pieces (including ''Mein junges Leben hat ein End'') are included which would surely be copied by other scribes if they had access to them. Also, the staff notation layout (two staves with six lines each) and other aspects of the notation (including the ''musicality of the two hands over the two staves'') suggest a direct connection to Sweelinck autographs.<ref>DirksenSweelinck 22.</ref>

However, [[Klaus Beckmann]] noted that it seems odd that someone so close to Sweelinck (or even a student of him) would badly misspell his name, as happens for some of the pieces. This was part of [[Johann Praetorius#Klaus Beckmann|his argument]] that some pieces–in which the written composer name is ''Johann. Pieters.''–were composed by the Sweelinck student [[Johann Praetorius]].<ref>Beckmann (2009) p.166-172.</ref>

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 1<ref>DirksenSweelinck 656-658.</ref>
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==== Analysis ====
<ref>[[Margarete Reimann]]. "Die Autoren der Fuge Nr. 23 in Lüneburg KN 208^1 und der Fantasia Ut sol fa mi in Lübbenau, Ms. Lynar A^1". [[Die Musikforschung]], 16. Jahrg., H. 2 (APRIL/JUNI 1963), pp. 166-167. [https://www.jstor.org/stable/41115511 JSTOR]</ref>One piece, '''Fantasia Ut sol fa mi''' by ''Joan Pieters'' (=[[Jan Pieterszoon Sweelinck]]) is also found in a manuscript from the collection of Messaus (Ms. 18 Bd. 1) which was later owned by William Kitchiner and Richard Clark and is now lost. Here, it is titled ''God save the King'', dated 1616, and attributed to [[John Bull]]. This piece is included in [[Musica Britannica]] volume 14, the keyboard works by [[John Bull]], with this other title (as well as in [[Max Seiffert|Seiffert's]] Sweelinck edition in 1942 titled ''Fantasia...''). On the question of authorship, even though the editor of the ''Musica Brittanica'' edition, [[Thurston Dart]], said that Messaus's attributions could generally not be trusted as much as those by other scribes, the authorship of this piece by Bull is still possible. The appearance of this piece in two manuscripts by two different composers can be explained by the following possibility: it seems likely that John Bull gave his friend Sweelinck a copy of this piece (Bull was already found in Holland in 1613), and this copy was consulted by the copyist of '''Lynar A 1''' (who wrote Sweelinck's name).

==== References ====
{{RISM|1001079614}}

Schierning, 66-81

DirksenSweelinck, 20-22, 656-658

<references />

=== Lynar A 2 ===
----
<blockquote>'''Seiffert:''' ''Italienisch-niederländische Tabulatur eines | süddeutschen Schreibers um 1610; 2 Systeme | 6 + 7 und 6 + 6 Linien. | Enthält Kompositionen von | Christian Erbach und der Engländer Will. | Byrd, Dr. Bull, Orlando Gibbons, | sowie einige von Gio. Gabrieli und Tarq. | Merula.'' Italian-Dutch tablature from south-German scribes from 1610; 2 systems, 6+7 and 6+6 lines. ...</blockquote>

{{OnlFac|sig=D-B Ms. Lynar A 2|url=http://resolver.staatsbibliothek-berlin.de/SBB0002915200000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671394380 00000020.jpg|thumb|A Canzona by [[Christian Erbach]] in Lynar A 2]]
'''Ms. Lynar A 2''' contains 42 [[Tasteninstrument]] pieces written in staff notation by [[Christian Erbach]], [[Giovanni Gabrieli]], [[Tarquinio Merula]], [[William Byrd]], [[John Bull]], and [[Orlando Gibbons]]. Unlike Lynar A 1, this manuscript doesn't contain any works by Sweelinck.<ref>DirksenSweelinck 21.</ref>

==== Description ====
The manuscript is written by multiple hands in "Italian-Dutch" staff notation. Some pieces are written on two 6-line staves, and some are written on one 6- and one 7-line staff. Each page is 35x24.5cm in size.

In the early 20th century, the first and last pages of the manuscript (probably not written on) were concealed by binding paper for preservation purposes.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 2
|-
! p. !! Title !! Incipit !! Notes !! Ref.
|-
| 2-4 || Toccata. 2. toni / Christ: Erbach || || ||
|-
| 5 || Toccata. 3 tij / Toni || || ||
|-
| 6 || Toccata. 4. tij / toni / Christian Erbach || || ||
|-
| 7-8 || Fuga j.mj / toni / Christian Erbach || || ||
|-
| 8-9 || fantasia / 2. dj / Tonij || || ||
|-
| 9 || Ricercar. 3. tij. / toni / Christian Erbach || || ||
|-
| 10 || Canzon 4stij Toni Chr. Er. || || ||
|-
| 11-12 || Ricercar / coall / Quinti toni / C. E. || || ||
|-
| 12-13 || Canzon / sexti Toni / C. E. || || ||
|-
| 13-14 || Ricercar / 7.mi. Toni / C. E. || || ||
|-
| 15-16 || Canzon / Octavi Toni / C. E || || ||
|-
| 16-18 || Ricercar.g. / Tonj / Johan. Gabriell || || ||
|-
| 19-20 || Canzon || || ||
|-
| 21-23 || Tacato / Secundi Tonj / Dell / Segnor Torquino / merula || || ||
|-
| 23-24 || Canzon || || ||
|-
| 25-26 || Un Cromatico / ouero Capricio / dell Signor / Torquino merula / primo Tuono per / Le semituoni || || ||
|-
| 27-28 || Intonatione / Cromatica / dell 3 / Tono || || ||
|-
| 29-30 || Intonaglio Cromatica / dell / Quarto Tono || || ||
|-
| 29-30 || Praeludium / primj Tonj || || ||
|-
| 31-32 || Intonatio / Crommatica / dell / Nonj Tonj || || ||
|-
| 33-34 || Canzon || || ||
|-
| 35-36 || Canzon || || ||
|-
| 37-38 || Pavan / sz: ae: mpetze / William Bÿrde / Angloss || || ||
|-
| 39-40 || Galiardo / William Bÿrde || || ||
|-
| 41-42 || Galliardo / Orlando Gibbons || || ||
|-
| 43-44 || Pavana. / The Earle / of Salisburÿ / William birde || || ||
|-
| 43-44 || Preludium / Doctor Bull || || ||
|-
| 43-44 || Galliardo || || ||
|-
| 43-44 || Galiardo Secundo / Miss Matye Brosonlo / William Birde || || ||
|-
| 45-46 || Preludium / Orlando Gibbons || || ||
|-
| 47-48 || Galliardo / Orlando Gibbons || || ||
|-
| 49-50 || Galliardo / Orlado Gibbons || || End: ''Finis Coronat / O Puc'' ||
|-
| 51-52 || Galliardo / orlando gibbons || || ||
|-
| 53-58 || ''[no title]'' || || 13 variations ||
|-
| 58 || ''[no title]'' || || ||
|-
| 59-62 || A. Voluntarge / M. Bird || || ||
|-
| 63-66 || Tantasia / M. Bird || || ||
|}

==== References ====
{{RISM|1001079620}}

Schierning, 81-84.

<references />

===Lynar B 1 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 1 | Deutsche Orgeltabulatur vom 1. Drittel | des 17. Jhdt. | Enthält Kompositionen von | J. P. Sweelinck, Paul Siefert, | Andr. Düben, Jak.Prätorius, Peter | Hasse, Gottfr. Scheidt, Samuel Scheidt | W. Karges, D. H. und M. D.'' 
Ms. Lynar B 1; German tablature from the first 3rd of the 17th century. Contains compositions frome [[Jan Pieterszoon Sweelinck]], [[Paul Siefert]], [[Andreas Düben]], [[Jacob Praetorius]], [[Peter Hasse]], [[Gottfried Scheidt]], [[Samuel Scheidt]], [[Wilhelm Karges]], D. H. and M. D.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 1|url=http://resolver.staatsbibliothek-berlin.de/SBB000253A600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 1''' contains 71 pages. Among other things, it contains a compilation of settings of ''Allein Gott in der Höh sey Ehr'' by different composers.
{| class="wikitable mw-collapsible"
|+Works in D-B Mus. Ms. Lynar B 1
!No.
!Title
!notes
|-
|1
|Fantasia Auff die manier von ein Echo. M. J. P. S.
|[[Jan Pieterszoon Sweelinck]]
|-
|2
|Puer natusin Bethlehem a Paulus Sivert
|[[Paul Siefert]]
|-
|3
|Nun komm der Heÿden Heÿlandt
|Paul Siefert?
|-
|4
|Nun Lobe meine Seele den Herren Auff 2 Clavir D. H.
|Düben?
|-
|5
|Wo Gott der Herr nicht beÿ unß Held auff 2 Clavir Andræ Duben
|[[Andreas Düben]]
|-
|6
|Allein Gott inn der Höh seÿ Ehr. M. J. P.
|Jan Pieterszoon Sweelinck
|-
|7
|Variatio Bicinium M. J. P.
|Jan Pieterszoon Sweelinck
|-
|8
|Variatio coral in Tenor M. J. P.
|Jan Pieterszoon Sweelinck
|-
|9
|Variatio coral in cantu 4 Vocum M. J. P.
|Jan Pieterszoon Sweelinck
|-
|10
|Variatio Choral in Cantu auff 2 Clavier A. Duben
|Andreas Düben
|-
|11
|Variatio choral in Basso A. D.
|Andreas Düben
|-
|12
|Variatio Choral in Bass M. Duben
|[[Martin Düben]]
|-
|13
|Variatio Choral in Baß 3 vocum
|
|-
|14
|Varatio
|
|-
|15
|Variatio Choral in Tenore 3 vocum P Hassen
|[[Petrus Hasse]]
|-
|16
|Variatio 3 Vocum Choral in Basso P. Hass
|Petrus Hasse
|-
|17
|Var. 12 G. S.
|[[Gottfried Scheidt]]
|-
|18
|Var. Choral in Cantu auff 2 Clav. G. S.
|Gottfried Scheidt
|-
|19
|4 vocum
|
|-
|20
|Variatio Zum Alt vndt Tenor muße nur Stimmen von 4 Fuß gezogen werden
|
|-
|21
|Variatio Choral in Cantu auf 2 Clav.
|
|-
|22
|Variatio Choral in Tenore
|
|-
|23
|Allein Gott in der Höh seÿ EHR: S. S.
|[[Samuel Scheidt]]
|-
|24
|Allein Gott â 3 Vocum Choral in Bass W. Karges
|[[Wilhelm Karges]]
|-
|25
|Erstanden ist der Heilige Christ M. D. Simpel - Auff 2. Clavir - Choral in Cantu auff 2. Clavier. - Coral in Basso 3. Voc:
|[[Martin Düben]]
|}

==== Analysis ====
===== Allein Gott in der Höh sei Ehr =====
One of the striking features of this manuscript is a cycle of chorale settings of ''Allein Gott in der Höh sei Ehr'' (with continually incrementing variation number), with some attributed to different composers and others left anonymous.

Theories have surrounded the reasoning for these compositions to have been included together. [[Max Seiffert]] said that they could have been composed by Sweelinck and his pupils together as one complete work. However, this was rejected by [[Margarete Reimann]], who said that it was simply compiled by someone else, perhaps the scribe of '''Ms. Lynar B 1'''. However, [[Pieter Dirksen]] states that the true facts may not be so simple. For instance, many of the variations form strong variation cycles themselves, such as the first few variations by Sweelinck. After these, the rest are more reminiscent of contrapuntal excercises, but several of the anonymous variations have stylistic similarities with each other, and it is possible that they were composed by the same person.

It was noted that variation 15 is a transposed copy of variation 7 (this was pointed out by [[Gisela Gerdes]].

==== References ====
[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Orgelmusik av familjen Düben''. Stockholm: Runa Nototext, 1996. xxi-xxii.

Beckmann (2009)

{{RISM|1001048774}}

Schierning, 32-34

<references />

===Lynar B 2===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 2 | Deutsche Orgeltabulatur ca. 1630 | Darin genannt Melchior Schildt | und J. P. Sweelinck, sonst alles anonyme Stücke'' 
Ms. Lynar B 2; German organ tablature from around 1630. Within it are pieces by [[Melchior Schildt]] and [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 2|url=http://resolver.staatsbibliothek-berlin.de/SBB0000673100000000|urlc=digital.staatsbibliothek-berlin.de|date=28 April, 2024}}
----

====Description====
'''Lynar B 2''' is a folio volume over 30 pages.

It doesn't contain any clues as to its origin, copyist, or date. Some theories include that it was compiled in North Germany around 1620-1630 or by [[Melchior Schildt]] while he was in Copenhagen around 1626-1629. However, different hands can be identified as having copied different pieces in the manuscript, so it may have been compiled over a longer period of time.

The tablature contains only fantasias and chorale/psalm settings. Of the 17 pieces contained within, two are headed by initials which give a hint to the composer. Of the rest, three more can be identified based on concordances with other manuscripts. The composers of these five works are [[Jan Pieterszoon Sweelinck]], [[Melchior Schildt]] and [[Heinrich Scheidemann]]. The rest of these pieces remain anonymous, but can be attributed to various composers on stylistic grounds.

==== Contents ====
{| class="wikitable mw-collapsible"
|+Works in D-B Ms. Lynar B 2
!Fol.
!Title
!Incipit
!Composer/Notes
!Ref.
|-
|1r
|[Fanta]sia [mit B]indungen
|<score><< \relative c'' { \time 4/2 c1. c2 d2. e4 } \\ \relative f { f1 a2 f bes g } \\ \relative a' { a1 a2 a bes2 bes } \\ \relative f' { f1 e2 f~ f g } >></score>
|Jan Pieterszoon Sweelinck
|<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
|-
|1v-3r
|Fantasia A 4
|<score>\relative c'' { \time 4/2 c2. bes4 a2 g f4 g a bes }</score>
|[[Jan Pieterszoon Sweelinck]]
|<ref name="dirkb2"></ref>
|-
|3v-6r
|fantasia primi Toni A 4
|<score><< \relative g' { \time 4/2 g1 g f1*1/4 } \\ \relative g { r2 g bes c d4 } >></score>
|Actually ''Nun komm der Heiden Heiland''
|<ref name="dirkb2">[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht</ref>
|-
|6v-8r
|ach Gott / vom him: / mel sieh / darein.
|<score><< \relative a' { \time 4/2 \key d \minor a1 bes2 a g } \\ \relative a' { r2 a2~ a4 g2 f4~ f ees } >></score>
|[[Heinrich Scheidemann]]?
|<ref name="dirkb2"></ref>
|-
|7v-10r
|Herr Christ der / Einig Gottes Sohn a.4 / mit dem pedahll / auch 2 Clauier / M.S
|<score>\relative bes { \clef alto \time 4/2 bes1 bes2 d c bes a2. }</score>
|[[Melchior Schildt]]
|
|-
|10v-12r
|Wie schön / leucht unß / der Morgenstern / A.4.
|1 variation <score><< \relative f' { f2 c' a f c' } \\ \relative c' { \key f \major r2 c f d c } >></score> 2 variatio <score>\relative f' { \key f \major f8 g a bes c4. bes8 a4. g8 }</score> 3 variatio <score><< \relative f' { f2 c' } \\ \relative bes { r8 bes a g f f' e d } >></score> 4 variatio <score><< \relative f' { \time 6/4 \key f \major f4 a bes c2. } \\ \relative c' { r2. c4 d e } >></score> 5 variatio <score><< \relative f' { \key f \major \clef bass f2 } \\ \relative f { f16 c' b c bes d c d } >></score>
|
|<ref name="dirkb2"></ref>
|-
|12v-15r
|Nun freut euch / lieben Christen / gmein / Cohrall im / Tenor
|1 variatio <score><< \relative f' { f1 f2 a } \\ \relative bes { r4 bes bes c d e f2\laissezVibrer } >></score> 2 variatio <score><< \relative f' { \key f \major r4 f8 g a4 a8 bes } \\ \relative f { f2 f } \\ \relative a { a4 a8 bes c2\laissezVibrer } \\ \relative f {\clef alto f2 r4 f8 g }>></score> 3 variatio <score>\relative bes { \clef alto \key f \major bes1 bes2 d c bes }</score> 4 variatio <score><< f'1 \\ \relative bes { \key f \major \clef bass r8 bes a g f ees d c } >></score> 5 variatio <score><< \relative ees' { \key f \major ees8 f16 ees d16 e f d ees8 c'16 bes } \\ \relative c' { c4 bes c } >></score>
|
|<ref name="dirkb2"></ref>
|-
|15v-17r
|psalm 116 / J. P.
|<score><< \relative d'' { \time 4/2 r1 d1 } \\ \relative d' { d2 b4 c d8 c b a g4 g'\laissezVibrer } >></score>
|Jan Pieterszoon Sweelinck
|
|-
|16v-17r
|O Lux Beata / Trinitas:
| <score><< \relative d' { \clef bass d1 c1*1/4 } \\ \relative g { r4 g bes8 a g f ees4 }>></score>
|
|<ref name="dirkb2"></ref>
|-
|17v-18r
|psalm 60 / A 2
| <score><< \relative c'' { \time 4/2 r1 c1*1/2 } \\ \relative c' { c2 f4 f e8 d c b a8 } >></score>
|Anonymus: Jan Pieterszoon Sweelinck
|
|-
|18v-19r
|O Gott du / unser Vater / bist / auff 2 Clauiren
|1 variatio <score><< \relative e' { \clef alto e1 e2 d c b } \\ \relative a { R1 a1 a2 g } >></score> 2 variatio <score><<\relative g' { \clef alto \key f \major g1 } \\ \relative g { r4 g8 a bes g c4}>></score> 3 variatio <score><< \relative d' { \clef alto \key f \major R1 d1 d2 d } \\ \relative g { g1 g2 g d2. e4 } >></score>
|Anonymus: Jan Pieterszoon Sweelinck
|<ref name="dirkb2"></ref>
|-
|19v-21r
|P 23 Mein hütter Undt mein hirtt
|<score><< \relative g' { \key f \major g1 g8 a bes a g4 f8 e } \\ \relative g { R1 <g bes d>1 } >></score>
|Anonymus: Jan Pieterszoon Sweelinck
|<ref name="dirkb2"></ref>
|-
|20v-23r
|die 10 Gebott Gottes
|1 variatio <score><< \relative c'' { c1 c2 d } \\ \relative c' { r4 c c d e f4. d8 g4 } >></score> 2 variatio <score><< \relative c'' { c1*5/8 } \\ \relative a' { r8 a16 g f8 e16 d c8 } >></score> 3 variatio <score><< \relative c'' { c1 } \\ \relative c' { c8 <c e>8 8 <d f> <e g> <d f> <c e> } >></score> 4 variatio <score><< \relative g' { \clef alto r8 g c b a f g e } \\ \relative e { r4 e f e } \\ c'1 >></score>
|Jan Pieterszoon Sweelinck
|<ref name="dirkb2"></ref>
|-
|23v-25r
|Es spricht den / unweisen Mundt / woll
|<score><< \relative c'' { \time 4/2 c1 c2. b8 a } \\ \relative f { r1 r4 f a g8 f } \\ \relative e' { r4 e c d8 e f2 c4 d } >></score>
|Heinrich Scheidemann
|
|-
|24v-25r
|Fuga Cromatico / ex D.la.sol.re.
|<score>\relative d' { \clef alto \time 4/2 d1 d2 d cis c a c }</score>
|
|
|-
|25v-27v
|Fantasia / A. 2: 3: et 4 / Vocum
|<score><< \relative a' { \time 4/2 \clef alto R\breve r1 a1 } \\ \relative a { a1 e' c2 cis d f } >></score>
|Anonymus: Jan Pieterszoon Sweelinck
|
|-
|27v-28v
|Fantasia / Super ut re mi / fa.sol.la. / A. 3. Vocum / pedaliter
|<score><<\relative c' { \clef bass \time 4/2 c4. b8 a4 g fis g a fis g4 } \\ \relative c { c1 d e1*1/4 } >></score>
|
|
|}

==== Analysis ====
After the publishing of 8 more works in Lynar B 2 by [[Pieter Dirksen]] in 1991, two works remain unpublished. The ''Fuga Cromatico'' and ''Fantasia Super ut re mi fa.sol.la.'' were described as "a brief composition employing imitation and simple chromatic lines" and "a pedantic, three-part hexachordal settings, in which the sogetto appears in the bass thirteen times in exactly the same form, constantly alternating between entries on c and G" respectively.

The setting of ''O God die onse Vader bist'' can for now be securely attributed to Sweelinck on the basis of the cantus firmus being a Dutch psalm in addition to stylistic features. Similarly, the setting of Psalm 23 can also be attributed to him, especially based on the similarities to Sweelinck's composition on Psalm 116 (which can be found in other manuscripts).

Confusingly, the manuscript contains a piece titled "fantasia primi / Toni A 4" which is neither a fantasia nor in the first tone. In fact, it is a chorale setting of ''Nun komm, der Heiden Heiland.''

<score><< \relative g' { \clef "treble_8" g1 g f bes a g a g2 r4 g bes2 g a4 g f e d e f g a bes c a bes c d2~ d4 cis8 b cis2_"etc." } \\ \relative g { s1*7 g1 g f bes a g a } \\ \\ \relative g { r2 g bes c d4 c bes a g a bes c d e f d e f g2~4 fis8 e fis2 g d d4 c d e f g a g f e d e f g a f g a g f e2 a } >></score>

It is possible that this heading was written by a different copyist before this work was written at a later date. In any case, this work only uses the first (identical with the last) line of the chorale (which means that this work could be classified as a ''choral ricercare'' or ''choral fugue''), and the contrapuntal writing is strikingly plain and schematic. In fact, this piece has been described as containing a "peculiar monothematic compositional technique, which is probably unparalleled in the surviving corpus of seventeenth century choral settings."

According to [[Pieter Dirksen]], the chorale fantasia ''Ach Gott, vom Himmel sieh' darein'' stands apart from the other works in Lynar B 2, as it transmits a chorale fantasia in the fully mature form. An attribution to [[Heinrich Scheidemann]] is possible. He is the only composer who is known to have composed chorale fantasias before 1650 (actually, this piece was not copied at a later point than the rest of the manuscript, because the same hand can be identified in Lynar B 6 and 7, and the first scribe of the manuscript writes some of the piece). However, this attribution is not secured. Some features which appear in almost all chorale fantasias by Scheidemann such as ''the simpler 'echo' techniques like monodic right-hand echoes, antiphonal echoes or 'trio echoes''', are not found in this work. Also, as shown by [[Michael Belotti]], the practice of showing the Rückpositiv voice in the top line of the manuscript even when it is in the tenor is not found in Scheidemann's music, but it does appear in the Magnificat I. toni by Schildt in the second volume of the [[Zellerfeld Organ Tablatures]]<ref>DirksenScheidemann 114-115.</ref> (This also occurs in the two chorale fantasias by [[Hieronymus Praetorius]] in [[D-W Cod. Guelf. 8 Noviss. 2/o]]<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor), ''Hieronymus Praetorius: Sämtliche Orgelwerke.'' Teil 1. Mainz: Schott, 2002.</ref>).

The setting of ''O Lux beata Trinitas'' appears to be a result of the early Sweelinck school based on some sixteenth-note figurations that can be found within it. However, it can not be found to be similar to any single composer on stylistic grounds. The ''cantus firmus'' appears in the tenor voice completely un-ornamented in long notes. This arrangement suggests that it can be played in pedal, but the voice rises up to f' which would require a 4-foot stop to be used on an organ with a 27-note pedalboard.

==== References ====
Beckmann (2009)

[[Pieter Dirksen|Dirksen, P.]], "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht

Schierning, 32-34

{{RISM|466000013}}

<references />

=== Lynar B 3 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 3 | Deutsche Orgeltabulatur ca. 1630 | Genannt sind darin: H. Scheide- | mann, J. P. Sweelinck, David Abel, | Andr. Düben, M. D., Peter Hasse, | M. W. C. B. M.'' 
Ms. Lynar B 3. German organ tablature from around 1630. Contains: [[Heinrich Scheidemann]], [[Jan Pieterszoon Sweelinck]], [[David Abel]], [[Andreas Düben]], M. D., [[Peter Hasse]], [[M. W. C. B. M.]]</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 3|url=http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023|imslp=554336}}
----

==== Contents ====
This manuscript has two sets of foliation which were penciled in at different times: there is a foliation visible at the bottom right of the right-side page, and a foliation which is visible at the top-left of the left-side page. In the table, no.1 refers to both pages which are open when the number is visible on the top left (example: 1v-2r).

{| class="wikitable"
|+ Works in Lynar B 3<ref><nowiki>digital.staatsbibliothek-berlin.de</nowiki>, online scan.</ref>
|-
! no. !! fol. !! Title !! Incipit !! Notes !! Ref.
|-
| 1 || 1r || [missing] || || Title is on missing verso side ||
|-
| 1 || 1r || Praeludium || || Piece continues on missing verso side. ||
|-
| 2 || 1v-2r || Praludium || || ||
|-
| 3 || 2v-3r || Praludium || || ||
|-
| 4 || 3v-4r || Praludium || || ||
|-
| 5 || 4v-5r || Praludium / [[Heinrich Scheidemann|H S M]] || || ||
|-
| 6 || 5v-6r || Vater unser in Himmell / reich. / [[M. W. C. B. M.|MW. C. B. M.]] || [1] 2 Variation 3 || ||
|-
| 7-9 || 6v-9r || Fantasia / J. P. || || ||
|-
| 10 || 9v-10r || Fantasia. / 6 toni. || || ||
|-
| 11 || 10v-11r || Praludium / pedaliter || || ||
|-
| 12 || 11v-12r || Herr Christ / der einige Got / tes Sohn. || || ||
|-
| 13 || 12v-12ar || Praludium || || "12a" is the folio number inserted between 12 and 13. ||
|-
| 14 || 12av-13v || Praludium || || ||
|-
| 15 || 13v-14r || Praludium || || ||
|-
| 16 || 14v-15r || Praludium / secundi Toni / Auf 2 Clavir / und pedale. || || ||
|-
| 17-19 || 15v-18r || Fantasia || || ||
|-
| 20-21 || 18v-20r || Vater unser in himmell / reich Corahll / in Bas. || [1] 2 Vers auf / zwei Clavier / und Pedahll. || Actually by [[Heinrich Scheidemann]] || {{Citation needed}}
|-
| 22-23 || 20v-21r || O Mensch Be,, / weine deine / sünde gros auf. / 2 Clavier der Co,, / rahll gecolorirett / [[M. W. C. B. M.]] || || ||
|-
| 24 || [23]v-24r || Praeludium / pedaliter / [[David Abel]]. || || ||
|-
| 25 || 24v-25r || Praludium / [[David Abel]]s. || || ||
|-
| 26 || 25v-26r || Fuga || || ||
|-
| 27 || 26v-27r || Ricercar / primi Toni || || ||
|-
| 28-30 || 27v-30r || Ricercar / primi Toni / ex G.B.moll || || ||
|-
| 31 || 30v-31r || Praludium / Ex E. Vel/ a. pedaliter / A. D. O. || || ||
|-
| 32 || 31v-32r || Praambulum / pedaliter / M. D. O. || || ||
|-
| 33 || 32v-33r || Praambulum / pedaliter || || ||
|-
| 34 || 33v-34r || Praambulum / pedaliter || || ||
|-
| 35 || 34v-35r || Praambulum / pedaliter / P. H. || || ||
|-
| 36 || 35v-36r || Praludium / pedaliter / M. F. P. S. W. || || ||
|-
| 37 || 36v-37r || Praludium / Pedaliter || || ||
|-
| 38 || 37v-38r || Praludium / M. D. O || || ||
|-
| 39 || 38v-39r || Praludium / pedaliter || || ||
|-
| 39 || 38v-39r || Praludium || || ||
|-
| 39 || 38v-39r || Praludium / pedaliter || || ||
|-
| 39 || 38v-39r || Praludium / pedaliter || || ||
|-
| 40 || 39v- || Praludium / pedaliter || || Fragment ||
|}

==== References ====
{{RISM|466000011}}

<references />

=== Lynar B 4 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 4 | Deutsche Orgeltabulatur ca. 1630. | Genannt nur J. P. Sweelinck, | sonst anonyme Stücke. '' 
Ms. Lynar B 4. German organ tablature from around 1630. Containing pieces by only [[Jan Pieterszoon Sweelinck]], the rest anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 4|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438100000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

The page numbers (instead of folios) have been penciled in by a librarian.

==== Contents ====

This manuscript contains four pieces:

{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 4
|-
! Pages !! Title !! Incipit !! Notes !! Ref.
|-
| 1-3 || In dich hab / ich gehoffet / Herr / auf 2 Clavier / Manualiter || <score><< \relative d' { \clef alto \time 4/2 d1 d2 a' e g } \\ \relative d { r2 d2. e4 f g a8 b c d e2.*2/3 } >></score> || [[Heinrich Scheidemann]] ||
|-
| 4-9 || Jesus Christus / unser Heylandt / auf 2 Clavier / pedaliter || <score><< \relative a { \clef alto \time 4/2 a1 d d2 cis d a4. b8 c2 c } \\ \relative d { R\breve r1 r2 d a'1 } >></score> || [[Heinrich Scheidemann]] ||
|-
| 10-11 || Fantasia / M. J. P. || <score><< \relative d' { R\breve R\breve r2 d } \\ \relative d' { \clef alto \time 4/2 d1 d2 d c bes a1 g2. a4 } >></score> || [[Jan Pieterszoon Sweelinck]] ||
|-
| 14-17 || Fantasia / A 3 Vocum / Transpon: per 4 toni || <score>\relative b' { \time 4/2 b1 b2 b a c b4 a g fis }</score> || ||
|}

Only one piece contains an attribution, the initials M. J. P. (=[[Jan Pieterszoon Sweelinck]]). However, all four pieces can be accounted for based on concordances found elsewhere. The first piece appears in [[D-Lr Mus.ant.pract. K.N. 208/1]] titled ''In dich hab ich gehoffet H.S.M.'', linking the piece to [[Heinrich Scheidemann]] (WV 8<ref name="dirksen">DirksenScheidemann, xviii.</ref>). The second piece is also composed by Scheidemann based on concordances in [[Zellerfeld Organ Tablatures]] vol.1 and the [[Pelplin Tablatures]] (WV 10).<ref name="dirksen"></ref> The fourth piece is a transposed parody of the [[Samuel Scheidt]] ''Tabulatura Nova'', vol. 2 no.6 (the composer of the parody is unknown).

==== References ====
{{RISM|1001048776}}

Schierning, 31.

<references />

=== Lynar B 5 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 5 | Deutsche Orgeltabulatur ca. 1630 | Darin 1 Choralbearbeitung von | Jakob Praetorius (unvollständig)'' 
Ms. Lynar B 5. German organ tablature from around 1630. Contains one choral work from [[Jacob Praetorius]] (incomplete).</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 5|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438200000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:PPN1032686251 00000006.jpg|thumb|The ending of the fragmented ''Durch Adams fall'' by Jacob Praetorius]]
This manuscript contains one piece, a fragment of a [[Chorale Fantasia]] ''Durch Adams Fall ist ganz verderbt'' auff 3 clavier by [[Jakob Praetorius]].

The piece is neatly written in five voices, suggesting that the top voice is to be played on ''Rückpositiv'', the second on ''Brustwerk'', the third and fourth on ''Organum'', and the bottom in ''Pedal''. It is written in the ''Echo'' style; furthermore, this piece provides evidence that Jakob Praetorius was the inventor of the ''Echo-Choralfantasia'' on 3 manuals (this style was also written in by [[Nicolaus Hasse]]).

==== References ====
{{RISM|1001048780}}

Beckmann (2009), 151-152.

[[Werner Brieg|Brieg, Werner]] (editor). ''Jacob Praetorius: Choralbearbeitunen für Orgel.'' Kassel: Bärenreiter, 1974.

Schierning, 37-38.

<references />

=== Lynar B 6 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 6 | Deutsche Orgeltabulatur ca. 1630 | Enthält 1 Toccata von Heinrich | Scheidemann'' 
Ms. Lynar B 6. German organ tablature from around 1630. Contains one toccata by [[Heinrich Scheidemann]].</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 6|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438300000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

'''Ms. Lynar B 6''' contains a manualiter Toccata auf 2 clavir (WV 43) by [[Heinrich Scheidemann]] on 10 pages.

An autograph manuscript of this piece has been discovered in [[D-W Cod. Guelf. 8 Noviss. 2/o]]. Besides this, copies are also found in many other manuscripts including the first volume of the [[Zellerfeld Tablatures]], [[D-W Ms. 227]], and various different (corrupted) forms in [[D-Lr Mus.ant.pract. K.N. 208-1]] and [[D-Lr Mus.ant.pract. K.N. 209|209]], and [[D-B Am.B 340]] (the last three manuscripts transmit the piece in a "pedaliter version" and are assigned WV number 43a by Dirksen).

Before the discovery of the Wolfenbuttel manuscript, Breig stated that the copy in '''Ze 1''' is likely the most accurate.

==== References ====
{{RISM|1001048781}}

[[Werner Breig|Breig, Werner]]. ''Die Orgelwerke von Heinrich Scheidemann.'' Beihefte zum Archiv für Musikwissenschaft 3. Wiesbaden: Franz Steiner, 1967. 87-93, 108.

DirksenScheidemann xvii, 3-5.

<references />

=== Lynar B 7 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 7 | Deutsche Orgeltabulatur ca. 1640. | Enthält Psalmen und Choräle, alle anonym'' 
Ms. Lynar B 7. German organ tablature from around 1640. Contains psalms and chorales, all anonymous.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 7|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438500000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

[[File:Lubbenauer.jpg|right|thumb|The heading to Psalm 100 in Lynar B 7]]
Ms. Lynar B 7 consists of single- and multi-verse settings of various Genevan psalms and the chorale ''Erhalt uns, Herr, bei deinem Wort''.

This manuscript was published by [[Pieter Dirksen]] in 1996.

==== Description ====
The header of each piece is stylized by a three-pronged symbol followed by the number of the psalm. Some verses are also marked "3 voci" or "Corall in tenor" for example.

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar B 7
|-
! fol. !! Title !! Incipit !! Notes
|-
| {{TT|1r-2r}} || P 66 || <score>{ \time 4/2 \clef alto << \relative f' { f1 d2 c f f } \\ \relative f { f1 bes,2 f'~ f4 e d2 } \\ \relative c' { c1 bes2 a c d\laissezVibrer } \\ \relative a { a1 f2 s2 a2 a } >> }</score> 2. V. <score>{ \time 4/2 \clef bass << \relative f' { f1 d2 c f } \\ \relative f, { r1 r2 f2~ f4 g } \\ \relative f { r2 f2~4 g a2~a4 bes } \\ \relative f { s1 s2 f2~f4 d8 e } >> }</score> ||
|-
| {{TT|2v-3r}} || P 5 || <score>{ \time 4/2 \clef alto << \relative d' { \clef alto d2~ d8 e f g a2 b } \\ \relative d { r2 d2~ d4 a'2 gis4 } \\ \relative d' { s1 f4 e e2\laissezVibrer } \\ \relative a { s2 r4 a d c b2 } >> }</score> 2 Vari / in Basso <score>{ \time 4/2 \clef alto << \relative d' { \clef alto r4 d8 e f g a b c4 a d8 c b a } \\ \relative d { d1 a'2 b } >> }</score> 3 V. / im Tenor <score>{ \time 4/2 \clef alto << \relative a' { \clef alto r4 a4. g8 f4 e a4~ a gis } \\ \relative a, { r1 r4 a e'2 } \\ \relative f' { s4 f4. e8 d4 c8 b c d e2 } \\ \relative d { d1 a'2 b } >> }</score> ||
|-
| {{TT|3v-5r}} || P 116 || <score>{ \time 4/2 \clef alto << \relative d'' { d1 b2 c d1 } \\ \relative g { g1 g2 e d1 } \\ \relative g' { g1 g2. g4 fis2 g\laissezVibrer } \\ \relative b { b1 d2 c~c b } >> }</score> 2 Vari: <score>{ \time 4/2 \clef alto << \relative d'' { d2~d8 e c d b2 c } \\ \relative a { r1 r2 a8 b g a } \\ \relative g' { r2 g2~g8 a f g e2 } >> }</score> 3. Vari / Corahll in / Tenor <score>{ \time 4/2 \clef alto << \relative g' { r1 g2 e4 fis g2 a } \\ \relative g { r2 g2~4 e2 a4~4 g2 fis4 } \\ \relative d' { d1 b2 c d1 } >> }</score> 4 Variatio / a 4 <score>{ \time 4/2 \clef treble << \relative d'' { r2 d2~4 d c2\laissezVibrer } \\ \relative d' { d1 b2 c } \\ \relative a' { a1 b2 g4 a\laissezVibrer } \\ \relative fis' { fis1 g2 e } >> }</score> ||
|-
| {{TT|5v-7r}} || P 100 || <score>{ \time 4/2 \clef alto << \relative a' { a1 b g2 c2*1/4 } \\ \relative a { a1 g g2 c,8 } \\ \relative e' { e1 g d2 g2*1/4 } \\ \relative c' { c1 d b2 e2*1/4 } >> }</score> [2 V] <score>{ \time 4/2 \clef alto << \relative a' { a2~a8 fis g a b2~ b8 c b a } \\ \relative f { f4 e d2 } \\ \\ \relative f' { r2 d2~ d8 e f d e2\laissezVibrer }>> }</score> 3 variation <score>{ \time 4/2 \clef alto << \relative e' { r4 e f2 d g2~g4 f e2 } \\ \relative d { r2 d~ d e2~ e4 d c2 } \\ \relative a { a1 b g2 c } >> }</score> [4 V] <score>{ \time 4/2 \clef alto << \relative a' { a1 r2 d~ d4 c b2\laissezVibrer } \\ \relative a, { a2. b4 cis2 d g1 } \\ \relative a { a4 b cis d e2 fis g d } \\ \relative a { s1 a1 b2. a4 } >> }</score> || Written in second hand
|-
| {{TT|6v-7r}} || Erhalt uns / Herr beij / deinen wortt || <score>{ \time 4/2 \clef alto << \relative g' { r1 g2. a4 bes2 g } \\ \relative g { r1 r1 g2. a4 } \\ \relative c' { c2. d4 ees2 c bes4 a bes c } >> }</score> 2 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2 g } \\ \relative g, { r1 r4 g bes g } \\ \relative d' { d4 ees d8 ees c4 d1 } \\ \relative g { g4 c b8 c a4 g2 r4 g } >> }</score> 3 Variation <score>{ \time 4/2 \clef alto << \relative g' { g1 bes2*1/2 } \\ \relative ees { ees8 d c b r c b a g2*1/2 } \\ \relative g' { g8 f ees d ees4 d8 c d1*1/4 } \\ \relative d { s1 r8 d16 e } >> }</score> || Written in second hand
|-
| {{TT|7v-8r}} || P 24 || <score>{ \time 4/2 \clef alto << \relative d' { d1 a' f g } \\ \relative a { r1 r2 a2 d a b c\laissezVibrer } >> }</score> 2 V. / a 3 <score>{ \time 4/2 \clef alto << \relative a' { r2 a2~4 b c b a g f e } \\ \relative d { d1 a' f } \\ \\ \relative d' { d2. e4 f2 e f4 e d c } >> }</score> ||
|}

==== Analysis ====
Dirksen states that the pieces in this manuscript can be conclusively connected with the Netherlands. While such psalm variations (and the psalm melodies themselves) are ''wholly unknown'' in Germany, they were abundantly found in the Netherlands, always in ''variation'' form (instead of German forms such as the [[Chorale Fantasia]]).

According to Dirksen, the five psalm melodies found in '''Ms. Lynar B 7''' were the most popular melodies from the Genevan Psalter during this time period.

The psalm variations ''are marked by a great unity of style''. On the other hand, the setting of ''Erhalt uns, Herr, bei deinem Wort'' is found to be slightly more sophisticated, and it has more rhythmic and harmonic variety. The compositions share a number of recurring musical patterns with pieces by [[Jan Pieterszoon Sweelinck]], but the pieces are too conservative in character to have been composed by him. They were likely written by another composer who lived around the same time. They were probably brought to the German-speaking lands by a student of Sweelinck who copied them into tablature notation.

==== References ====
{{RISM|1001048782}}

[[Pieter Dirksen|Dirksen, Pieter]] (editor). ''Psalm Variations from Lynar B 7.'' Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996.

<references />

=== Lynar B 8 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 8 | Deutsche Orgeltabulatur ca. 1630. | darin der Siefertschüler Andreas | Neunaber vertreten'' 
Ms. Lynar B 8. German organ tablature from around 1630, containing [[Andreas Neunhaber]], the student of Siefert.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 8|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438600000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----
[[File:Lynar b8 neunhaber.jpg|thumb|The beginning of the second piece]]
This manuscript contains two pieces, "Ich ruff zu / dir herr / Jesu Christ / auff 2. clavier" and "Alio modo / auff 2. und 3. / Clavir, und auff der / Pedal zu gebrauch: / Anton Neunhaber." These are thought to be two verses of the same piece by [[Andreas Neunhaber]] (Max Seiffert made the connection from Anton -> Andreas Neunhaber).

==== Description ====
Unlike all of the other Lynar B tablatures, this manuscript splits the octave at 'h' instead of 'c'.

[[Lydia Schierning]] said that Neunhaber was only the composer of the second piece and that it is possible the scribe was planning to create a larger compilation of chorale settings on this chorale tune by different composers. On the other hand, [[Klaus Beckmann]] said that these are two verses of one piece by Neunhaber.<ref>Beckmann (2009), 397.</ref>

The second piece is in five voices and has detailed manual change indications written into the tablature.<ref>[[Klaus Beckmann|Beckmann, K.]] (editor). ''3 Choralbearbeitunten von Anton Neunhaber und Ewald Hintz''. Wiesbaden: Breitkopf & Härtel, 1974.</ref>

==== Contents ====
<score><<
\new Staff \relative a' { \mark "1" \time 4/2 r2 a f4 e8 f g4 f8 g f8 g f e d c d e f16 e f g f g a f g f g a g a bes g a1 }
\new Staff \with { \clef bass } << \relative f { f1 a2 c a bes a e f4 d2 cis4 } \\ \relative d { d1 d2 e f g d c f,4. g8 a2 } >>
>></score>

<score><<
\new Staff \relative a' { \mark "2" \time 4/2 r1 r1 r1 a f2 g f8 g e f d g d e }
\new Staff \with { \clef bass } << \relative a { r1 r4 a f g f d f g f2 e d2. e4 a2 bes } \\ \relative a { r4 a f g f d d8 c bes4 a f a8 d bes c a4 d d cis d bes bes c d2 g } >>
>></score>

==== References ====
{{RISM|1001048783}}

Schierning, 39.

<references />

=== Lynar B 9 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 9 | Deutsche Orgeltabulatur ca. 1630 | 2 anonyme Praeludien.'' 
Ms. Lynar B 9. German organ tablature from around 1630. Two anonymous preludes.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 9|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438800000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----
Lynar B 9 contains two preludes on two pages. The title page lists the keys/tonality "A cis" and "F a".

Both preludes were edited by [[Partitura Organum]] in 2019.

==== Description ====
Both preludes are typical of the north-German präludium.

Some notes are not visible on the edge of the left page.

==== Contents ====
[[File:Lynar b 9.jpg|thumb]]

<score><<
\new Staff << \relative e'' { \mark "Praeludium 1" e1 f2 e d4 e f2 e1 a,2. 4 a2 d~ d d c2 a4 b } \\ \relative a' { a1 a2 a a1 e2 e~ e4 e e2 f4 g a2~ a a a r2 } >>
\new Staff \with { \clef alto } << \relative cis' { cis1 d2 e f4 e d2 cis2 cis~4 4 2 d4 e f2~ f f e1 } \\ \relative a { a1 a2. 4 a1 a r1 r2 a~a a4 b c a c d } >>
\new Staff \with { \clef bass } \relative a, { \time 4/2 a1 d2 cis d1 a2 a'~ a4 a a2 d,2. e4 f d f g a1 }
>></score>

<score><<
\new Staff << \relative c'' { \mark "Praeludium 2" \time 4/2 c1 d4. ees8 d4 c bes2 bes~ bes4 c8 bes a4 g a1 } \\ \relative f' { f1 f f f f4 e8 d c4 d } >>
\new Staff \with { \clef bass } << \relative a { a1 bes2 bes4 c d1 c2. bes4 c2 a4 bes } \\ \relative f { f1 bes, bes4 c d e f1 f } >>
>></score>

==== Scores ====
'''Prelude 1:''' [https://partitura.org/index.php/anonymus-praeludium/ partitura.org], 31 October, 2019. ([https://partitura.org/wp-content/uploads/2019/10/Anonymus-Lynar-B9-Praeludium-1.pdf Score]) Accessed 14 January, 2023.

'''Prelude 2:''' [https://partitura.org/index.php/anonymus-praeludium-2/ partitura.org], 5 November, 2019. ([https://partitura.org/wp-content/uploads/2019/11/Anonymus-Lynar-B9-Praeludium-2.pdf Score]) Accessed 14 January, 2023.

==== References ====
{{RISM|1001048784}}

Schierning, 39.

<references />

=== Lynar B 10 ===
----
<blockquote>'''Seiffert:''' ''Ms. Lynar B 10 | Deutsche Orgeltabulatur ca. 1640. | Inhalt 1 anonyme Choralbearbeitung'' 
Ms. Lynar B 10. German organ tablature from around 1640. Contains one anonymous choral work.</blockquote>

{{OnlFac|sig=D-B Ms. Lynar B 10|url=http://resolver.staatsbibliothek-berlin.de/SBB0002438900000000|urlc=digital.staatsbibliothek-berlin.de|date=3 November, 2023}}
----

This manuscript contains one piece, anonymous ''Sei nun wieder zufrieden'' a 3. The composition ends after the first system on the third page, the final symbol is a cut time signature.

The texture of the piece is very odd compared to all the other pieces contained in the Lynar Tablatures.

<score><<
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor g1 a2 bes2 bes c d d r r d d d4. g,8 c2. c4 | bes1 bes2 bes1 a2 bes1 r2 R1. R1. R1. r2 f' ees }
\new Staff \with { \clef treble } \relative g' { \time 3/2 \key g \minor R1. g1 a2 bes2 bes c d bes bes bes a2. a4 bes2. c4 d2 c2 c1 bes2 bes c d2. ees4 c2 bes2 bes r2 R1. r2 d c }
\new Staff \with { \clef bass } \relative g { \time 3/2 \key g \minor g1 f2 ees1 c2 bes1 a4 g f2 g d ees f1 g2. a4 bes2 ees,2 f1 bes2 bes' a g g, a bes bes c d2. ees4 f2 | bes1 c2 }
>></score>

Actually, it appears that it is an intabulation of a cantata instead of an original organ piece (Scierning says that it seems to have been written for two sopranos and basso continuo).

The title is from Psalm 116, verse 7.

==== References ====
{{RISM|1001048785}}

Schierning, 106

<references />

=== Lynar C 1 ===
----
<blockquote>'''Title label, mid-20th century:''' ''Ms. Lynar C 1 Melodien zum 1. bis 150. Psalm'' 
Ms. Lynar C 1: Melodies of Psalms 1-150.</blockquote>
----

'''Lynar C 1''' (also called '''C''' or '''B 11'''{{Citation needed}})contains anonymous 4-voice settings of the 150 genevan psalms (actually only 124 settings, because of the reuse of psalm tunes). It is written on 119 sheets in [[New German Tablature Notation]].

The settings are extremely simple. It appears that this was a psalm-book that used privately by people gathered together, who would sing the psalms, or play them on all different instruments, at social gatherings (or it was a copy of this type of book).

==== References ====
{{RISM|1001300420}}

Schierning, 106-109.

<references />

[[Category:Manuscripts|Lynar]]
[[Category:Tablatures|Lynar]]
[[Category:German Manuscripts|Lynar]]

Main Page

2024-12-21T21:34:26Z

Fiskfan1999: remove table of contents

__NOTOC__[[File:Picsart 23-06-12 22-40-16-994.jpg|alt=Live Leon reaction|thumb|[[Léon Berben]]]]
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[[Category:The Wiki]]

Arnold Matthias Brunckhorst

2024-12-21T21:01:22Z

Fiskfan1999: /* Works */

[[File:Brunckhorst title.jpg|thumb|right|The heading to the Prelude and Fugue in E Minor by Brunckhorst]]
'''Arnold Matthias Brunckhorst''' (1670?-1725) was an organist and composer.

In 2006, the Prelude in G Minor previously thought to be composed by [[Nicolaus Bruhns]] was connected to Brunckhorst by [[Dietrich Kollmannsperger]].

== Life ==
Brunckhorst worked in Hildesheim from 1693-1697. After this he went to the Stadtkirche in Celle. During this time he worked for Duke Georg Wilhelm of Brunswick-Lüneburg. In 1720, he became the Hanover court organist. He passed away in 1725.

Brunckhorst also worked as an organ tester.

<blockquote>Around 1700 he may have met the young [[Johann Sebastian Bach|J.S. Bach]] on one of his visits from Lüneburg to hear the duke’s famous French instrumentalists.<ref>Schröder</ref></blockquote>

== Prelude in G Minor ==
[[File:Prunth.jpg|thumb|right|The title-page to the Prelude and Fugue in G Minor by a certain "Mons Prunth"]]

When [[D-B Mus.ms. 30381]] was discovered, the Prelude in G Minor by "Mons. Prunth" was attributed to [[Nicolaus Bruhns]] by [[Martin Geck]]. While this attribution remained, it was not considered entirely satisfactory, and other possibilities were considered. This piece was also previously speculated to be composed by his brother [[Georg Bruhns]], although no works survive from him.<ref>Beckmann, Klaus (editor), ''Nicolaus Bruhns: Sämtliche Orgelwerke.'' Meister der Norddeutschen Orgelschule 13 [earlier edition, not including Brunckhorst]. Mainz: Schott, 2004.</ref>

In March 2006, [[Dietrich Kollmannsperger]] published an article in [[Ars Organi]] in which he proposed that the piece was in fact composed by Brunckhorst. Unlike the three other preludes by Bruhns, this piece is only in two parts, a prelude and a fugue. Additionally, the Prelude in G Minor contained a ''rhythmic continuality''<ref>Kollmannsperger: "eine rhythmische Kontinuität"</ref> that was not present in the other works but can be found in the '''Prelude in E Minor''' by Brunckhorst.

Kollmannsperger showed stylistic similarities between the Preludes in E Minor and G Minor, such as the beginning of both pieces and the ending of the Prelude (first half) in which both pieces go into an adagio section before the fugue.

<score>\new PianoStaff <<
\new Staff \with { \clef treble \omit TimeSignature } <<
\relative dis'' { \mark "E Minor" \key e \minor e16 g fis g e g e b dis e fis e dis e dis cis <dis b>2 \tempo "Adagio" r8 <dis fis>8 8 8 | e8 d d d d c c c }
\\
\relative fis' { g16 b a b g b g e fis g a g fis g fis e | fis2 r8 b8 b b | b8 r8 r8 gis a4 r8 a }
>>
\new Staff \with { \clef bass \omit TimeSignature } <<
\relative b { \key e \minor R1 | b2 r8 dis8 8 8 | e8 r8 r8 8 <a e'>4 r8 <a fis'> }
\\
\relative b, { e4 r8 e b4 r8 fis | b2 r8 b a a gis r r e a4 r8 dis8 }
>>
>></score>

<score>\new PianoStaff <<
\new Staff \with { \clef treble \omit TimeSignature } <<
\relative fis' { \mark "G Minor" \key g \minor fis16 a g fis g bes a g fis a g fis g bes a g | fis2 \tempo "Adagio" r8 a bes c d4~8 bes c4~8 a }
\\
\relative fis' { d4 r r r8 ees8 | d2 r2 | r8 f g4 r8 g fis4 }
>>
\new Staff \with { \clef bass \omit TimeSignature } <<
\relative b { \key g \minor a16 c bes a bes d c bes a c bes a bes d c bes | a2 r2 | r8 bes bes4 r8 ees d4 }
\\
\relative b, { r4 r r r8 c | d2 r2 | r8 d ees4 r8 c d4 }
>>
>></score>

[[Klaus Beckmann]] responded to this article in [[Ars Organi]] in June 2006. He agreed with the findings by Kollmannsperger, and furthermore pointed out that the use of the neopolitan 6th in both adagio sections is an unmistakable fingerprint of the same composer.

For even more evidence of the connection beyond stylistic grounds, Beckmann pointed out that ''Prunth:'' was a realistic mispelling of "Brunckhorst" (Brunckh -> Prunckh -> Prunkh -> Prunth), and that the surviving harpsichord sonata by Brunckhorst is signed ''di Mons. Brunckhorst''. It is possible that the sonata was signed ''Mons[ieur] Brunckhorst''.

In closing, Klaus Beckmann wrote that the case of Brunckhorst over Bruhns was ''a convincing, almost certainly correct solution'' based on ''rare clarity'', for which Kollmannsperger was deserving of thanks and recognition. Afterwords, he re-issued the 13th volume of [[Meister der Norddeutschen Orgelschule]] containing the complete works of Bruhns (which had been previously published in 2004) as a two-composer volume including Arnold Matthias Brunckhorst, including both of his compositions.

== Works ==
{| class="wikitable"
|+ Organ works by Arnold Matthias Brunckhorst
|-
! Source !! Title !! Incipit !! Notes !! ref.
|-
!colspan="5"|Organ works
|-
| [[D-LEm Becker II.2.51]] part 5, p.16-19 || Praeludium / ex E. m. / A. m. Brunckhorst || Prelude <score>\relative e'' { e16 g fis e dis cis b a g a b a g }</score> Fugue <score>\relative e' { \time 4/2 r8 e g e b'4 c b g a b }</score> || || <ref>[http://digital.slub-dresden.de/id454398573/134 sachsen.digital], accessed 11 August, 2023. Mirrored: {{IMSLP|870142}}</ref><ref>{{RISM|225006522}}</ref>
|-
| [[D-B Mus.ms. 30381]] No 4 || Praludium con Fuga. ex G b. / pedaliter. / di / Mons: Prunth. || Prelude <score>\relative g'' { \key g \minor r16 g fis g d g fis g c, g' fis g bes, }</score> Fugue <score>\relative g' { \key g \minor r8 g bes c d d d d | bes8. a16 g8 }</score> || || <ref>[http://resolver.staatsbibliothek-berlin.de/SBB00027AC100000000 digital.staatsbibliothek-berlin.de], accessed 11 August, 2023. Mirrored: {{IMSLP|870141}}</ref><ref>{{RISM|455038261}}</ref>
|-
!colspan="5"|Keyboard works
|-
|[[D-B Mus.ms. 30382]] f.86r-87v
|Sonata ex A #. / di / Mons: Brunckhorst.
|Sonata in poco presto <score>
<<
\relative a' {
\key a \major \time 2/4 a16 b cis d e8. a16 | gis8.^\prall e16
} \\
\relative a {
r4 a16 b cis d | e fis e d
}
>>
</score>
|
|<ref>{{RISM|455038336}}</ref><ref>[http://resolver.staatsbibliothek-berlin.de/SBB0001A74900000000 digital.staatsbibliothek-berlin.de], accessed 16 August, 2023.</ref>
|}

== Links ==
[https://imslp.org/wiki/Category:Brunckhorst,_Arnold_Matthias Works by Brunckhorst on IMSLP]

== Chronological Bibliography ==
[[Dorothea Schröder|Schröder, Dorothea]], ''Brunckhorst, Arnold [Andreas] Matthias [Melchior, Martin],'' 20 January, 2001. [https://doi-org.ezproxy.oberlin.edu/10.1093/gmo/9781561592630.article.04162 Grove Music Online], accessed 11 August, 2023.

[[Dietrich Kollmannsperger|Kollmannsperger, Dietrich]]. "'Mons: Prunth', Präludium g-Moll: Eine Neuzuweisung." [[Ars Organi]] 54. Jfg. Heft 1, March 2006. p.30-31.

[[Klaus Beckmann|Beckmann, Klaus]]. "Diskussion: Zur Neuzuweisund des Praeludiums g-Moll di Mons: Prunth. an Arnold Matthias Brunckhorst." [[Ars Organi]] 54. Jfg. Heft 2, June 2006. p.111-112.

{{NdS2 2009}} 547.

== References ==
<references />

[[Category:Baroque Composers|Brunckhorst]]
[[Category:Composers|Brunckhorst]]
[[Category:Baroque|Brunckhorst]]
[[Category:Norddeutsche Orgelschule|Brunckhorst]]

Pipe-organ.wiki:News

2024-12-21T20:57:28Z

Fiskfan1999:

This page will store updates and bits of news relating to pipe-organ.wiki. If you have an account, feel free to "watch" this page so you will recieve email notifications when it is updated.

== 2024 ==
* 2024 December 21 - Upgraded to 1.42.4.
* 2024 March 28 - Upgraded to 1.41.1. Will continue to monitor for problems.
* 2024 January 1 - TorBlock extension is disabled, because moderation extension has been installed.

== 2023 ==
* 2023 December 1 - Upgraded to 1.40.2 (hopefully...?).
* 2023 August 14 - IPv6 should be enabled.
* 2023 July 29 - [[Extension:Score]] might be working? Will continue to monitor.
* 2023 July 28 - (Temporarily?) Disabled visual editor because it seems to mess up categories (puts them into index.php?title= format)
* 2023 July 25 - Almost all entries from '''wvlist.net''' have been copied into '''pipe-organ.wiki''' (ignoring a few entries which were not composers for the organ).
* 2023 July 22 - Have fun with [[Template:RISM]] and [[Template:IMSLP]]
* 2023 July 18 - Have unfortunately hit a roadblock while trying to install the Score extension. Will try again later.
* 2023 July 17 (yesterday) - The wiki has been created. Let's see how this goes. Many thanks to [[User:Irahs|Irahs]] who is the first user to register, and who graciously included [[Template:Disposition]].

[[Category:The Wiki]]

Klaus Beckmann

2024-12-21T04:13:49Z

Fiskfan1999:

[[File:Beckmann Klaus 100px.jpg|alt=Picture of Klaus Beckmann|thumb|Beckmann]]
'''Klaus Beckmann''' (1935-) is a German organist and musicologist. He has published editions of early organ music for Breitkopf & Härtel<ref>[https://obis.oberlin.edu/record=b2585134~S4 obis.oberlin.edu]</ref>, Forum music<ref>[https://obis.oberlin.edu/record=b1859730~S4 obis.oberlin.edu]</ref>, and Edition Schott<ref>[https://obis.oberlin.edu/record=b2343194~S4 obis.oberlin.edu]</ref>. In addition to scores, he has published many monumental works of literature such as [[Repertorium Orgelmusik]] and [[Die Norddeutsche Schule (book)|Die Norddeutsche Schule]].

From 2003 to 2015, Beckmann, along with his colleague [[Claudia Schumacher]], edited the 36-volume series [[Meister der Norddeutschen Orgelschule]].

{{Stub}}

== Life ==
Klaus Beckmann was born in Wanne-Eickel (in Ruhr), Germany, in 1935.

Beckmann's early musical education was hindered by [[WWII]]. During WWII, his father [[Wilhelm Beckmann]] worked as a military band director (previously as a school teacher and headmaster). Due to threats of bombings in the Ruhr area, his family moved to Preussisch-Holland (in Poland, now Pasłęk). In 1945, his family fled back to Wanne-Eickel, where his father continued to direct musical productions including symphonies, choirs, and operas.

Klaus started learning the piano when he was 12 years old from his father, later with Elfi Gerlach. He performed the A Major Piano Concerto by [[Wolfgang Amadeus Mozert]] conducted by [[Wilhelm Beckmann]].

During his confirmation around March 1950, Beckmann heard the organ for the first time, and he started taking lessons shortly after. His first organ teacher was [[Ernst Richter]], who later taught Klaus harmony as well. He later studied with [[Gisbert Schneider]], [[Dietram Schubert]], and Dr. Eckart. While still a student, Klaus Beckmann directed a performance of ''Wir bauen eine Stadt'' by [[Paul Hindemith]] and played the Sergei Rachmaninoff ''Prelude in C-Sharp Minor Op. 3 No. 2''. Around February, 1956, after graduating from high school, Klaus Beckmann performed his first organ recital, which included the ''Ciaconna in E Minor'' by [[Dietrich Buxtehude]].

Klaus Beckmann attended secondary level 1 music conservatory in Detmold. His thesis was concerning the structure of settings of vocal songs by contemporary composers. Some organ pieces he studied include Trio Sonata no. 4 by [[Johann Sebastian Bach]], [[Max Reger]] ''Introduction and Passacaglia in D Minor'', [[Jean Langlais]] ''Te Deum'', and [[Jehan Alain]] ''Variations sur un theme de Clément Janequin''. After this, he further studied music in Köln. His thesis covered Antoine de Bertrand's settings of the "Amours" by Pierre de Ronsard.

Feeling a lack of suitable literature for school and church choirs, Klaus Beckmann got his first experience creating editions while working with original sources while preparing an edition of chansons and passions for choir by composers including Sermisy, Passerau, Costeley, Scandello and Beber.

Klaus Beckmann claims that he was the first person to note that one section of the Toccata in D Minor (BuxWV 155) by [[Dietrich Buxtehude]] should have been marked in 3/4 time instead of 4/4 time, this discovery taking place on October 13, 1969. He also identified the organists [[Johann Praetorius]] and [[Hieronymus Praetorius III]] as composers of surviving works based on stylistic grounds and historical evidence, and he connected the piece in the [[Pelplin Tablatures]] labled ''Ewaldt'' to [[Ewald Hintz]] a composer in Gdanśk.

==References==
Beckmann, Klaus. ''Dietrich Buxtehudes Orgelwerke: Überlieferung, Edition, Historisch legitimierte Aufführungspraxis.'' Mainz: Schott, 2021. p. 342-344.

[https://d-nb.info/gnd/121027236 Katalog der Deutschen Nationalbibliothek]. Accessed 19 July, 2023.<references />

[[Category:Persons|Beckmann, Klaus]]
[[Category:Organists|Beckmann, Klaus]]
[[Category:Musicologists|Beckmann, Klaus]]
[[Category:Editors|Beckmann, Klaus]]

Pipe-organ.wiki:IRC

2024-12-09T00:19:08Z

Fiskfan1999: switch to the lounge webchat link

Feel free to join '''#pipe-organ.wiki''' on [https://www.hybridirc.com/ irc.hybridirc.com]

[https://thelounge.hybridirc.com/?join=pipe-organ.wiki Webchat link]

You can also chat in the Matrix room: #pipe-organ.wiki:mozilla.org

File:WernerBrieg.jpg

2024-11-30T17:54:28Z

Fiskfan1999: Fiskfan1999 moved page File:WernerBrieg.jpg to File:WernerBreig.jpg: Misspelled title

#REDIRECT [[File:WernerBreig.jpg]]

File:WernerBreig.jpg

2024-11-30T17:54:28Z

Fiskfan1999: Fiskfan1999 moved page File:WernerBrieg.jpg to File:WernerBreig.jpg: Misspelled title

Werner Brieg

Werner Breig

2024-11-30T17:54:06Z

Fiskfan1999: misspelling

[[File:WernerBreig.jpg|thumb|Werner Breig]]
'''Werner Breig''' (1932-) is a German musicologist. His dissertation, ''Die Orgelwerke von Heinrich Scheidemann,'' was published in 1967<ref>[https://obis.oberlin.edu/record=b1257043~S4], accessed 19 July, 2023.</ref>. He was recently involved as an editor of the edition of complete organ works by [[Johann Sebastian Bach]] by ''Breitkopf & Härtel''<ref name=":0">[https://www.breitkopf.com/program/highlights/bach-complete-organ-works/die-herausgeber "The editors"]. Breitkopf & Härtel. Accessed 19 July, 2023.</ref>.<blockquote>Professor Emeritus of Musicology, taught at the Universities of Freiburg, Karlsruhe, Wuppertal and Bochum. His work focuses on the music of Heinrich Schütz, Johann Sebastian Bach, Richard Wagner, and Arnold Schönberg. Werner Breig has published numerous publications and editions on the music of various eras<ref name=":0" /></blockquote>

== References ==
[https://viaf.org/viaf/2511220/ VIAF], accessed 19 July, 2023.

[[Category:Persons|Breig, Werner]]
[[Category:Musicologists|Breig, Werner]]
[[Category:Editors|Breig, Werner]]

Werner Brieg

2024-11-30T17:53:38Z

Fiskfan1999: Fiskfan1999 moved page Werner Brieg to Werner Breig: Misspelled title

#REDIRECT [[Werner Breig]]

Werner Breig

2024-11-30T17:53:38Z

Fiskfan1999: Fiskfan1999 moved page Werner Brieg to Werner Breig: Misspelled title

[[File:WernerBrieg.jpg|thumb|Werner Brieg]]
'''Werner Brieg''' (1932-) is a German musicologist. His dissertation, ''Die Orgelwerke von Heinrich Scheidemann,'' was published in 1967<ref>[https://obis.oberlin.edu/record=b1257043~S4], accessed 19 July, 2023.</ref>. He was recently involved as an editor of the edition of complete organ works by [[Johann Sebastian Bach]] by ''Breitkopf & Härtel''<ref name=":0">[https://www.breitkopf.com/program/highlights/bach-complete-organ-works/die-herausgeber "The editors"]. Breitkopf & Härtel. Accessed 19 July, 2023.</ref>.<blockquote>Professor Emeritus of Musicology, taught at the Universities of Freiburg, Karlsruhe, Wuppertal and Bochum. His work focuses on the music of Heinrich Schütz, Johann Sebastian Bach, Richard Wagner, and Arnold Schönberg. Werner Breig has published numerous publications and editions on the music of various eras<ref name=":0" /></blockquote>

== References ==
[https://viaf.org/viaf/2511220/ VIAF], accessed 19 July, 2023.

[[Category:Persons|Brieg, Werner]]
[[Category:Musicologists|Brieg, Werner]]
[[Category:Editors|Brieg, Werner]]

François Joseph Fétis

2024-11-30T03:11:18Z

Fiskfan1999:

'''François Joseph Fétis'''

{{Stub}}

== Le parfait organiste ==
=== Links ===

{{OnlFac|sig=B-Br Fétis 2.072 C (RP)|url=https://opac.kbr.be/LIBRARY/doc/SYRACUSE/16104710|urlc=belgica.kbr.be|date=29 November, 2024|imslp=619673}}

François Joseph Fétis

2024-11-30T02:19:46Z

Fiskfan1999: Created page with "'''François Joseph Fétis''' {{Stub}} == Le parfait organiste == === Links === {{OnlFac|sig=B-Br Fétis 2.072 C (RP)|url=https://opac.kbr.be/LIBRARY/doc/SYRACUSE/16104710|urlc=belgica.kbr.be|date=29 November, 2024}}"

Musical Party (Voorhout)

2024-11-29T23:45:27Z

Fiskfan1999: man on left side of painting

'''Musical Party''' (de: ''Musizierende Gesellschaft'') is a painting by Johannes Voorhout created in 1674.

[[File:Musical Company by Johannes Voorhout (1674).jpg|none|frameless]]

The painting became known to musicologists around 1975. It is now located in ''Museum für Hamburgische Geschichte''.

== Reincken ==
[[File:Johann Adam Reincken.jpg|thumb|Reincken in another painting.]]
The identity of [[Johann Adam Reincken]] is confirmed due to another painting by Gottfried Kneller. He is playing the harpsichord in this painting.

Reincken was known as a ''wealthy but also pretentious''<ref name="snyder 111">Snyder, 111.</ref> individual, and his wealth is indicated in the painting. [[Christoph Wolff]] surmised that Reincken had commissioned the painting itself. He is placed in the center, almost all of the other figures in the painting are looking back at him, and his clothing is more ornate and expensive than those worn by everyone else in the painting.

Reincken's status as a ''constant lover of women'' has been represented by ''allusions to physical love''<ref name="snyder 111">Snyder, 111.</ref> in the painting as well. Wolff suggests that the middle couple may have originally been Reincken and the lutenist (with implications of physical love with Reincken himself), but that the painting was reworked to have the characters they have now. ''Indeed, in offering grapes to Reincken at the harpsichord, the black page–another symbol of wealth–is inviting him to taste of sensual pleasure.''<ref name="snyder 111">Snyder, 111.</ref>

<blockquote>''Although "Musical Party" cannot provide us with a definitive portrait of Buxtehude, Wolff's detailed analysis of it offers important insights into the lifestyle of Reincken and his circle in Hamburg, of which Buxtehude formed a part.''<ref name="snyder 111">Snyder, 111.</ref></blockquote>

[[Heinrich Schwab]] noted that the canon on the piece of paper is in Reincken's hand.

Actually, the unknown birth-date of Reincken has played a part in the identification of Buxtehude in this painting (see below).

== Buxtehude ==
Unlike Reincken, Buxtehude's likeness is not known from any other paintings from his lifetime. However, based on his inclusion in the musical canon written on the piece of paper, musicologists long assumed that he was present in the painting.

The changing opinions over the birth-date of Reincken have played a part in the identification of Buxtehude, mainly because of his age in relation to Reincken. Originally, with Reincken having been thought to have been born in 1722, making Buxtehude around 15 years younger, [[Christoph Wolff]] identified the musician holding the piece of paper as Buxtehude. Not only does this individual look younger than Reincken in the painting, but also this placement of Reincken and Buxtehude in the middle of the painting would make sense considering that they are named on the piece of paper.

However, Reincken's birth-date was placed at 1643 by [[Ulf Grapenthin]], this made Buxtehude a bit older than Reincken. With this in mind, the identification of Buxtehude as the slightly younger gentleman had to be re-examined.

'''Actually, Buxtehude is now theorized to be the viola da gamba player.''' This person and Reincken are painted at the same size, and their heads are at the same horizontal level, and they are also looking at each other (this is appropriate considering the brotherly love between these two). The placement of him and Reincken left-to-right is the same as the order of their names on the piece of paper. The viola da gamba player is playing the notes "d" and (german) "b" (=b-flat) on the fretboard. With this identification in mind, [[Heinrich Schwab]] split the painting into three pairs of groups: Buxtehude(?) and Reincken, the listener (man with the paper, in fact, this person seems to be looking in the direction of the lutenist) and lutenist, and the couple in the back.

In addition to his highly-virtuosic viola da gamba music{{Citation needed}}, The possibility of Buxtehude playing the viola da gamba in this painting changes our impression of the composer (based on his organ music).
<blockquote>''To find Buxtehude portrayed in such a setting must dispel any one-sided image we might have had of him as merely a pious church organist. His elegant clothing places him comfortably in this decidedly secular atmosphere, and his presence here reveals a pleasure-loving facet of his personality that was almost unknown before this painting came to light in 1975.''<ref name="snyder 112">Snyder, 112.</ref></blockquote>

This painting also recontextualized the relationship between Dietrich Buxtehude and Reincken.
<blockquote>''The relationship between Buxtehude and Reincken signified by the canon in this painting is one of brotherly love and of intellectual and professional kinship. In the inscription they are named as brothers, and the words of the canon underscore this connection.''<ref name="snyder 112">Snyder, 112.</ref></blockquote>

== Other people ==
* It was theorized by [[Christoph Wolff]] that the person with the piece of paper was [[Johann Theile]] (and that he was the composer of the canon on the piece of paper). However, [[Kerala Snyder]] said that this person had a higher social status than Reincken and Buxtehude, so it would be odd for him to appear without being named. On the other hand, the younger tenor [[Johann Philipp Förtsch]] was suggested by Snyder. He ''would not have needed to be named'' due to his younger age and therefore lack of seniority.
* ''Wolff had noted that the woman playing the lute appears in another painting, "The Artist and his Family", also from 1674, in which she offers a vase of flowers to a baby sitting on its mother's lap; she cannot therefore have been a historical musician.''<ref name="snyder 111">Snyder, 111.</ref>
* The man on the left of the painting has been identified as Johannes Voorhout by [[Harro Schmidt]].<ref>{{NdS2 2009}} 226.</ref>
* The black woman in the center of the painting has not been identified, and she has not attracted much attention, except for how her presence is an indication of Reincken's wealth and sensual nature (see [[#Reincken]] above).

== Paper ==
=== Transcription of canon ===
The canon on the piece of paper<ref>[[Alexander Mathias Winkler|Winkler, Alexander Mathias]]. "The Musical Party by Johannes Voorhout: Buxtehude's Representation and the Other Artists." Published Roskilde Cathedral School: April 23, 2022.</ref> is transcribed below:

<score>\relative d' {
\autoBeamOff
\time 4/2
\once \override Staff.TimeSignature.stencil = #ly:text-interface::print
\once\override Staff.TimeSignature.text = \markup { \musicglyph "timesig.C44" }
\clef soprano
\accidentalStyle forget
d2 e4 e fis8[ d] r8 d' d4. cis8 | d4 b8[ a] g8[ g g8. fis16] a4 fis r8 a e8.[ fis16] | d16[ a' b c] d[ e d c] b8[ cis d e] a,4 r8 fis' e8.[ fis16] g8.[ a16] | fis4 f8[ d] g4 g, d' r4 r2 \bar ":|."
} \addlyrics {
\set ignoreMelismata = ##t
Ec -- ce quam bo -- num et quam to cun -- dum __ _ ha -- bi -- ta -- re fra -- tres qui ha -- bi -- ta -- _ _ _ _ _ _ _ _ _ _ _ re qui ha -- bi -- ta -- re fra -- tres in u -- _ num
}</score>

''Canon perpet: in unison a 8 / In hon dit: Buxtehude: et Joh: Adam Reinc ken''

== References ==
[[Kerala Snyder|Snyder, Kerala J.]]. ''Dietrich Buxtehude: Organist in Lübeck.'' Revised Edition. Rochester: University of Rochester Press, 2007. 109-112.

Johann Adam Reincken

2024-11-29T23:25:36Z

Fiskfan1999: /* Works */ lost works section

[[File:"The Musical Party" by Johannes Voorhout.png|thumb|[[Musical Party (Voorhout)|"The Musical Party" by Johannes Voorhout]]. Reincken is playing the harpsichord.]]
'''Johann Adam Reincken''' (?-1722) (also known as Jan Adam or Jan Adams) was a German organist and composer.

== Life ==
The year of Reincken's birth is not known. It has been theorized to be 1623 or 1628, but, if true, this would mean that several events in his life were unusually late, such as the beginning of his musical study. There is evidence of someone named "Jan Reinse" being baptized in Deventer on 10 December 1643. "This date, too, is problematic, but it is at least consistent with the baptismal records of Adam Reincken's other children in 1639, 1640 and 1641,"<ref>Grapenthin</ref>. He died in Hamburg in 1722.

== Works ==
=== Lost manuscripts ===
The Fugue in G Minor and Toccata in G Minor do not appear in any remaining manuscripts.

==== Fugue in G Minor<ref name="beckmannbreit">Beckmann, Breitkopf</ref> ====
The Fugue in G Minor is known to have been located in [[D-DS Ms. Nr. 4061]]. This manuscript has been lost (it contained another fugue by Reincken as well), and only an incipit from a catalogue listing of it remains. However, one of the pieces had already been published by in ''Historischen Klavierkonzerten'' vol. 3 by Buchmayer.

====Toccata in G Minor<ref name="beckmannmdno">Beckmann, MdNO</ref>====
The Toccata in G Minor was published in ''Le parfait organiste'' by [[François Joseph Fétis]] in 1830. The manuscript that this piece is from is not known (the source of the manuscript is recorded as "dans les bibliotheques de plusieurs mateurs, en Allemagne"), as well as its fate, wether it has been destroyed or lost. Apparently this publication was almost entirely forgotten, as this piece was not included in any edition of the known keyboard works of Reincken, and this piece was revealed to [[Klaus Beckmann]] by [[Ewald Kooiman]].

=== List ===
{| class="wikitable"
|+ Keyboard works by Jan Adams Reincken
|-
! Source(s) !! Title !! Incipit !! Notes !! Ref.
|-
!colspan="5"|Chorale Fantasias
|-
| [[D-B Mus.ms. Bach P 802]] p.38-56 || Was kan uns kommen an für noth. á 2 Clav: et Pedal. J. Adam Reincke || <score><< \relative d' { r8 \clef treble d e fis g a b c | d2 } \\ \relative d { r4 r8 d e fis g a | b c d4 } \\ \relative g, { \clef bass g1 } >></score> || || <ref>[http://resolver.staatsbibliothek-berlin.de/SBB000159C400000000 digital.staatsbibliothek-berlin.de]</ref> <ref name="ap">Apel, Willi</ref><ref name="beckmannmdno">Beckmann, MdNO</ref>
|-
| [[D-WRz Fol 49/11 (2)]] [[D-Bhm RH 1152]] p.1-19 || An Waßer flüßen Babylon. Sampt 2. Clavier et pedal. Joh. Adam Reincke || <score><< \relative c'' { \key f \major r2 c4~c16 bes a g | f4 f' e8 f16 e d8 e16 d } \\ \relative c' { c1 d2 c } >></score> || || <ref name="beckmannmdno"></ref><ref>{{RISM|1001097128}}</ref>
|-
!colspan="5"|Toccatas
|-
| [[Andreas-Bach Book]] f.45-48 || Toccata || <score><< \relative d'' { \key g \major r16 d e fis g32 fis g fis g fis e fis g16 } \\ <g d' g'>1*1/2\laissezVibrer >></score> || || <ref name="ap"></ref>
|-
| || "Toccate" || <score>\relative g' { <g d bes>1 <bes g d> }</score> || Original source lost. Based on edition by Fétis. || <ref name="beckmannmdno"></ref>
|-
!colspan="5"|Fugues
|-
| [[D-DS Ms. Nr. 4061]] || Fuga || <score>\relative g' { \key f \major g4 r16 a bes c d a bes c d a bes c | bes8 g }</score> || This source is lost. Based on earlier editions || <ref name="beckmannbreit">Beckmann, Breitkopf</ref>
|-
!colspan="5"|Partitas
|-
| [[Andreas-Bach Book]] || Partite diverse spora l'Aria: Schweiget mir von Weiber nahmem, altrimente chamata La Meyerin || <score><< \relative b' { \key g \major \clef alto b4. d8 a4 b | g4*1/2 } \\ \relative g { g4. g8~g8 fis g d | e4.*1/3 } \\ \relative fis' { s2 s4 r8 fis | r8 } \\ \relative d' { r8 d e b c d8~ d4 | r8 } >></score> || 18 partitas || <ref name="ap"></ref>
|-
| [[Andreas-Bach Book]] || Ballet ex E.g. || <score>\relative b' { \key g \major b8. e,16 b'8. 16 b4.~ b16 b | e8. }</score> || Theme, 10 variations || <ref name="ap"></ref>
|-
!colspan="5"|Suites"
|-
| [[Möller Manuscript]] f.15v-17r || Suite ex G{{Natural}} || <score>\relative d' { \set tieWaitForNote = ##t \key g \major \partial 4 r16 d e fis | g4~ g16 b,~ d~ g~ <g~ d b>4 g16 g fis e }</score> || Alamande, Courande, Sarabance, Gugue || <ref name="ap"></ref><ref name="mol">[http://resolver.staatsbibliothek-berlin.de/SBB00022DD600000000 digital.staatsbibliothek-berlin.de], accessed 17 August, 2023.</ref>
|-
| [[Möller Manuscript]] f.29r-31r || Suitte ex C{{Natural}} di Joh. Ad. Reincke || <score>\relative c'' { \partial 4 r16 c b a g f e d c4 }</score> || Allemand, Courante, Sarabande, Gigue || <ref name="ap"></ref><ref name="mol"></ref>
|-
| [[S-Uu Ms. Ihre 285]] || Suite in E minor || <score><< \relative b' { \key g \major \partial 4 b4 b4. dis8 e4 a, b2*1/4 } \\ \relative e' { r4 <e g>2 s2 | r8 } >></score> || Allemand, Courant, Sarabanda, Gigue ''Only the Allemande and Sarabande carry the inscription: "J.A. Reinke", but there can be no doubt that the entire suite is by Reincken, especially since the Courante is a variation of the Allemande.'' || <ref name="ap"></ref>
|}

=== Lost Works ===
The [[D-DS Ms. Nr. 4061|manuscript which contained the Fugue in G Minor]] also contained a fugue in E minor by Reincken. According to a catalogue entry, it began in the following way:<ref>[[Klaus Beckmann|Becklann, Klaus]] (editor), ''Joh. Adam Reincken: Sämtliche Orgelwerke.'' Wiesbaden: Breitkopf & Härtel, 1974.</ref>

<score><< \relative e' { \key e \minor \clef soprano e8 e e e e e e e | g2:8 gis2:8 a2:8 ais2:8 | b2 r4 b | e,2 } \\ \relative b { s1 s1 s1 b2:8 b2:8 c2:8 } >></score>

=== Analysis ===
Before the discovery of the [[Johann Sebastian Bach's Buxtehude and Reincken Manuscripts|manuscript copied by Johann Sebastian Bach]], the only copy of ''An Wasserflüssen Babylon'' that was known was a copy by [[Johann Christoph Altnickol]]. Since Altnickol was Bech's son in law, it seems likely that he copied the piece directly from Bach's copy which we now have. Despite this possible connection, the Bach manuscript contains some important readings, such as this part in which the Altnickol copy has poorer imitation and is missing one measure:<ref name="beckmann2009 227">Beckmann (2009), 227.</ref>

'''Altnickol copy'''<ref name="ap"></ref>

<score><< \new PianoStaff << \new Staff \relative bes' { \key f \major R1 | r8 bes a g f g ees ees | d4 r4 r8 bes'4 a8\laissezVibrer } \new Staff << \relative bes' { \key f \major r8 bes a g f g ees ees | d4 c8 c d4 c8 bes | \clef bass a8 bes4 c8 bes8 d c4 } \\ \relative bes { s1 | s2 r8 bes a g | f g ees ees d4 ees8 f } >> >> \new Staff \with { \clef bass } \relative bes { \key f \major r2 r8 bes a g | f g ees ees d bes c4 | d8 g,4 a8 bes4 f } >></score>

'''Bach copy'''<ref name="beckmann2009 227">Beckmann (2009), 227.</ref>

<score><< \new PianoStaff << \new Staff \relative bes' { \key f \major r2 r8 bes a g | f g ees ees d4 r4 | r8 bes' a g f g ees ees | d4 r4 r8 bes' a4\laissezVibrer } \new Staff << \relative bes' { \key f \major r8 bes a g f g ees ees | d8 bes' a g f g ees ees \clef bass d4 c8 c d4 c8 bes | a bes4 c8 f, d' c4 } \\ \relative bes { s1 | s1 | r2 r8 bes a g | f g ees ees d4 ees8 f } >> >> \new Staff \with { \clef bass } \relative bes { \key f \major R1 | r2 r8 bes a g | f g ees ees d bes c4 | d8 g,4 a8 bes4 f } >></score>

== References ==
[[Willi Apel|Apel, Willi]] (editor), ''Adam Reincken: Collected Keyboard Works.'' CEKM vol. 16, 1978.

[[Klaus Beckmann|Becklann, Klaus]] (editor), ''Joh. Adam Reincken: Sämtliche Orgelwerke.'' Wiesbaden: Breitkopf & Härtel, 1974.

[[Klaus Beckmann|Becklann, Klaus]] (editor), ''Johann Adam Reincken: Sämtliche Orgelwerke.'' [[Meister der Norddeutschen Orgelschule]] 11. Schott,

{{NdS2 2009}} 224-237.

[[Ulf Grapenthin|Grapenthin, Ulf]], ''Reincken [Reinken, Reinkinck, Reincke, Reinicke, Reinike], Johann Adam [Jan Adams, Jean Adam].'' [https://doi-org.ezproxy.oberlin.edu/10.1093/gmo/9781561592630.article.23126 Grove Music Online], accessed 11 August, 2023.

D-Dl Mus.2390-U-1

2024-11-29T22:19:10Z

Fiskfan1999:

[[File:D-Dl Mus.2390-U-1 p.1.jpg|thumb|The title page of the manuscripts]]
'''D-Dl Mus.2390-U-1''' is a handwritten copy of seven ''church-sonatas'' by [[Theophil Andreas Volckmar]].

== Description ==
This manuscript is probably a copy, by an unknown hand.

The title of the manuscript states:

<blockquote>''Kirchen SONATEN / Auff eine / Aus dreÿ Clavieren und Pedal beste= / hende / ORGEL / gerichtet / von / Theophilo Andrea Volckmar / Organist zur H Dreÿfaltigkeit / in Dantzig.'' Church-Sonatas for an organ with three manuals and pedal, from Theophil Andreas Volckmar, organist at H Dreÿfaltigkeit in Gdanśk.</blockquote>

== Links ==
{{OnlFac|sig=D-Dl Mus.2390-U-1|url=http://digital.slub-dresden.de/id1846922577|urlc=digital.slub-dresden.de|date=29 November, 2024}}

== References ==
{{NdS2 2009}} 399.

{{RISM|1001163733}}

[[Category:Manuscripts]][[Category:German Manuscripts]][[Category:Polish Manuscripts]][[Category:Baroque Manuscripts]][[Category:German]][[Category:Polish]][[Category:Baroque]]

File:D-Dl Mus.2390-U-1 p.1.jpg

2024-11-29T22:18:57Z

Fiskfan1999:

See [[D-Dl Mus.2390-U-1]]

Category:Polish Organists

2024-11-29T22:16:41Z

Fiskfan1999: Created blank page

Theophil Andreas Volckmar

2024-11-29T22:16:28Z

Fiskfan1999: Created page with "{{Stub}} == References == {{NdS2 2009}} 399-402. VolckmarVolckmarVolckmarVolckmarVolckmarVolckmarVolckmarVolckmarVolckmarVolckmarVolckmar"

{{Stub}}

== References ==
{{NdS2 2009}} 399-402.

[[Category:Composers|Volckmar]][[Category:Organists|Volckmar]][[Category:German Composers|Volckmar]][[Category:German Organists|Volckmar]][[Category:Polish Composers|Volckmar]][[Category:Polish Organists|Volckmar]][[Category:Baroque Organists|Volckmar]][[Category:Baroque Composers|Volckmar]][[Category:Baroque|Volckmar]][[Category:German|Volckmar]][[Category:Polish|Volckmar]]

Gdansk Tablature

2024-11-29T22:13:43Z

Fiskfan1999: Fiskfan1999 moved page Gdansk Tablature to Gdańsk Tablature: Correct spelling of Gdańsk

#REDIRECT [[Gdańsk Tablature]]

Gdańsk Tablature

2024-11-29T22:13:43Z

Fiskfan1999: Fiskfan1999 moved page Gdansk Tablature to Gdańsk Tablature: Correct spelling of Gdańsk

The '''Gdańsk Tablature''' (de: ''Danziger Tabulatur'') is an organ tablature. It was probably written around 1591.

== Description ==
The tablature contains the date 1591 (likely the time the manuscript was compiled) and the initials P W S P.

== Contents ==
This tablature contains 17 fantasias in 9 church tones, 22 [[Intabulation|Intabulations]], and one chorale setting.

== References ==
{{NdS1 2005}} 119.

[[Category:Manuscripts]][[Category:Baroque Manuscripts]][[Category:Polish Manuscripts]][[Category:German Manuscripts]][[Category:Polish]][[Category:German]][[Category:Baroque]]

Category:Polish

2024-11-29T22:13:17Z

Fiskfan1999: Created blank page

D-Dl Mus.2390-U-1

2024-11-29T22:13:03Z

Fiskfan1999: Created page with "'''D-Dl Mus.2390-U-1''' is a handwritten copy of seven ''church-sonatas'' by Theophil Andreas Volckmar. == Description == This manuscript is probably a copy, by an unknown hand. The title of the manuscript states: <blockquote>''Kirchen SONATEN / Auff eine / Aus dreÿ Clavieren und Pedal beste= / hende / ORGEL / gerichtet / von / Theophilo Andrea Volckmar / Organist zur H Dreÿfaltigkeit / in Dantzig.'' Church-Sonatas for an organ with three manuals and pedal, f..."

'''D-Dl Mus.2390-U-1''' is a handwritten copy of seven ''church-sonatas'' by [[Theophil Andreas Volckmar]].

== Description ==
This manuscript is probably a copy, by an unknown hand.

The title of the manuscript states:

<blockquote>''Kirchen SONATEN / Auff eine / Aus dreÿ Clavieren und Pedal beste= / hende / ORGEL / gerichtet / von / Theophilo Andrea Volckmar / Organist zur H Dreÿfaltigkeit / in Dantzig.'' Church-Sonatas for an organ with three manuals and pedal, from Theophil Andreas Volckmar, organist at H Dreÿfaltigkeit in Gdanśk.</blockquote>

== Links ==
{{OnlFac|sig=D-Dl Mus.2390-U-1|url=http://digital.slub-dresden.de/id1846922577|urlc=digital.slub-dresden.de|date=29 November, 2024}}

== References ==
{{NdS2 2009}} 399.

{{RISM|1001163733}}

[[Category:Manuscripts]][[Category:German Manuscripts]][[Category:Polish Manuscripts]][[Category:Baroque Manuscripts]][[Category:German]][[Category:Polish]][[Category:Baroque]]

Nikolaus Hasse

2024-11-24T21:03:41Z

Fiskfan1999: Redirected page to Nicolaus Hasse

#REDIRECT [[Nicolaus Hasse]]

Vincent Lübeck, Sr.

2024-11-24T21:03:01Z

Fiskfan1999: Redirected page to Vincent Lübeck

#REDIRECT [[Vincent Lübeck]]

Vincent Lübeck, Jr.

2024-11-24T21:02:43Z

Fiskfan1999: Redirected page to Vincent Lübeck Jr.

#REDIRECT [[Vincent Lübeck Jr.]]

D-Lr Mus.ant.pract. K.N. 207-15

2024-11-22T04:00:55Z

Fiskfan1999: Created page with "{{Stub}} {{RISM|450101316}} Category:Lüneburg Tablatures"

{{Stub}}

{{RISM|450101316}}

[[Category:Lüneburg Tablatures]]

D-B Mus.ms. 30381

2024-11-22T03:52:31Z

Fiskfan1999: remove redundant information and improve link on one piece

'''D-B Mus.ms 30381''' is a manuscript held at the ''Staatsbibliothek'', Berlin. It is a collection of 8 manuscripts containing 10 total pieces.

== Description ==
This manuscript was likely written around or slightly after 1730 by [[Johannes Ringk]], a student of [[Johann Peter Kellner]].<ref>{{NdS2 2009}} 547.</ref>

This collection of manuscripts was previously owned by [[Eduard Grell]], who's name is on the cover. The initials "HGS" are also visible.

== Works ==
On the title page of the manuscript, the names of the ten works are listed.

In addition to each manuscript being numbered 1-8, the pages are numbered in pencil from 1-51 (continuously, not restarting on each manuscript).

{| class="wikitable"
|+ Caption text
|-
! Man. !! Pages !! Composer !! Title !! Incipit !! Notes !! Ref.
|-
| 1 || 1-11 || [[Johann Ludwig Krebs]] || Praeludium und Fuga. v. S. Bach. || <score><< \relative f'' { \key f \minor \time 6/8 f8. g32 aes g f e16 } \\ \relative f' { r8 <f aes c> <g bes des>} >></score> || KrebsWV 407 Penciled in: ''Joh- Ludwig Krebs / vgl. [[D-B Mus.ms 30194|mus.ms. 30194]] Nr. 44'' || <ref>{{RISM|455038256}}</ref>
|-
|rowspan="3"|2 || 13-15 || [[Johann Pachelbel]] || Fuga v. Pachelbel. || <score>\relative a { \clef bass a1 d,2 bes' cis, a' }</score> || PerP 271 || <ref>{{RISM|455038257}}</ref>
|-
| 16-17 || [[Johann Heinrich Buttstett]] || Fuga v. Buttstät. || <score>\relative a { \key d \major \clef bass a8 16 16 8 8 b a16 g fis8 }</score> || || <ref>{{RISM|455038258}}</ref>
|-
| 18-19 || [[Andreas Werckmeister]] || Fuga v. Werkmeister. || <score>\relative c'' { \clef soprano c8 c c c b16 c b c b c }</score> || Title of piece: ''Cantzon.'' || <ref>{{RISM|455038259}}</ref>
|-
| 3 || 21-25 || [[Dietrich Buxtehude]] || Prael con Fuga v. Buxtehude. || <score>\relative e'' { \clef soprano \key f \major r16 e f e f c d bes c a bes g }</score> || BuxWV 145 || <ref>{{RISM|455038260}}</ref>
|-
| 4 || 29-31 || [[Arnold Matthias Brunckhorst]] || Prael. con Fuga. v Prunth. || <score>\relative g'' { \clef soprano \key g \minor r16 g fis g d g fis g c, g' fis g }</score> || || <ref>{{RISM|455038261}}</ref>
|-
| 5 || 33-35 || [[Georg Böhm]] || Prael con Fuga. v. Böhm. || <score><< \relative a, { \clef bass r16 a c a e' c e c a' e a e } \\ a,2 >></score> || || <ref>{{RISM|455038262}}</ref>
|-
| 6 || 37-39 || [[Georg Böhm]] || dito. v. Böhm. || <score>\relative c, { \clef bass <c c' e g c e>4 r16 c e c g' g b g c }</score> || || <ref>{{RISM|455038263}}</ref>
|-
| 7 || 41-43 || [[Georg Böhm]] || dito. v: Böhm || <score><< \relative a, { \clef bass r16 a c a e' c e c a' e a e } \\ a,2 >></score> || || <ref>{{RISM|455038264}}</ref>
|-
| 8 || 45-51 || [[Johann Gottlieb Goldberg]] || Praeludi con Fuga. v. Goldberg. || <score><< \relative f'' { \key f \minor <f c aes>4 f, r <aes c f> } \\ \relative f { r8. f16 aes8. c16 \tuplet 3/2 4 { f8 c f aes c bes } } >></score> || || <ref>{{RISM|455038265}}</ref>
|}

=== Description ===
==== Brunckhorst ====
''See also:'' [[Arnold Matthias Brunckhorst#Prelude in G Minor]]

The Prelude and Fugue in G Minor was initially attributed to [[Nicolaus Bruhns]] by [[Martin Geck]] on style-critical grounds. This was followed by all editors of Bruhns organ music. However, in March 2006 it was initially speculated by the Tangermünde organist [[Dietrich Kollmannsperger]] that this piece had similarities with the Prelude and Fugue in E Minor by [[Arnold Matthias Brunckhorst]]. [[Klaus Beckmann]] agreed with these speculations in June 2006. It was shown that ''Prunth'' is a likely corruption of "Prunkh[orst]."<ref>{{NdS2 2009}} 547.</ref>

== Links ==
Online facsimile: [http://resolver.staatsbibliothek-berlin.de/SBB00027AC100000000 digital.staatsbibliothek-berlin.de], accessed 11 August, 2023.

== References ==
{{RISM|455038255}}

[[Category:Manuscripts]][[Category:German Manuscripts]][[Category:Baroque]]

Vincent Lübeck Jr.

2024-11-22T03:43:18Z

Fiskfan1999:

'''Vincent Lübeck Jr.''' (1684-1755) was a German organist and composer, and the son of [[Vincent Lübeck|Vincent Lübeck Sr.]].

The date of the death of Vincent Lübeck Jr. has been pinned as the end of the [[North German Organ School]] by [[Klaus Beckmann]].<ref>{{NdS1 2005}} 8.</ref>

== Life ==
Lübeck Jr. was born on September 2, 1684, in Stade. He was taught by his father in the organ and composition. In 1702, the family travelled to Hamburg. There Jr. held the organists position at ''Georgenkirche'' in 1724. Starting in 1735 he was the substitute for his father at St. Nikolai, and in 1740 he took over as his successor.

Lübeck Jr. passed away in the middle of the month of January, 1755.

== References ==
{{NdS2 2009}} 252-253.

[[Category:Organists|Lübeck, Vincent Jr.]][[Category:Composers|Lübeck, Vincent Jr.]][[Category:German Organists|Lübeck, Vincent Jr.]][[Category:German Composers|Lübeck, Vincent Jr.]][[Category:Baroque Organists|Lübeck, Vincent Jr.]][[Category:Baroque Composers|Lübeck, Vincent Jr.]][[Category:German|Lübeck, Vincent Jr.]][[Category:Baroque|Lübeck, Vincent Jr.]]

D-B Mus.ms. 30381

2024-11-22T03:28:44Z

Fiskfan1999:

'''D-B Mus.ms 30381''' is a manuscript held at the ''Staatsbibliothek'', Berlin. It is a collection of 8 manuscripts containing 10 total pieces, and was written around 1700-1780.

== Description ==
This manuscript was likely written around or slightly after 1730 by [[Johannes Ringk]], a student of [[Johann Peter Kellner]].<ref>{{NdS2 2009}} 547.</ref>

This collection of manuscripts was previously owned by [[Eduard Grell]], who's name is on the cover. The initials "HGS" are also visible.

== Works ==
On the title page of the manuscript, the names of the ten works are listed.

In addition to each manuscript being numbered 1-8, the pages are numbered in pencil from 1-51 (continuously, not restarting on each manuscript).

{| class="wikitable"
|+ Caption text
|-
! Man. !! Pages !! Composer !! Title !! Incipit !! Notes !! Ref.
|-
| 1 || 1-11 || [[Johann Ludwig Krebs]] || Praeludium und Fuga. v. S. Bach. || <score><< \relative f'' { \key f \minor \time 6/8 f8. g32 aes g f e16 } \\ \relative f' { r8 <f aes c> <g bes des>} >></score> || KrebsWV 407 Penciled in: ''Joh- Ludwig Krebs / vgl. mus.ms. 30194 Nr. 44'' [see [[D-B Mus.ms 30194]]] || <ref>{{RISM|455038256}}</ref>
|-
|rowspan="3"|2 || 13-15 || [[Johann Pachelbel]] || Fuga v. Pachelbel. || <score>\relative a { \clef bass a1 d,2 bes' cis, a' }</score> || PerP 271 || <ref>{{RISM|455038257}}</ref>
|-
| 16-17 || [[Johann Heinrich Buttstett]] || Fuga v. Buttstät. || <score>\relative a { \key d \major \clef bass a8 16 16 8 8 b a16 g fis8 }</score> || || <ref>{{RISM|455038258}}</ref>
|-
| 18-19 || [[Andreas Werckmeister]] || Fuga v. Werkmeister. || <score>\relative c'' { \clef soprano c8 c c c b16 c b c b c }</score> || Title of piece: ''Cantzon.'' || <ref>{{RISM|455038259}}</ref>
|-
| 3 || 21-25 || [[Dietrich Buxtehude]] || Prael con Fuga v. Buxtehude. || <score>\relative e'' { \clef soprano \key f \major r16 e f e f c d bes c a bes g }</score> || BuxWV 145 || <ref>{{RISM|455038260}}</ref>
|-
| 4 || 29-31 || [[Arnold Matthias Brunckhorst]] || Prael. con Fuga. v Prunth. || <score>\relative g'' { \clef soprano \key g \minor r16 g fis g d g fis g c, g' fis g }</score> || || <ref>{{RISM|455038261}}</ref>
|-
| 5 || 33-35 || [[Georg Böhm]] || Prael con Fuga. v. Böhm. || <score><< \relative a, { \clef bass r16 a c a e' c e c a' e a e } \\ a,2 >></score> || || <ref>{{RISM|455038262}}</ref>
|-
| 6 || 37-39 || [[Georg Böhm]] || dito. v. Böhm. || <score>\relative c, { \clef bass <c c' e g c e>4 r16 c e c g' g b g c }</score> || || <ref>{{RISM|455038263}}</ref>
|-
| 7 || 41-43 || [[Georg Böhm]] || dito. v: Böhm || <score><< \relative a, { \clef bass r16 a c a e' c e c a' e a e } \\ a,2 >></score> || || <ref>{{RISM|455038264}}</ref>
|-
| 8 || 45-51 || [[Johann Gottlieb Goldberg]] || Praeludi con Fuga. v. Goldberg. || <score><< \relative f'' { \key f \minor <f c aes>4 f, r <aes c f> } \\ \relative f { r8. f16 aes8. c16 \tuplet 3/2 4 { f8 c f aes c bes } } >></score> || || <ref>{{RISM|455038265}}</ref>
|}

=== Description ===
==== Brunckhorst ====
''See also:'' [[Arnold Matthias Brunckhorst#Prelude in G Minor]]

The Prelude and Fugue in G Minor was initially attributed to [[Nicolaus Bruhns]] by [[Martin Geck]] on style-critical grounds. This was followed by all editors of Bruhns organ music. However, in March 2006 it was initially speculated by the Tangermünde organist [[Dietrich Kollmannsperger]] that this piece had similarities with the Prelude and Fugue in E Minor by [[Arnold Matthias Brunckhorst]]. [[Klaus Beckmann]] agreed with these speculations in June 2006. It was shown that ''Prunth'' is a likely corruption of "Prunkh[orst]."<ref>{{NdS2 2009}} 547.</ref>

== Links ==
Online facsimile: [http://resolver.staatsbibliothek-berlin.de/SBB00027AC100000000 digital.staatsbibliothek-berlin.de], accessed 11 August, 2023.

== References ==
{{RISM|455038255}}

[[Category:Manuscripts]][[Category:German Manuscripts]][[Category:Baroque]]

Arnold Matthias Brunckhorst

2024-11-21T02:52:03Z

Fiskfan1999: link to IMSLP

[[File:Brunckhorst title.jpg|thumb|right|The heading to the Prelude and Fugue in E Minor by Brunckhorst]]
'''Arnold Matthias Brunckhorst''' (1670?-1725) was an organist and composer.

In 2006, the Prelude in G Minor previously thought to be composed by [[Nicolaus Bruhns]] was connected to Brunckhorst by [[Dietrich Kollmannsperger]].

== Life ==
Brunckhorst worked in Hildesheim from 1693-1697. After this he went to the Stadtkirche in Celle. During this time he worked for Duke Georg Wilhelm of Brunswick-Lüneburg. In 1720, he became the Hanover court organist. He passed away in 1725.

Brunckhorst also worked as an organ tester.

<blockquote>Around 1700 he may have met the young [[Johann Sebastian Bach|J.S. Bach]] on one of his visits from Lüneburg to hear the duke’s famous French instrumentalists.<ref>Schröder</ref></blockquote>

== Prelude in G Minor ==
[[File:Prunth.jpg|thumb|right|The title-page to the Prelude and Fugue in G Minor by a certain "Mons Prunth"]]

When [[D-B Mus.ms. 30381]] was discovered, the Prelude in G Minor by "Mons. Prunth" was attributed to [[Nicolaus Bruhns]] by [[Martin Geck]]. While this attribution remained, it was not considered entirely satisfactory, and other possibilities were considered. This piece was also previously speculated to be composed by his brother [[Georg Bruhns]], although no works survive from him.<ref>Beckmann, Klaus (editor), ''Nicolaus Bruhns: Sämtliche Orgelwerke.'' Meister der Norddeutschen Orgelschule 13 [earlier edition, not including Brunckhorst]. Mainz: Schott, 2004.</ref>

In March 2006, [[Dietrich Kollmannsperger]] published an article in [[Ars Organi]] in which he proposed that the piece was in fact composed by Brunckhorst. Unlike the three other preludes by Bruhns, this piece is only in two parts, a prelude and a fugue. Additionally, the Prelude in G Minor contained a ''rhythmic continuality''<ref>Kollmannsperger: "eine rhythmische Kontinuität"</ref> that was not present in the other works but can be found in the '''Prelude in E Minor''' by Brunckhorst.

Kollmannsperger showed stylistic similarities between the Preludes in E Minor and G Minor, such as the beginning of both pieces and the ending of the Prelude (first half) in which both pieces go into an adagio section before the fugue.

<score>\new PianoStaff <<
\new Staff \with { \clef treble \omit TimeSignature } <<
\relative dis'' { \mark "E Minor" \key e \minor e16 g fis g e g e b dis e fis e dis e dis cis <dis b>2 \tempo "Adagio" r8 <dis fis>8 8 8 | e8 d d d d c c c }
\\
\relative fis' { g16 b a b g b g e fis g a g fis g fis e | fis2 r8 b8 b b | b8 r8 r8 gis a4 r8 a }
>>
\new Staff \with { \clef bass \omit TimeSignature } <<
\relative b { \key e \minor R1 | b2 r8 dis8 8 8 | e8 r8 r8 8 <a e'>4 r8 <a fis'> }
\\
\relative b, { e4 r8 e b4 r8 fis | b2 r8 b a a gis r r e a4 r8 dis8 }
>>
>></score>

<score>\new PianoStaff <<
\new Staff \with { \clef treble \omit TimeSignature } <<
\relative fis' { \mark "G Minor" \key g \minor fis16 a g fis g bes a g fis a g fis g bes a g | fis2 \tempo "Adagio" r8 a bes c d4~8 bes c4~8 a }
\\
\relative fis' { d4 r r r8 ees8 | d2 r2 | r8 f g4 r8 g fis4 }
>>
\new Staff \with { \clef bass \omit TimeSignature } <<
\relative b { \key g \minor a16 c bes a bes d c bes a c bes a bes d c bes | a2 r2 | r8 bes bes4 r8 ees d4 }
\\
\relative b, { r4 r r r8 c | d2 r2 | r8 d ees4 r8 c d4 }
>>
>></score>

[[Klaus Beckmann]] responded to this article in [[Ars Organi]] in June 2006. He agreed with the findings by Kollmannsperger, and furthermore pointed out that the use of the neopolitan 6th in both adagio sections is an unmistakable fingerprint of the same composer.

For even more evidence of the connection beyond stylistic grounds, Beckmann pointed out that ''Prunth:'' was a realistic mispelling of "Brunckhorst" (Brunckh -> Prunckh -> Prunkh -> Prunth), and that the surviving harpsichord sonata by Brunckhorst is signed ''di Mons. Brunckhorst''. It is possible that the sonata was signed ''Mons[ieur] Brunckhorst''.

In closing, Klaus Beckmann wrote that the case of Brunckhorst over Bruhns was ''a convincing, almost certainly correct solution'' based on ''rare clarity'', for which Kollmannsperger was deserving of thanks and recognition. Afterwords, he re-issued the 13th volume of [[Meister der Norddeutschen Orgelschule]] containing the complete works of Bruhns (which had been previously published in 2004) as a two-composer volume including Arnold Matthias Brunckhorst, including both of his compositions.

== Works ==
{| class="wikitable"
|+ Organ works by Arnold Matthias Brunckhorst
|-
! Source !! Title !! Incipit !! Notes !! ref.
|-
!colspan="5"|Organ works
|-
| [[D-LEm Becker II.2.51]] part 5, p.16-19 || Praeludium / ex E. m. / A. m. Brunckhorst || Prelude <score>\relative e'' { e16 g fis e dis cis b a g a b a g }</score> Fugue <score>\relative e' { \time 4/2 r8 e g e b'4 c b g a b }</score> || || <ref>[http://digital.slub-dresden.de/id454398573/134 sachsen.digital], accessed 11 August, 2023. Mirrored: {{IMSLP|870142}}</ref><ref>{{RISM|225006522}}</ref>
|-
| [[D-B Mus.ms. 30381]] No 4 || Praludium con Fuga. ex G b. / pedaliter. / di / Mons: Prunth. || Prelude <score>\relative g'' { \key g \minor r16 g fis g d g fis g c, g' fis g bes, }</score> Fugue <score>\relative g' { \key g \minor r8 g bes c d d d d | bes8. a16 g8 }</score> || || <ref>[http://resolver.staatsbibliothek-berlin.de/SBB00027AC100000000 digital.staatsbibliothek-berlin.de], accessed 11 August, 2023. Mirrored: {{IMSLP|870141}}</ref><ref>{{RISM|455038261}}</ref>
|-
!colspan="5"|Keyboard works
|-
|[[D-B Mus.ms. 30382]] f.86r-87v
|Sonata ex A #. / di / Mons: Brunckhorst.
|Sonata in poco presto <score>
<<
\relative a' {
\key a \major \time 2/4 a16 b cis d e8. a16 | gis8.^\prall e16
} \\
\relative a {
r4 a16 b cis d | e fis e d
}
>>
</score>
|
|<ref>{{RISM|455038336}}</ref><ref>[http://resolver.staatsbibliothek-berlin.de/SBB0001A74900000000 digital.staatsbibliothek-berlin.de], accessed 16 August, 2023.</ref>
|}

== Links ==
[https://imslp.org/wiki/Category:Brunckhorst,_Arnold_Matthias Works by Brunckhorst on IMSLP]

== Chronological Bibliography ==
[[Dorothea Schröder|Schröder, Dorothea]], ''Brunckhorst, Arnold [Andreas] Matthias [Melchior, Martin],'' 20 January, 2001. [https://doi-org.ezproxy.oberlin.edu/10.1093/gmo/9781561592630.article.04162 Grove Music Online], accessed 11 August, 2023.

[[Dietrich Kollmannsperger|Kollmannsperger, Dietrich]]. "'Mons: Prunth', Präludium g-Moll: Eine Neuzuweisung." [[Ars Organi]] 54. Jfg. Heft 1, March 2006. p.30-31.

[[Klaus Beckmann|Beckmann, Klaus]]. "Diskussion: Zur Neuzuweisund des Praeludiums g-Moll di Mons: Prunth. an Arnold Matthias Brunckhorst." [[Ars Organi]] 54. Jfg. Heft 2, June 2006. p.111-112.

{{NdS2 2009}} 547.

== References ==
<references />

[[Category:Baroque Composers|Brunckhorst]]
[[Category:Composers|Brunckhorst]]
[[Category:Baroque|Brunckhorst]]
[[Category:Norddeutsche Orgelschule|Brunckhorst]]