pipe-organ.wiki - User contributions [en]

Template:Grove2

2026-07-26T23:24:54Z

Fiskfan1999: fix spacing

{{{2}}}, "{{{1}}}," in The New Grove Dictionary of Music and Musicians, eds. Stanley Sadie and John Tyrrell (London: Macmillan, 2001), Volume {{{3}}}: {{{4}}}.[[Category:New Grove Dictionary of Music and Musicians Citations]]<noinclude>
<templatedata>
{
"params": {
"1": {
"label": "Title",
"description": "Title of the article (usually the person's name)",
"example": "Bahr, Johann",
"type": "string",
"required": true
},
"2": {
"label": "Author's name",
"description": "The author of the article",
"example": "Jerrery T. Kite-Powell",
"type": "string",
"required": true
},
"3": {
"label": "Volume",
"description": "The volume of the printed edition",
"example": "2",
"required": true
},
"4": {
"label": "Page",
"description": "Page number in the printed edition",
"example": "486"
}
},
"description": "For citations from the printed edition of the New Grove Dictionary of Music and Musicians",
"paramOrder": [
"1",
"2",
"3",
"4"
]
}
</templatedata>
</noinclude>

Jehan Alain

2026-07-22T18:25:02Z

Fiskfan1999:

[[File:Jehan Alain 1938.jpg|thumb|right|Jehan Alain in 1938]]
'''Jehan Alain''' (1911-1940) was a French composer and organist.

On June 20, 1940, Alain was killed during the battle of Saumur. He was awarded with the ''Croix de Guerre'' for his bravery.

Jehan Alain is remembered as one of the first composers to write music suited for the new organs created by the neo-baroque [[Orgelbewegung]] movement.<ref>Schauerte (1983), 9.</ref> He was influenced not only by his studies in counterpoint and composition but by music all around him including Gregorian chant, jazz, and music from around the world.

{{Stub}}

== Works ==
=== Variations sur un thème de Clément Jannequin ===
Alain's work, also called ''Variations Sur "l'espoir que j'ai d'acquérir votre grâce". Chanson de Clément Jannequin'', is mistakenly titled, as it is based on a work that is anonymous.

Jehan Alain had access to a 19th-century book ''Échos du temps passé'' compiled by [[Jean-Baptiste Weckerlin]] which contained a piece under this name attributed to [[Clément Jannequin]]. This piece transforms the piece into a solo aria with piano accompaniment which is almost identical to the first variation (theme) in Alain's work.

This chanson is found in two publications by [[Pierre Attaingnant]], one in 1529 (in parts) and another in 1531 (reduced to tablature score), both without a composer's name. The attribution to Jannequin is due to a musicological error by Weckerlin, as in 1529 the piece is placed immediately after another work attributed to Jannequin.<ref>Hafner, 268-269.</ref> Previously, musicologists assumed that anonymous pieces found after a piece with a composer's name were all written by that composer; however, this is now known to be an outdated assumption that is not always true.{{Citation needed}}

=== Catalogue ===
Alain's handwritten catalogue of his own works includes a skip from 102 to 113, due to mistaking the zero in 102 for a one.

{| class="wikitable"
|+ Jehan Alain's Catalogue of Works
|-
|JA
|1
|Quarante variations
|<score>{\time 2/4 \relative c'' { c16 d f8 c16 bes c8 g16 aes c8 g16 f g8 }}</score>
|-
|JA
|2
|Theme et cinq variations
|<score>{\time 5/8 \relative ees' { <eis b' dis>8 <e gis b>4 <ees g> <f a des>8 <e gis>4 <dis b> }}</score>
|-
|JA
|3
|Etude sur un theme de 4 notes
|<score>{\key g \major \time 6/8 << \relative fis' { fis4. e d } \\ \relative fis' { fis16 d eis cis d b_\markup{ \bracket { "etc." } } } >>}</score>
|-
|JA
|4
|Ecce ancilla Domini
|<score>{\key g \major << \relative e'' { e4 e f d e c d2*1/4 } \\ \relative c'' { r8 c b a r8 d,8 f b r8 a,8 e' g f } >>}</score>
|-
|JA
|5
|Seigneur, donne-nous la paix éternelle
|<score>{\partial 4 << \relative d'' { <d bes>4 ees8 bes8 4~4 aes bes4 } \\ \relative e' { <e g>4 <ees ges bes>2 <ges des' ges>4 } >>}</score>
|-
|JA
|6
|Versel
|<score>{\time 3/4 \clef bass \key d \major \partial 2 \relative cis { cis4 e fis dis fis gis e }}</score>
|-
|JA
|7
|Berceuse. Transcrip Piano
|<score>{<< \relative d''' { d4 a8 a c4 a } \\ \relative c'' { c16 f d a' c, f d a' c, ees d g c, ees d g } >>}</score>
|-
|JA
|8
|Chanson triste
|<score>{\time 9/8 \key ees \major \relative g' { g4 8~4. fis4. ees4 8 c2. }}</score>
|-
|JA
|9
|Petite Ballade
|<score>{\time 10/4 << \relative d' { d4 a'4. g8 a f g4 b8 c d4 } \\ \relative d' { s4 f8 g f e f d b a g a f } >>}</score>
|-
|JA
|10
|Etude sur des doubles notes
|<score>{\key g \minor \time 9/8 << \relative g' { \parenthesize r16 \tuplet 3/2 { g8[ a d] } s16 s4. \parenthesize r16 \tuplet 3/2 { g,8[ a d] } } \\ \relative f' { <f bes>8 <g c> <e' a> d a g <f bes>8 <g c> <e' a> } >>}</score>
|-
|JA
|11
|Lumiere qui tombe d'un vasistas
|<score>{\time 13/32 \relative des' { des32[ aes' bes c ees des f, aes' c, ees des f, c'] a,! e'! }}</score>
|-
|JA
|12
|Petite Rhapsodie
|<score>{\time 3/8 \key ees \major \relative a { a8\noBeam f''16 <ees g> <f bes>8 r8 f16 <ees g> <f bes>8 r8 ees16 <des f> <ees aes>8}}</score>
|-
|JA
|13
|Heurenrement la bonne fee sa marraine
|<score>{<< \relative bes' { \tuplet 3/2 { bes4 4 4 } c4 c <ees aes,>2 } \\ \relative des' { <des ees f>2 <c d e g> } >>}</score>
|-
|JA
|14
|Lamento
|<score>{\time 4/2 \key fis \minor \relative cis'' { cis4 bis e2 cis4 bis a2 cis4 }}</score>
|-
|JA
|76bis
|Berceuse pour orgue
|<score>{\relative d'' { d4 a8\noBeam a\noBeam c4 a bes a8\noBeam a\noBeam }}</score>
|-
|JA
|15
|Histoire sur des tapis
|<score>{\key ges \major \time 6/4 \partial 2. \relative aes { <aes ees'>4 <f' c'> <ees' bes'>\laissezVibrer r4 r r <aes,, ees'> <fes' ces'> <ees' bes'>\laissezVibrer }}</score>
|-
|JA
|16
|Melodie Sandwich
|<score>{\key ges \major \partial 2 \relative bes' { bes4 ces des ces bes ges aes }}</score>
|-
|JA
|17
|Des nuages gris a 7 voix
|<score>{\relative dis'' { \time 1/4 dis4 \time 2/4 cis4~8 ais gis16 ais fis8 dis4\laissezVibrer }}</score>
|-
|JA
|18
|Canons a sept
|<score>{\clef bass \key b \major \time 8/4 \relative fis, { fis4 cis' gis fis e dis e }}</score>
|-
|JA
|19
|Nocturne
|<score>{\time 3/4 << \relative bes' { bes4. aes8 g aes bes c bes4 des\laissezVibrer } \\ \relative c' { c2.~c2. } \\ \relative e' { <e! ges>4 <d f>2 <e ges>4 <d f>2 } >>}</score>
|-
|JA
|20
|Pour le defrichage
|<score>{\key cis \minor \time 3/4 \relative gis' { r16 gis gis' gis,~gis gis gis' gis,~gis gis gis' gis,~gis g gis'? s16 fis,2 }}</score>
|-
|JA
|21
|Togo
|<score>{\time 8/4 \relative b { r8. b16 e8. b16 fis'8. d16 a8. d16 b8. fis16 \tuplet 3/2 { a8 d gis } }}</score>
|-
|JA
|22
|En devissant
|<score>{\time 6/2 << \relative c'' { c2~4 b a g f g a2 } \\ \relative c' { s2 c2~4 b a } \\ \\ \relative e' { s2 s2 e2 } >>}</score>
|-
|JA
|23
|26 September 31
|<score>{\time 3/8 << \relative c''' {\autoBeamOff <c~ e,>8 <c ees,>4 <bes~ d,>8 <bes des,>4 <c~ e,>8 <c ees,\=1(> <dis,\=1) b> } \\ \relative a' {\autoBeamOff <a! c!~>8 <aes c>4 <g bes~>8 <ges bes>4 <a c~>8 <aes c> <fis b,>} >>}</score>
|-
|JA
|24
|Ballade a Fr. Villon
|<score>{\time 8/4 \relative d'' { d8^-[ f f^- a a^- b b^- f d a' f^- b a^- f b b^-] des,[^- f f^-] }}</score>
|-
|JA
|25
|Chorale et variations (a ~Doudon~)
|<score>{\key cis \minor \time 9/4 \relative cis' { cis4 gis'2 \breathe gis4 a b2 a4 }}</score>
|-
|JA
|26
|Variations chorales sur sacris solemnis
|<score>{\clef soprano \key d \minor \time 9/4 \relative d' { d4 a' bes a2 a4 b c }}</score>
|-
|JA
|27
|Variations pour orgue sur Lucis Creator
|<score>{\time 16/4 \relative g' { g4 a c c c8 b a g c4 d b8 a }}</score>
|-
|JA
|28
|Fugue du mode de fa
|<score>{\clef bass \time 3/4 \relative f { f8 g f2 f8 g f2 f8 g }}</score>
|-
|JA
|29
|Postlude pour l'office de complies
|<score>{\time 13/8 \relative f'' { f8[ f g f ees f g g f ees f f^-] g[ bes] }}</score>
|-
|JA
|30
|un cercle d'argent
|<score>{\time 11/8 \relative e'' { <e c'>8 <ees aes>[ <e c'>] <ees aes>[ <d bes'>] <cis e>[ ] e,,[ <f' a>] }}</score>
|-
|JA
|31
|Romance
|<score>{\time 12/8 << \relative ees'' { ees4. d! c~ \tuplet 2/3 {c8 d} } \\ \relative bes' { r8 bes ges f a f e a! e a,[ e'] }>>}</score>
|-
|JA
|32
|Grave
|<score>{\clef bass \key cis \minor \relative fis, { fis2 cis4 e a2 g\laissezVibrer }}</score>
|-
|JA
|33
|Petite prelude variations et choral pour orgue (written in pencil: Petite piece pour orgue)
|<score>{\time 6/8 \partial 4. \key g \minor \relative g' { <ges bes ees>8 <aes c f> <ges bes ees> <bes ees ges>4 <ges bes ees>8 <f bes d>4 <ees aes c>8\laissezVibrer }}</score>
|-
|JA
|34
|Cantique en mode phrygien
|<score>{\time 8/4 << \relative a' { a8 g a4~2 a8 b c d \tuplet 3/2 { c8 b a } } \\ \relative d' { s2 d8 c d4 <e a,>4 } >>}</score>
|-
|JA
|35
|O quam suavis (motet) pour baryton
|<score>{\autoBeamOff \key a \major \relative e' { R1 r2 e4 fis8 gis a[ b] } \addlyrics { O quam su -- a __}}</score>
|-
|JA
|36
|Mme Husson
|<score>{\key bes \major \partial 2. \relative e' { <ees g bes>4( <f, bes d>) <ees' g bes>( <f a c> <g, bes d>) <bes' d f>( <f a c>) }}</score>
|-
|JA
|37
|Chant donne
|<score>{\key e \minor \time 3/4 \relative b' { b2 a4 b2 a4 b2 }}</score>
|-
|JA
|38
|Complainte a la mode ancienne (pour [illegible])
|<score>{\time 4/2 \partial 2 \relative d' { d2 f g a f bes1 a2 }}</score>
|-
|JA
|39
|Chanson a Gouche fermee
|<score>{\partial 2 \relative g' { g4 a g bes g2~g8 a g a }}</score>
|-
|JA
|40
|Une scie!
|<score>{\key des \major \time 5/4 \relative bes' { bes4^- 4^- 4^- bes8^- aes4. c8^- bes2^- }}</score>
|-
|JA
|41
|Il pleuvra toute la journie
|<score>{\partial 4 \key g \major \relative cis' { cis16 d cis bis cis e a fis g bes ees c cis[ e!] }}</score>
|-
|JA
|42
|sur le mode re me fa sol-flat la-flat, si-flat-flat, do
|<score>{\time 3/4 \partial 4. \clef bass \relative d { \set Staff.keyAlterations = #`((6 . ,FLAT)(6 . ,FLAT) (2 . ,FLAT) (5 . ,FLAT) (1 . ,NATURAL) (4 . ,FLAT)) d8 d ees d4 ees8 f ges }}</score>
|-
|JA
|43
|Adagio pour Cello et Piano
|<score>{\key aes \major \time 12/16 \clef bass \relative c { c8.~[ 16 b d] g8 f16 aes8 b16 e4~ }}</score>
|-
|JA
|44
|Amen
|<score>{\time 3/4 << {a'2.} \\ \relative e' { e8 f4 e8 d4 } >> \time 4/4 <e' g'>1^\fermata << \relative a' { a4^"Tres leul" bes4*1/2 } \\ \relative f' { f8 g4 } >>}</score>
|-
|JA
|45
|un tres vieux motif
|<score>{\time 3/4 \key bes \major \relative ees'' { ees2 d4 bes g a }}</score>
|-
|JA
|46
|Postscriptum
|<score>{\relative g' { r4 g bes a c2.\laissezVibrer } \addlyrics { "j'ai" ou -- bie __ }}</score>
|-
|JA
|47
|Fantasie pour 3 voix mixtes a gouche fermie
|<score>{\time 8/4 \relative c' { c4 g'2. aes4 bes c }}</score>
|-
|JA
|48
|Theorie
|<score>{\relative b { \key d \major \time 3/4 b8 a b4 cis \time 5/4 d8 cis d4 e fis }}</score>
|-
|JA
|49
|Le gai liseron
|<score>{\time 3/4 << \relative f'' { f4 d4. c8 b d bes4 } \\ \relative fis' { r4 r4 fis g d } >>}</score>
|-
|JA
|50
|Sonata
|<score>{\time 4/2 \key d \major << \relative b' { b1 b2 cis d } \\ \relative fis' { fis4 e fis g d g e a b a } >>}</score>
|-
|JA
|51
|Mephisto
|<score>{\key ees \major \clef bass \time 3/4 \relative g, { g8[ d'] bes'8[ 8] 8[ 8] aes8[ d,] d }}</score>
|-
|JA
|52
|La peste
|<score>{\clef bass \key fes \major \time 2/4 \voiceOne \partial 8 aes8 \repeat unfold 3 { <ges des'>8[ <fes ces'>] }}</score>
|-
|JA
|53
|Exposition
|<score>{\clef tenor \relative e' { e4 e e a, f'2. e4 d }}</score>
|-
|JA
|54
|Sujet
|<score>{\clef tenor \key aes \major \time 3/4 \relative c' { c4 f, des' \time 4/4 c8 bes c4 bes }}</score>
|-
|JA
|55
|Comme quoi [les projets les plus belliqueux]
|<score>{<< \relative a' { r8 a\noBeam e' a, gis eis] gis[ eis] r8 a\noBeam e' a, } \\ \relative g' { g1 g2 } >>}</score>
|-
|JA
|56
|Le bon Roi Dagobert
|<score>{\clef bass \key b \major \time 3/4 \relative dis' { dis4 2 cis4 2 }}</score>
|-
|JA
|57
|Fugue pour orgue
|<score>{\clef bass \time 1/4 \partial 16 \relative c, { c16 ees f fis a b8. bes16 }}</score>
|-
|JA
|58
|Laisse les nuages (F. [Jammes?]) pour Soprano ou Tenor
|<score>{\key des \major \time 2/4 \relative des'' { des4~ \tuplet 3/2 { des8 c bes } des8 c4 } \addlyrics { Lai -- sse les nua -- ges}}</score>
|-
|JA
|59
|Histoire d'un hommes
|<score>{\time 7/8 \relative b { r8 b fis'8.[ 16] 8 cis4\laissezVibrer }}</score>
|-
|JA
|60
|C'est moi le marchand pous voix de composites
|<score>{\partial 4 \clef bass \relative ges { ges8 8 4 4 4 4 } \addlyrics { c'est moi le mas -- chaud }}</score>
|-
|JA
|61
|Canon pour piano et harmonium
|<score>{\time 3/4 \relative a' { a2 bes4 a2 bes4 a2 g4 }}</score>
|-
|JA
|62
|de Jules Lemaitre
|<score>{\key ges \major \relative des' { des2. ces4 des2. ces4 }}</score>
|-
|JA
|63
|Fantasmagorie pour orgue
|<score>{\key fis \minor \relative gis'' { gis8 fis gis a b4 a8 gis fis eis }}</score>
|-
|JA
|64
|"Wieder an" pour piano
|<score>{\key f \major \relative f' { f4 e8 e d8. d16~16 c d bes }}</score>
|-
|JA
|65
|"Und jetzt" pour piano
|<score>{\time 16/8 \relative a' { \tuplet 2/2 { a8[ b~] } \tuplet 3/2 { b8 a b} \tuplet 3/2 { cis4 d8 } cis4. \tuplet 3/2 { b8 cis d } }}</score>
|-
|JA
|66
|Intermezzo pour 2 pianos et basson
|<score>{\key aes \major \time 12/8 \partial 4. \relative bes' { r8 bes8 c bes ees c des bes c bes c des }}</score>
|-
|JA
|67
|Choral Dorien
|<score>{\time 9/4 \relative g' { g4 a b b2. g }}</score>
|-
|JA
|68
|Choral phrygien
|<score>{\clef bass \time 4/2 \relative a { a2 d c a a b }}</score>
|-
|JA
|69
|Variations pour orgue
|<score>{\time 5/4 \key ees \major \relative d'' { d4 c ees d c bes4. c8 }}</score>
|-
|JA
|70
|Scherzo pour orgue
|<score>{\key gis \minor \time 2/4 \relative dis' { dis8 d cis bis b ais cis dis }}</score>
|-
|JA
|71
|Le jardin suspendu pour orgue
|<score>{R1 << \relative bis' { bes4 a } \\ \relative ees' { ees4 d } \\ {g'2} >> << \relative g' { g4. a8 } \\ \relative c' { <c e>2 } >>}</score>
|-
|JA
|72
|Fantaisie pour illutrer un quatrain d'omar [illegible] pour orgue
|<score>{\time 6/4 \relative d'' { <d f a>1 <gis, cis eis>8 <d' f a>4 <gis, cis e>8 <f b dis>4 }}</score>
|-
|JA
|69bis
|Andante varie pour quintette a cordes
|<score>{\time 5/4 \key ees \major \relative d'' { d4 c ees d c bes4. c8 }}</score>
|-
|JA
|73
|Andante pour flute et piano
|<score>{\time 3/4 \partial 2 \key e \major \relative gis'' { gis4 ais b gis fis gis2 }}</score>
|-
|JA
|74
|Allegretto con grazia flute et piano
|<score>{\time 6/8 \key e \major \partial 4. \relative gis' { gis8 8 8 8 fisis b gis g fis }}</score>
|-
|JA
|66bis
|Intermezzo transail pour orgue
|<score>{\key aes \major \time 12/8 \partial 4. \relative bes' { r8 bes8 c bes ees c des bes c bes c des r8 }}</score>
|-
|JA
|75
|Prelude a la fugue en ut No. 10 pour orgue mime cahier No. 57 du catalogue. 1er etat - Definitif a [illegible] avec la fugue
|<score>{\key ees \major \partial 2. << \relative f'' { f4 g4 a8 bes c4. d8 bes2*1/2 \bar "" } \\ \relative des'' { des4 c8 f ees des fis gis e4. d8 } >>}</score>
|-
|JA
|76
|Nocturne pour piano
|<score>{\key aes \major \time 6/8 << \relative des'' { s2. des4.~4 eeses8 \bar "" } \\ \relative ees' { ees4.~ <ees f>4.~4.\laissezVibrer } >>}</score>
|-
|JA
|77
|Deux Danses a Agni Yavishta pour orgue [1/2]
|<score>{\time 3/4 \relative b' { b8 d cis d e4 d8 cis d16( cis b8) b cis }}</score>
|-
|JA
|78
|Deux Danses a Agni Yavishta pour orgue [2/2]
|<score>{\time 3/4 \partial 2 \relative b { 8( <cis e>) <cis e>( <d f>) <cis e>16( <cis e>8 4) r4 }}</score>
|-
|JA
|79
|Climat pour orgue
|<score>{\time 6/8 << \relative e'' { e4. d e cis e4 } \\ \relative e'' { e8 f e d e d e f e cis e cis e[ f] } >>}</score>
|-
|JA
|80
|Monodie pour orgue (written in pencil: 1ere piece: animato / Suite monodique pour piano)
|<score>{\partial 2 \relative g' { g8 c a d bes4 aes8 g f16 g aes8 f e }}</score>
|-
|JA
|81
|Andante pour piano (written in pencil: illegible)
|<score>{\key g \minor << \relative f' { f8( d8 d4 g2) f8\noBeam( d)} \\ \relative bes { bes4 c16 c bes8 c d~4 bes4 } >>}</score>
|-
|JA
|82
|Chorale majeur pour orgue
|<score>{\time 3/1 \partial 1 \key aes \major << \relative ees'' { ees1~1 c des ees bes\breve\laissezVibrer } \\ \relative c' { c1~1 ees bes c des\breve } \\ \relative aes' { aes1 g\breve~1~\breve f1 } >>}</score>
|-
|JA
|81bis
|Largo assai ma moldo rubato: Cello
|<score>{\clef tenor \key bes \major \relative f' { f8 d c16 c bes8 c d8~4 \clef bass f,8[ d] }}</score>
|-
|JA
|83
|O salutasis de Dugay
|<score>{\key g \major \time 10/2 << \relative g' { g2 b a b c b a2. g4 2 } \\ \relative d' { d2 e1 d2 g4 a b d, e2 d4 c b c } >>}</score>
|-
|JA
|84
|Quand Marion
|<score>{\key e \major << \relative e'' { e4 dis8 cis b4 b cis dis e b e dis8 cis } \\ \relative e' { e2 2 2 2 2 } >>}</score>
|-
|JA
|85
|Nous n'irons plus an bois
|<score>{\key ees \major \relative ees' { \partial 4. ees8 g aes bes4 ees bes8 c bes aes }}</score>
|-
|JA
|86
|Berceuse pour piano
|<score>{\key fis \major \partial 4 \relative gis' { gis8 gis ais ais b b ais4 gis8 8 }}</score>
|-
|JA
|87
|Prelude en ut maj. pour piano
|<score>{\partial 4 \relative c' { s32 c32 d fis a c ees aes c4. c8 \grace bes16 c4. \tuplet 3/2 { bes16 c d } }}</score>
|-
|JA
|88
|Chanson pour soprano [Rydyan Kaypling?]
|<score>{\partial 2 \relative gis' { r4 r8 gis8 4~4 \tuplet 3/2 { gis8 8 8 } gis4 } \addlyrics { un soir chau -- re sou -- ris }}</score>
|-
|JA
|89
|Monodie pour piano
|<score>{\key g \major \time 8/4 \relative c'' { c2 e,4 fis2 c'}}</score>
|-
|JA
|89bis
|Transcript pour orgue de la presidente
|<score>{\time 9/4 \relative c'' { \key g \major r4 c r e, fis r c'2 }}</score>
|-
|JA
|90
|Complainte du Jean Rinand (harm. 4 voix)
|<score>{\time 6/8 \autoBeamOff \key fis \minor \partial 4. \relative fis' { fis8 8 8 cis'4 8 e[ d] cis }}</score>
|-
|JA
|91
|Pour piano (Tarass Boulba)
|<score>{\time 5/8 \partial 8 \relative e'' { e8 <dis bis> e, e' <dis bis> e, \time 6/8 <aes f>[ b,] }}</score>
|-
|JA
|92
|Final sur une Sonatine facile pour piano
|<score>{\key g \minor << \relative g' { g4 d' cis c bes a8 g } \\ \relative g { g8 g' fis g f g ees g d ees c bes }>>}</score>
|-
|JA
|93
|Barcarolle facile pour piano
|<score>{\time 6/8 \key d \major \relative d'' { d4. d d8. e16 d8 cis d16 e d cis }}</score>
|-
|JA
|94
|Invention a 3 voix pour flute hautbois et clarinette
|<score>{\time 12/8 \key ees \major \relative f' { s8 f g aes d, f c aes' bes ces f, aes \bar "" }}</score>
|-
|JA
|95
|Vocalia dorienne pour [illegible] et [il.]
|<score>{\relative a' { a2 f' d c d1 \bar "" }}</score>
|-
|JA
|96
|Fauxbordon pour le laudate du 6 ton a 3 voix egales
|<score>{\key des \major \time 14/4 \relative des' { <des f aes>\breve <f aes des>4 <ees ges c> <des f des'> } << <ees' aes'>2 \\ { des'4 c' } >>}</score>
|-
|JA
|97
|Un petit Jesus s'en ra a l'ecole facile pour piano
|<score>{\key des \major \relative f'' { \partial 4 f8 8 4 ees des ees8 8 }}</score>
|-
|JA
|98
|O salutaris [illegible] facile pour 2 voices egales a capella
|<score>{\key a \major << { \relative b' { b1~4 a } \addlyrics { O -- sa } } \\ \relative e' { r2 e2 4 4 } >>}</score>
|-
|JA
|99
|Idee pous improvite
|<score>{\time 5/4 << \relative g'' { <g d'>2. <fis cis'>4 <g d'> <gis e'>2 } \\ \relative b' { b2. 4 4 2 } >>}</score>
|-
|JA
|100
|Idee idem
|<score>{\time 7/8 \relative gis' { <gis cis,>8 <fis d>4 <a cis,>8\noBeam <gis bis,> <fis d>4 }}</score>
|-
|JA
|101
|Noel nouvelle harmonise a 3 voix (scribbled)
|<score>{\key f \major << \relative g' { g4 d' e c d2 bes \bar "" } \\ \relative g' { g4 bes g a bes a g f } >>}</score>
|-
|JA
|102
|que j'aime ce divin Enfant pour 3 voix
|<score>{\time 3/4 \partial 4 \key g \minor << \relative g' { g4 bes2 a4 g2 d'4 bes2 } \\ \relative d' { r4 r4 d f2 ees4 d2 g4 } >>}</score>
|-
|JA
|113
|Douvien vient qu'en cette nuitee a 2 voix egales
|<score>{\key d \major \partial 2 << \relative a' { a4. g8 fis4 a g fis } \\ \relative d' { r4 r4 d4. cis8 b4 d } >> \bar ""}</score>
|-
|JA
|114
|Noel pour Radicaux a 1 voix
|<score>{\time 6/8 \key g \major \partial 2 \relative b' { b8 4 a8 b4 8 4 8 4 } \addlyrics { A Per No -- el ras -- se ra -- til }}</score>
|-
|JA
|115
|Transcript du Ricit de Nazard Clarambault [pour] flute et orgue
|<score>{\time 12/8 \partial 1 \relative d'' { s8 d g a bes\noBeam a g^\trill fis\noBeam \grace fis8 g4 }}</score>
|-
|JA
|116
|Vivace - 3a piece du la Suite pour piano
|<score>{\time 10/4 \relative d' { r8 d[ ees ges] aes4\fermata d,8[ ees ges aes] b![ aes ges ees d] c4 }}</score>
|-
|JA
|117
|2e Fantaisie pour orgue
|<score>{\key g \major \time 6/8 << \relative fis'' { r4 r8 fis8 gis a b4. a4 gis8 } \\ \relative b' { b2.~4. a } >>}</score>
|-
|JA
|118
|Variations pour orgue sur theme du Clement Jannequin
|<score>{\key g \minor \relative g' { g2 4 4 f2 g a4 f g a bes2 }}</score>
|-
|JA
|119
|Litanies pour orgue
|<score>{\key bes \minor \time 15/8 \relative ees' { ees8[ ees f] ges[ f ees des c] ees[ des f ees gis f] }}</score>
|-
|JA
|120
|3 Dances pour orchestre
|<score>{\time 18/6 \clef bass \key bes \major \relative bes, { bes4_> 8~_>4 g8 ces4_> 8 bes_> ces bes r8 g4_> aes8 }}</score>
|-
|JA
|120bis
|Dance [illegible] une mimoire heroique
|<score>{\time 9/16 \clef bass \key aes \major \relative f, { f16 8[ ges] a[ bes] \time 3/4 c8.\noBeam c16\noBeam c8[ des] c[ bes] \bar "" }}</score>
|-
|JA
|121
|Marche du St Nicolas pour Clairons tambour et orgue
|<score>{\key bes \major \relative f' { \partial 4 f8. 16 bes2. f8. 16 bes2. f8. 16 \bar "" }}</score>
|-
|JA
|122
|Tantum ergo pour 2 voix egales ([illegble])
|<score>{\time 5/4 \relative e' { r4 r4 <e e'>2 4 r4 <dis dis'>4 <cis cis'> <dis dis'> <cis cis'>8 <dis dis'> } \addlyrics { Tan -- tum er -- go ta -- cra __ }}</score>
|-
|JA
|123
|Tu es Petrus a 3 voix egales
|<score>{\clef bass \partial 2 \key d \major \relative a { a4 d, b'8[ a] b[ cis] d4 }}</score>
|-
|JA
|124
|Messe gregorienne de mariage avec
|<score>{\time 8/8 \relative g' { r8 g[ a] g[ f g] a[ g] } \bar "||" s2}</score>
|-
|JA
|125
|Messe de Requiem repla du gregorien a 4 voix mixtes
|<score>{\time 16/8 << { \relative a' { a4. g4 c8 4. d c } \addlyrics { Ky -- - -- ri e } } \\ \relative c' { c4. d4 e8 e a4 bes8.[ a16 g f] e8[ f] } >>}</score>
|-
|JA
|126
|Fragment cantata Bach Erchallet ihr Lieder 2 Trompette et orgue
|<score>{\time 3/8 \partial 8 << \relative g' { g8 c8 r c16 d e8 r8 e16 f g8 } \\ \relative c' { c8 e8 r8 g16 g c8 r8 c16 d e8 } >>}</score>
|-
|JA
|127
|Allegro du concerto en sol majere Handel 2 Trompette et orgue
|<score>{\key g \major \partial 8 \relative g'' { g8 fis e d c b d a d g, a b c }}</score>
|-
|JA
|128
|Concerto en si Handel. 2 Trompette et orgue
|<score>{\key bes \major \relative bes' { bes4.^\mordent r16 f bes8. 16 d8. bes16 f'4^\mordent }}</score>
|}

=== Posthumous additions<ref>[https://web.archive.org/web/20160213224757/http://www.jehanalain.com/works.jsp?lang=en], accessed 26 August, 2023. Archived at [http://ftp.williamrehwinkel.net/archives/www.jehanalain.com%20works.jsp%20.txt ftp.williamrehwinkel.net]</ref> ===
{| class="wikitable"
|-
|JA
|129
|Lettre à son amie Lola pour la consoler d'avoir attrapé la grippe, for the piano
|
|-
|JA
|130
|Adagio, for the piano
|
|-
|JA
|131
|Variations sur un thème donné de Rimsky-Korsakov, for four voices
|
|-
|JA
|132
|Chant nupital, for baritone and organ
|
|-
|JA
|133
|Fugue sur un sujet de Henri Rabaud, for four voices
|
|-
|JA
|134
|Choral cistercien pour une Élévation, for the organ
|<score>{\key e \minor \time 5/4 << \relative e'' { e4( b cis) e2 } \\ \relative e' { e2.~2 } \\ \relative g' { g4 e2 g } \\ \relative b' { b4 g a b2 } >>}</score>
|-
|JA
|135
|Monodie, for the organ or the piano
|<score>{\relative ees' { \cadenzaOn ees4. d8 f8[ ees f] g[ f]\laissezVibrer }}</score>
|-
|JA
|135A
|Monodie, for the flute
|
|-
|JA
|136
|Messe modale en septuor, for soprano, the alto, the flute and string quartet or the organ
|
|-
|JA
|137
|Prière pour nous autres charnels
|
|-
|JA
|138
|Aria, for the organ
|<score>{\key c \minor \time 7/8 \relative d'' { \partial 4. <d a f>4 <ees b g>8 <c g ees>4 <g ees c> <d' a f> <ees b g>8}}</score>
|-
|JA
|139
|L'année liturgique israëlite, for the organ
|
|-
|JA
|140
|Tantum ergo, for soprano, baritone and the organ
|
|-
|JA
|141
|Salve, virilis pectoris, for soprano, tenor and the organ
|
|-
|JA
|142
|O salutaris, for soprano and the organ
|
|-
|JA
|143
|Pièces d'après François Campion, for the organ
|
|}

== See also ==
[[Gerald Woehl Organ, St. Remigius, Viersen]], dedicated to Jehan Alain.

== Bibliography ==
[[Marie-Claire Alain|Alain, Marie-Claire]], "Notes critiques sur l'oeuvre d'orgue de Jehan Alain". Paris: Alphonse Leduc, 2001.

{{Grove2|[[Georges Guillard|Guillard, Georges]]|Jehan (Ariste) Alain|1|268-270}}

[[Wilhelm Hafner|Hafner, Wilhelm]], ''Das Orgelwerk von Jehan Alain (1911–1940) und sein Verhältnis zur Französischen Orgelmusik des 20. Jahrhunderts.'' Collection D'Études Musicologiques Sammlung Musikwissenschaftlicher Abhandlungen: Band 92. Baden-Baden: Verlag Valentin Koerner, 2000.

[[Helga Schauerte|Schauerte, Helga]], ''Jehan Alain (1911-1940) Das Orgelwerk: Eine monographische Studie.'' Kölner Beiträge zur Musikforschung 137. Regensburg: Gustav Bosse Verlag, 1983.

== References ==
[[Category:Persons|Alain, Jehan]]
[[Category:Composers|Alain, Jehan]]
[[Category:Organists|Alain, Jehan]]
[[Category:WVlist pages|Alain, Jehan]]

Jehan Alain

2026-07-22T18:05:45Z

Fiskfan1999: /* References */

[[File:Jehan Alain 1938.jpg|thumb|right|Jehan Alain in 1938]]
'''Jehan Alain''' (1911-1940)

''NOTE: this article was automatically generated from an entry submitted to '''wvlist.net'''. You can help add pictures and more information to this article!''

{{Stub}}

== Works ==
=== Variations sur un thème de Clément Jannequin ===
Alain's work, also called ''Variations Sur "l'espoir que j'ai d'acquérir votre grâce". Chanson de Clément Jannequin'', is mistakenly titled, as it is based on a work that is anonymous.

Jehan Alain had access to a 19th-century book ''Échos du temps passé'' compiled by [[Jean-Baptiste Weckerlin]] which contained a piece under this name attributed to [[Clément Jannequin]]. This piece transforms the piece into a solo aria with piano accompaniment which is almost identical to the first variation (theme) in Alain's work.

This chanson is found in two publications by [[Pierre Attaingnant]], one in 1529 (in parts) and another in 1531 (reduced to tablature score), both without a composer's name. The attribution to Jannequin is due to a musicological error by Weckerlin, as in 1529 the piece is placed immediately after another work attributed to Jannequin.<ref>Hafner, 268-269.</ref> Previously, musicologists assumed that anonymous pieces found after a piece with a composer's name were all written by that composer; however, this is now known to be an outdated assumption that is not always true.{{Citation needed}}

=== Catalogue ===
Alain's handwritten catalogue of his own works includes a skip from 102 to 113, due to mistaking the zero in 102 for a one.

{| class="wikitable"
|+ Jehan Alain's Catalogue of Works
|-
|JA
|1
|Quarante variations
|<score>{\time 2/4 \relative c'' { c16 d f8 c16 bes c8 g16 aes c8 g16 f g8 }}</score>
|-
|JA
|2
|Theme et cinq variations
|<score>{\time 5/8 \relative ees' { <eis b' dis>8 <e gis b>4 <ees g> <f a des>8 <e gis>4 <dis b> }}</score>
|-
|JA
|3
|Etude sur un theme de 4 notes
|<score>{\key g \major \time 6/8 << \relative fis' { fis4. e d } \\ \relative fis' { fis16 d eis cis d b_\markup{ \bracket { "etc." } } } >>}</score>
|-
|JA
|4
|Ecce ancilla Domini
|<score>{\key g \major << \relative e'' { e4 e f d e c d2*1/4 } \\ \relative c'' { r8 c b a r8 d,8 f b r8 a,8 e' g f } >>}</score>
|-
|JA
|5
|Seigneur, donne-nous la paix éternelle
|<score>{\partial 4 << \relative d'' { <d bes>4 ees8 bes8 4~4 aes bes4 } \\ \relative e' { <e g>4 <ees ges bes>2 <ges des' ges>4 } >>}</score>
|-
|JA
|6
|Versel
|<score>{\time 3/4 \clef bass \key d \major \partial 2 \relative cis { cis4 e fis dis fis gis e }}</score>
|-
|JA
|7
|Berceuse. Transcrip Piano
|<score>{<< \relative d''' { d4 a8 a c4 a } \\ \relative c'' { c16 f d a' c, f d a' c, ees d g c, ees d g } >>}</score>
|-
|JA
|8
|Chanson triste
|<score>{\time 9/8 \key ees \major \relative g' { g4 8~4. fis4. ees4 8 c2. }}</score>
|-
|JA
|9
|Petite Ballade
|<score>{\time 10/4 << \relative d' { d4 a'4. g8 a f g4 b8 c d4 } \\ \relative d' { s4 f8 g f e f d b a g a f } >>}</score>
|-
|JA
|10
|Etude sur des doubles notes
|<score>{\key g \minor \time 9/8 << \relative g' { \parenthesize r16 \tuplet 3/2 { g8[ a d] } s16 s4. \parenthesize r16 \tuplet 3/2 { g,8[ a d] } } \\ \relative f' { <f bes>8 <g c> <e' a> d a g <f bes>8 <g c> <e' a> } >>}</score>
|-
|JA
|11
|Lumiere qui tombe d'un vasistas
|<score>{\time 13/32 \relative des' { des32[ aes' bes c ees des f, aes' c, ees des f, c'] a,! e'! }}</score>
|-
|JA
|12
|Petite Rhapsodie
|<score>{\time 3/8 \key ees \major \relative a { a8\noBeam f''16 <ees g> <f bes>8 r8 f16 <ees g> <f bes>8 r8 ees16 <des f> <ees aes>8}}</score>
|-
|JA
|13
|Heurenrement la bonne fee sa marraine
|<score>{<< \relative bes' { \tuplet 3/2 { bes4 4 4 } c4 c <ees aes,>2 } \\ \relative des' { <des ees f>2 <c d e g> } >>}</score>
|-
|JA
|14
|Lamento
|<score>{\time 4/2 \key fis \minor \relative cis'' { cis4 bis e2 cis4 bis a2 cis4 }}</score>
|-
|JA
|76bis
|Berceuse pour orgue
|<score>{\relative d'' { d4 a8\noBeam a\noBeam c4 a bes a8\noBeam a\noBeam }}</score>
|-
|JA
|15
|Histoire sur des tapis
|<score>{\key ges \major \time 6/4 \partial 2. \relative aes { <aes ees'>4 <f' c'> <ees' bes'>\laissezVibrer r4 r r <aes,, ees'> <fes' ces'> <ees' bes'>\laissezVibrer }}</score>
|-
|JA
|16
|Melodie Sandwich
|<score>{\key ges \major \partial 2 \relative bes' { bes4 ces des ces bes ges aes }}</score>
|-
|JA
|17
|Des nuages gris a 7 voix
|<score>{\relative dis'' { \time 1/4 dis4 \time 2/4 cis4~8 ais gis16 ais fis8 dis4\laissezVibrer }}</score>
|-
|JA
|18
|Canons a sept
|<score>{\clef bass \key b \major \time 8/4 \relative fis, { fis4 cis' gis fis e dis e }}</score>
|-
|JA
|19
|Nocturne
|<score>{\time 3/4 << \relative bes' { bes4. aes8 g aes bes c bes4 des\laissezVibrer } \\ \relative c' { c2.~c2. } \\ \relative e' { <e! ges>4 <d f>2 <e ges>4 <d f>2 } >>}</score>
|-
|JA
|20
|Pour le defrichage
|<score>{\key cis \minor \time 3/4 \relative gis' { r16 gis gis' gis,~gis gis gis' gis,~gis gis gis' gis,~gis g gis'? s16 fis,2 }}</score>
|-
|JA
|21
|Togo
|<score>{\time 8/4 \relative b { r8. b16 e8. b16 fis'8. d16 a8. d16 b8. fis16 \tuplet 3/2 { a8 d gis } }}</score>
|-
|JA
|22
|En devissant
|<score>{\time 6/2 << \relative c'' { c2~4 b a g f g a2 } \\ \relative c' { s2 c2~4 b a } \\ \\ \relative e' { s2 s2 e2 } >>}</score>
|-
|JA
|23
|26 September 31
|<score>{\time 3/8 << \relative c''' {\autoBeamOff <c~ e,>8 <c ees,>4 <bes~ d,>8 <bes des,>4 <c~ e,>8 <c ees,\=1(> <dis,\=1) b> } \\ \relative a' {\autoBeamOff <a! c!~>8 <aes c>4 <g bes~>8 <ges bes>4 <a c~>8 <aes c> <fis b,>} >>}</score>
|-
|JA
|24
|Ballade a Fr. Villon
|<score>{\time 8/4 \relative d'' { d8^-[ f f^- a a^- b b^- f d a' f^- b a^- f b b^-] des,[^- f f^-] }}</score>
|-
|JA
|25
|Chorale et variations (a ~Doudon~)
|<score>{\key cis \minor \time 9/4 \relative cis' { cis4 gis'2 \breathe gis4 a b2 a4 }}</score>
|-
|JA
|26
|Variations chorales sur sacris solemnis
|<score>{\clef soprano \key d \minor \time 9/4 \relative d' { d4 a' bes a2 a4 b c }}</score>
|-
|JA
|27
|Variations pour orgue sur Lucis Creator
|<score>{\time 16/4 \relative g' { g4 a c c c8 b a g c4 d b8 a }}</score>
|-
|JA
|28
|Fugue du mode de fa
|<score>{\clef bass \time 3/4 \relative f { f8 g f2 f8 g f2 f8 g }}</score>
|-
|JA
|29
|Postlude pour l'office de complies
|<score>{\time 13/8 \relative f'' { f8[ f g f ees f g g f ees f f^-] g[ bes] }}</score>
|-
|JA
|30
|un cercle d'argent
|<score>{\time 11/8 \relative e'' { <e c'>8 <ees aes>[ <e c'>] <ees aes>[ <d bes'>] <cis e>[ ] e,,[ <f' a>] }}</score>
|-
|JA
|31
|Romance
|<score>{\time 12/8 << \relative ees'' { ees4. d! c~ \tuplet 2/3 {c8 d} } \\ \relative bes' { r8 bes ges f a f e a! e a,[ e'] }>>}</score>
|-
|JA
|32
|Grave
|<score>{\clef bass \key cis \minor \relative fis, { fis2 cis4 e a2 g\laissezVibrer }}</score>
|-
|JA
|33
|Petite prelude variations et choral pour orgue (written in pencil: Petite piece pour orgue)
|<score>{\time 6/8 \partial 4. \key g \minor \relative g' { <ges bes ees>8 <aes c f> <ges bes ees> <bes ees ges>4 <ges bes ees>8 <f bes d>4 <ees aes c>8\laissezVibrer }}</score>
|-
|JA
|34
|Cantique en mode phrygien
|<score>{\time 8/4 << \relative a' { a8 g a4~2 a8 b c d \tuplet 3/2 { c8 b a } } \\ \relative d' { s2 d8 c d4 <e a,>4 } >>}</score>
|-
|JA
|35
|O quam suavis (motet) pour baryton
|<score>{\autoBeamOff \key a \major \relative e' { R1 r2 e4 fis8 gis a[ b] } \addlyrics { O quam su -- a __}}</score>
|-
|JA
|36
|Mme Husson
|<score>{\key bes \major \partial 2. \relative e' { <ees g bes>4( <f, bes d>) <ees' g bes>( <f a c> <g, bes d>) <bes' d f>( <f a c>) }}</score>
|-
|JA
|37
|Chant donne
|<score>{\key e \minor \time 3/4 \relative b' { b2 a4 b2 a4 b2 }}</score>
|-
|JA
|38
|Complainte a la mode ancienne (pour [illegible])
|<score>{\time 4/2 \partial 2 \relative d' { d2 f g a f bes1 a2 }}</score>
|-
|JA
|39
|Chanson a Gouche fermee
|<score>{\partial 2 \relative g' { g4 a g bes g2~g8 a g a }}</score>
|-
|JA
|40
|Une scie!
|<score>{\key des \major \time 5/4 \relative bes' { bes4^- 4^- 4^- bes8^- aes4. c8^- bes2^- }}</score>
|-
|JA
|41
|Il pleuvra toute la journie
|<score>{\partial 4 \key g \major \relative cis' { cis16 d cis bis cis e a fis g bes ees c cis[ e!] }}</score>
|-
|JA
|42
|sur le mode re me fa sol-flat la-flat, si-flat-flat, do
|<score>{\time 3/4 \partial 4. \clef bass \relative d { \set Staff.keyAlterations = #`((6 . ,FLAT)(6 . ,FLAT) (2 . ,FLAT) (5 . ,FLAT) (1 . ,NATURAL) (4 . ,FLAT)) d8 d ees d4 ees8 f ges }}</score>
|-
|JA
|43
|Adagio pour Cello et Piano
|<score>{\key aes \major \time 12/16 \clef bass \relative c { c8.~[ 16 b d] g8 f16 aes8 b16 e4~ }}</score>
|-
|JA
|44
|Amen
|<score>{\time 3/4 << {a'2.} \\ \relative e' { e8 f4 e8 d4 } >> \time 4/4 <e' g'>1^\fermata << \relative a' { a4^"Tres leul" bes4*1/2 } \\ \relative f' { f8 g4 } >>}</score>
|-
|JA
|45
|un tres vieux motif
|<score>{\time 3/4 \key bes \major \relative ees'' { ees2 d4 bes g a }}</score>
|-
|JA
|46
|Postscriptum
|<score>{\relative g' { r4 g bes a c2.\laissezVibrer } \addlyrics { "j'ai" ou -- bie __ }}</score>
|-
|JA
|47
|Fantasie pour 3 voix mixtes a gouche fermie
|<score>{\time 8/4 \relative c' { c4 g'2. aes4 bes c }}</score>
|-
|JA
|48
|Theorie
|<score>{\relative b { \key d \major \time 3/4 b8 a b4 cis \time 5/4 d8 cis d4 e fis }}</score>
|-
|JA
|49
|Le gai liseron
|<score>{\time 3/4 << \relative f'' { f4 d4. c8 b d bes4 } \\ \relative fis' { r4 r4 fis g d } >>}</score>
|-
|JA
|50
|Sonata
|<score>{\time 4/2 \key d \major << \relative b' { b1 b2 cis d } \\ \relative fis' { fis4 e fis g d g e a b a } >>}</score>
|-
|JA
|51
|Mephisto
|<score>{\key ees \major \clef bass \time 3/4 \relative g, { g8[ d'] bes'8[ 8] 8[ 8] aes8[ d,] d }}</score>
|-
|JA
|52
|La peste
|<score>{\clef bass \key fes \major \time 2/4 \voiceOne \partial 8 aes8 \repeat unfold 3 { <ges des'>8[ <fes ces'>] }}</score>
|-
|JA
|53
|Exposition
|<score>{\clef tenor \relative e' { e4 e e a, f'2. e4 d }}</score>
|-
|JA
|54
|Sujet
|<score>{\clef tenor \key aes \major \time 3/4 \relative c' { c4 f, des' \time 4/4 c8 bes c4 bes }}</score>
|-
|JA
|55
|Comme quoi [les projets les plus belliqueux]
|<score>{<< \relative a' { r8 a\noBeam e' a, gis eis] gis[ eis] r8 a\noBeam e' a, } \\ \relative g' { g1 g2 } >>}</score>
|-
|JA
|56
|Le bon Roi Dagobert
|<score>{\clef bass \key b \major \time 3/4 \relative dis' { dis4 2 cis4 2 }}</score>
|-
|JA
|57
|Fugue pour orgue
|<score>{\clef bass \time 1/4 \partial 16 \relative c, { c16 ees f fis a b8. bes16 }}</score>
|-
|JA
|58
|Laisse les nuages (F. [Jammes?]) pour Soprano ou Tenor
|<score>{\key des \major \time 2/4 \relative des'' { des4~ \tuplet 3/2 { des8 c bes } des8 c4 } \addlyrics { Lai -- sse les nua -- ges}}</score>
|-
|JA
|59
|Histoire d'un hommes
|<score>{\time 7/8 \relative b { r8 b fis'8.[ 16] 8 cis4\laissezVibrer }}</score>
|-
|JA
|60
|C'est moi le marchand pous voix de composites
|<score>{\partial 4 \clef bass \relative ges { ges8 8 4 4 4 4 } \addlyrics { c'est moi le mas -- chaud }}</score>
|-
|JA
|61
|Canon pour piano et harmonium
|<score>{\time 3/4 \relative a' { a2 bes4 a2 bes4 a2 g4 }}</score>
|-
|JA
|62
|de Jules Lemaitre
|<score>{\key ges \major \relative des' { des2. ces4 des2. ces4 }}</score>
|-
|JA
|63
|Fantasmagorie pour orgue
|<score>{\key fis \minor \relative gis'' { gis8 fis gis a b4 a8 gis fis eis }}</score>
|-
|JA
|64
|"Wieder an" pour piano
|<score>{\key f \major \relative f' { f4 e8 e d8. d16~16 c d bes }}</score>
|-
|JA
|65
|"Und jetzt" pour piano
|<score>{\time 16/8 \relative a' { \tuplet 2/2 { a8[ b~] } \tuplet 3/2 { b8 a b} \tuplet 3/2 { cis4 d8 } cis4. \tuplet 3/2 { b8 cis d } }}</score>
|-
|JA
|66
|Intermezzo pour 2 pianos et basson
|<score>{\key aes \major \time 12/8 \partial 4. \relative bes' { r8 bes8 c bes ees c des bes c bes c des }}</score>
|-
|JA
|67
|Choral Dorien
|<score>{\time 9/4 \relative g' { g4 a b b2. g }}</score>
|-
|JA
|68
|Choral phrygien
|<score>{\clef bass \time 4/2 \relative a { a2 d c a a b }}</score>
|-
|JA
|69
|Variations pour orgue
|<score>{\time 5/4 \key ees \major \relative d'' { d4 c ees d c bes4. c8 }}</score>
|-
|JA
|70
|Scherzo pour orgue
|<score>{\key gis \minor \time 2/4 \relative dis' { dis8 d cis bis b ais cis dis }}</score>
|-
|JA
|71
|Le jardin suspendu pour orgue
|<score>{R1 << \relative bis' { bes4 a } \\ \relative ees' { ees4 d } \\ {g'2} >> << \relative g' { g4. a8 } \\ \relative c' { <c e>2 } >>}</score>
|-
|JA
|72
|Fantaisie pour illutrer un quatrain d'omar [illegible] pour orgue
|<score>{\time 6/4 \relative d'' { <d f a>1 <gis, cis eis>8 <d' f a>4 <gis, cis e>8 <f b dis>4 }}</score>
|-
|JA
|69bis
|Andante varie pour quintette a cordes
|<score>{\time 5/4 \key ees \major \relative d'' { d4 c ees d c bes4. c8 }}</score>
|-
|JA
|73
|Andante pour flute et piano
|<score>{\time 3/4 \partial 2 \key e \major \relative gis'' { gis4 ais b gis fis gis2 }}</score>
|-
|JA
|74
|Allegretto con grazia flute et piano
|<score>{\time 6/8 \key e \major \partial 4. \relative gis' { gis8 8 8 8 fisis b gis g fis }}</score>
|-
|JA
|66bis
|Intermezzo transail pour orgue
|<score>{\key aes \major \time 12/8 \partial 4. \relative bes' { r8 bes8 c bes ees c des bes c bes c des r8 }}</score>
|-
|JA
|75
|Prelude a la fugue en ut No. 10 pour orgue mime cahier No. 57 du catalogue. 1er etat - Definitif a [illegible] avec la fugue
|<score>{\key ees \major \partial 2. << \relative f'' { f4 g4 a8 bes c4. d8 bes2*1/2 \bar "" } \\ \relative des'' { des4 c8 f ees des fis gis e4. d8 } >>}</score>
|-
|JA
|76
|Nocturne pour piano
|<score>{\key aes \major \time 6/8 << \relative des'' { s2. des4.~4 eeses8 \bar "" } \\ \relative ees' { ees4.~ <ees f>4.~4.\laissezVibrer } >>}</score>
|-
|JA
|77
|Deux Danses a Agni Yavishta pour orgue [1/2]
|<score>{\time 3/4 \relative b' { b8 d cis d e4 d8 cis d16( cis b8) b cis }}</score>
|-
|JA
|78
|Deux Danses a Agni Yavishta pour orgue [2/2]
|<score>{\time 3/4 \partial 2 \relative b { 8( <cis e>) <cis e>( <d f>) <cis e>16( <cis e>8 4) r4 }}</score>
|-
|JA
|79
|Climat pour orgue
|<score>{\time 6/8 << \relative e'' { e4. d e cis e4 } \\ \relative e'' { e8 f e d e d e f e cis e cis e[ f] } >>}</score>
|-
|JA
|80
|Monodie pour orgue (written in pencil: 1ere piece: animato / Suite monodique pour piano)
|<score>{\partial 2 \relative g' { g8 c a d bes4 aes8 g f16 g aes8 f e }}</score>
|-
|JA
|81
|Andante pour piano (written in pencil: illegible)
|<score>{\key g \minor << \relative f' { f8( d8 d4 g2) f8\noBeam( d)} \\ \relative bes { bes4 c16 c bes8 c d~4 bes4 } >>}</score>
|-
|JA
|82
|Chorale majeur pour orgue
|<score>{\time 3/1 \partial 1 \key aes \major << \relative ees'' { ees1~1 c des ees bes\breve\laissezVibrer } \\ \relative c' { c1~1 ees bes c des\breve } \\ \relative aes' { aes1 g\breve~1~\breve f1 } >>}</score>
|-
|JA
|81bis
|Largo assai ma moldo rubato: Cello
|<score>{\clef tenor \key bes \major \relative f' { f8 d c16 c bes8 c d8~4 \clef bass f,8[ d] }}</score>
|-
|JA
|83
|O salutasis de Dugay
|<score>{\key g \major \time 10/2 << \relative g' { g2 b a b c b a2. g4 2 } \\ \relative d' { d2 e1 d2 g4 a b d, e2 d4 c b c } >>}</score>
|-
|JA
|84
|Quand Marion
|<score>{\key e \major << \relative e'' { e4 dis8 cis b4 b cis dis e b e dis8 cis } \\ \relative e' { e2 2 2 2 2 } >>}</score>
|-
|JA
|85
|Nous n'irons plus an bois
|<score>{\key ees \major \relative ees' { \partial 4. ees8 g aes bes4 ees bes8 c bes aes }}</score>
|-
|JA
|86
|Berceuse pour piano
|<score>{\key fis \major \partial 4 \relative gis' { gis8 gis ais ais b b ais4 gis8 8 }}</score>
|-
|JA
|87
|Prelude en ut maj. pour piano
|<score>{\partial 4 \relative c' { s32 c32 d fis a c ees aes c4. c8 \grace bes16 c4. \tuplet 3/2 { bes16 c d } }}</score>
|-
|JA
|88
|Chanson pour soprano [Rydyan Kaypling?]
|<score>{\partial 2 \relative gis' { r4 r8 gis8 4~4 \tuplet 3/2 { gis8 8 8 } gis4 } \addlyrics { un soir chau -- re sou -- ris }}</score>
|-
|JA
|89
|Monodie pour piano
|<score>{\key g \major \time 8/4 \relative c'' { c2 e,4 fis2 c'}}</score>
|-
|JA
|89bis
|Transcript pour orgue de la presidente
|<score>{\time 9/4 \relative c'' { \key g \major r4 c r e, fis r c'2 }}</score>
|-
|JA
|90
|Complainte du Jean Rinand (harm. 4 voix)
|<score>{\time 6/8 \autoBeamOff \key fis \minor \partial 4. \relative fis' { fis8 8 8 cis'4 8 e[ d] cis }}</score>
|-
|JA
|91
|Pour piano (Tarass Boulba)
|<score>{\time 5/8 \partial 8 \relative e'' { e8 <dis bis> e, e' <dis bis> e, \time 6/8 <aes f>[ b,] }}</score>
|-
|JA
|92
|Final sur une Sonatine facile pour piano
|<score>{\key g \minor << \relative g' { g4 d' cis c bes a8 g } \\ \relative g { g8 g' fis g f g ees g d ees c bes }>>}</score>
|-
|JA
|93
|Barcarolle facile pour piano
|<score>{\time 6/8 \key d \major \relative d'' { d4. d d8. e16 d8 cis d16 e d cis }}</score>
|-
|JA
|94
|Invention a 3 voix pour flute hautbois et clarinette
|<score>{\time 12/8 \key ees \major \relative f' { s8 f g aes d, f c aes' bes ces f, aes \bar "" }}</score>
|-
|JA
|95
|Vocalia dorienne pour [illegible] et [il.]
|<score>{\relative a' { a2 f' d c d1 \bar "" }}</score>
|-
|JA
|96
|Fauxbordon pour le laudate du 6 ton a 3 voix egales
|<score>{\key des \major \time 14/4 \relative des' { <des f aes>\breve <f aes des>4 <ees ges c> <des f des'> } << <ees' aes'>2 \\ { des'4 c' } >>}</score>
|-
|JA
|97
|Un petit Jesus s'en ra a l'ecole facile pour piano
|<score>{\key des \major \relative f'' { \partial 4 f8 8 4 ees des ees8 8 }}</score>
|-
|JA
|98
|O salutaris [illegible] facile pour 2 voices egales a capella
|<score>{\key a \major << { \relative b' { b1~4 a } \addlyrics { O -- sa } } \\ \relative e' { r2 e2 4 4 } >>}</score>
|-
|JA
|99
|Idee pous improvite
|<score>{\time 5/4 << \relative g'' { <g d'>2. <fis cis'>4 <g d'> <gis e'>2 } \\ \relative b' { b2. 4 4 2 } >>}</score>
|-
|JA
|100
|Idee idem
|<score>{\time 7/8 \relative gis' { <gis cis,>8 <fis d>4 <a cis,>8\noBeam <gis bis,> <fis d>4 }}</score>
|-
|JA
|101
|Noel nouvelle harmonise a 3 voix (scribbled)
|<score>{\key f \major << \relative g' { g4 d' e c d2 bes \bar "" } \\ \relative g' { g4 bes g a bes a g f } >>}</score>
|-
|JA
|102
|que j'aime ce divin Enfant pour 3 voix
|<score>{\time 3/4 \partial 4 \key g \minor << \relative g' { g4 bes2 a4 g2 d'4 bes2 } \\ \relative d' { r4 r4 d f2 ees4 d2 g4 } >>}</score>
|-
|JA
|113
|Douvien vient qu'en cette nuitee a 2 voix egales
|<score>{\key d \major \partial 2 << \relative a' { a4. g8 fis4 a g fis } \\ \relative d' { r4 r4 d4. cis8 b4 d } >> \bar ""}</score>
|-
|JA
|114
|Noel pour Radicaux a 1 voix
|<score>{\time 6/8 \key g \major \partial 2 \relative b' { b8 4 a8 b4 8 4 8 4 } \addlyrics { A Per No -- el ras -- se ra -- til }}</score>
|-
|JA
|115
|Transcript du Ricit de Nazard Clarambault [pour] flute et orgue
|<score>{\time 12/8 \partial 1 \relative d'' { s8 d g a bes\noBeam a g^\trill fis\noBeam \grace fis8 g4 }}</score>
|-
|JA
|116
|Vivace - 3a piece du la Suite pour piano
|<score>{\time 10/4 \relative d' { r8 d[ ees ges] aes4\fermata d,8[ ees ges aes] b![ aes ges ees d] c4 }}</score>
|-
|JA
|117
|2e Fantaisie pour orgue
|<score>{\key g \major \time 6/8 << \relative fis'' { r4 r8 fis8 gis a b4. a4 gis8 } \\ \relative b' { b2.~4. a } >>}</score>
|-
|JA
|118
|Variations pour orgue sur theme du Clement Jannequin
|<score>{\key g \minor \relative g' { g2 4 4 f2 g a4 f g a bes2 }}</score>
|-
|JA
|119
|Litanies pour orgue
|<score>{\key bes \minor \time 15/8 \relative ees' { ees8[ ees f] ges[ f ees des c] ees[ des f ees gis f] }}</score>
|-
|JA
|120
|3 Dances pour orchestre
|<score>{\time 18/6 \clef bass \key bes \major \relative bes, { bes4_> 8~_>4 g8 ces4_> 8 bes_> ces bes r8 g4_> aes8 }}</score>
|-
|JA
|120bis
|Dance [illegible] une mimoire heroique
|<score>{\time 9/16 \clef bass \key aes \major \relative f, { f16 8[ ges] a[ bes] \time 3/4 c8.\noBeam c16\noBeam c8[ des] c[ bes] \bar "" }}</score>
|-
|JA
|121
|Marche du St Nicolas pour Clairons tambour et orgue
|<score>{\key bes \major \relative f' { \partial 4 f8. 16 bes2. f8. 16 bes2. f8. 16 \bar "" }}</score>
|-
|JA
|122
|Tantum ergo pour 2 voix egales ([illegble])
|<score>{\time 5/4 \relative e' { r4 r4 <e e'>2 4 r4 <dis dis'>4 <cis cis'> <dis dis'> <cis cis'>8 <dis dis'> } \addlyrics { Tan -- tum er -- go ta -- cra __ }}</score>
|-
|JA
|123
|Tu es Petrus a 3 voix egales
|<score>{\clef bass \partial 2 \key d \major \relative a { a4 d, b'8[ a] b[ cis] d4 }}</score>
|-
|JA
|124
|Messe gregorienne de mariage avec
|<score>{\time 8/8 \relative g' { r8 g[ a] g[ f g] a[ g] } \bar "||" s2}</score>
|-
|JA
|125
|Messe de Requiem repla du gregorien a 4 voix mixtes
|<score>{\time 16/8 << { \relative a' { a4. g4 c8 4. d c } \addlyrics { Ky -- - -- ri e } } \\ \relative c' { c4. d4 e8 e a4 bes8.[ a16 g f] e8[ f] } >>}</score>
|-
|JA
|126
|Fragment cantata Bach Erchallet ihr Lieder 2 Trompette et orgue
|<score>{\time 3/8 \partial 8 << \relative g' { g8 c8 r c16 d e8 r8 e16 f g8 } \\ \relative c' { c8 e8 r8 g16 g c8 r8 c16 d e8 } >>}</score>
|-
|JA
|127
|Allegro du concerto en sol majere Handel 2 Trompette et orgue
|<score>{\key g \major \partial 8 \relative g'' { g8 fis e d c b d a d g, a b c }}</score>
|-
|JA
|128
|Concerto en si Handel. 2 Trompette et orgue
|<score>{\key bes \major \relative bes' { bes4.^\mordent r16 f bes8. 16 d8. bes16 f'4^\mordent }}</score>
|}

=== Posthumous additions<ref>[https://web.archive.org/web/20160213224757/http://www.jehanalain.com/works.jsp?lang=en], accessed 26 August, 2023. Archived at [http://ftp.williamrehwinkel.net/archives/www.jehanalain.com%20works.jsp%20.txt ftp.williamrehwinkel.net]</ref> ===
{| class="wikitable"
|-
|JA
|129
|Lettre à son amie Lola pour la consoler d'avoir attrapé la grippe, for the piano
|
|-
|JA
|130
|Adagio, for the piano
|
|-
|JA
|131
|Variations sur un thème donné de Rimsky-Korsakov, for four voices
|
|-
|JA
|132
|Chant nupital, for baritone and organ
|
|-
|JA
|133
|Fugue sur un sujet de Henri Rabaud, for four voices
|
|-
|JA
|134
|Choral cistercien pour une Élévation, for the organ
|<score>{\key e \minor \time 5/4 << \relative e'' { e4( b cis) e2 } \\ \relative e' { e2.~2 } \\ \relative g' { g4 e2 g } \\ \relative b' { b4 g a b2 } >>}</score>
|-
|JA
|135
|Monodie, for the organ or the piano
|<score>{\relative ees' { \cadenzaOn ees4. d8 f8[ ees f] g[ f]\laissezVibrer }}</score>
|-
|JA
|135A
|Monodie, for the flute
|
|-
|JA
|136
|Messe modale en septuor, for soprano, the alto, the flute and string quartet or the organ
|
|-
|JA
|137
|Prière pour nous autres charnels
|
|-
|JA
|138
|Aria, for the organ
|<score>{\key c \minor \time 7/8 \relative d'' { \partial 4. <d a f>4 <ees b g>8 <c g ees>4 <g ees c> <d' a f> <ees b g>8}}</score>
|-
|JA
|139
|L'année liturgique israëlite, for the organ
|
|-
|JA
|140
|Tantum ergo, for soprano, baritone and the organ
|
|-
|JA
|141
|Salve, virilis pectoris, for soprano, tenor and the organ
|
|-
|JA
|142
|O salutaris, for soprano and the organ
|
|-
|JA
|143
|Pièces d'après François Campion, for the organ
|
|}

== See also ==
[[Gerald Woehl Organ, St. Remigius, Viersen]], dedicated to Jehan Alain.

== Bibliography ==
[[Marie-Claire Alain|Alain, Marie-Claire]], "Notes critiques sur l'oeuvre d'orgue de Jehan Alain". Paris: Alphonse Leduc, 2001.

[[Wilhelm Hafner|Hafner, Wilhelm]], ''Das Orgelwerk von Jehan Alain (1911–1940) und sein Verhältnis zur Französischen Orgelmusik des 20. Jahrhunderts.'' Collection D'Études Musicologiques Sammlung Musikwissenschaftlicher Abhandlungen: Band 92. Baden-Baden: Verlag Valentin Koerner, 2000.

[[Helga Schauerte|Schauerte, Helga]], ''Jehan Alain (1911-1940) Das Orgelwerk: Eine monographische Studie.'' Kölner Beiträge zur Musikforschung 137. Regensburg: Gustav Bosse Verlag, 1983.

== References ==
[[Category:Persons|Alain, Jehan]]
[[Category:Composers|Alain, Jehan]]
[[Category:Organists|Alain, Jehan]]
[[Category:WVlist pages|Alain, Jehan]]

Jehan Alain

2026-07-22T18:00:42Z

Fiskfan1999: start a major rework and add Clement Jannequin section

[[File:Jehan Alain 1938.jpg|thumb|right|Jehan Alain in 1938]]
'''Jehan Alain''' (1911-1940)

''NOTE: this article was automatically generated from an entry submitted to '''wvlist.net'''. You can help add pictures and more information to this article!''

{{Stub}}

== Works ==
=== Variations sur un thème de Clément Jannequin ===
Alain's work, also called ''Variations Sur "l'espoir que j'ai d'acquérir votre grâce". Chanson de Clément Jannequin'', is mistakenly titled, as it is based on a work that is anonymous.

Jehan Alain had access to a 19th-century book ''Échos du temps passé'' compiled by [[Jean-Baptiste Weckerlin]] which contained a piece under this name attributed to [[Clément Jannequin]]. This piece transforms the piece into a solo aria with piano accompaniment which is almost identical to the first variation (theme) in Alain's work.

This chanson is found in two publications by [[Pierre Attaingnant]], one in 1529 (in parts) and another in 1531 (reduced to tablature score), both without a composer's name. The attribution to Jannequin is due to a musicological error by Weckerlin, as in 1529 the piece is placed immediately after another work attributed to Jannequin.<ref>Hafner, 268-269.</ref> Previously, musicologists assumed that anonymous pieces found after a piece with a composer's name were all written by that composer; however, this is now known to be an outdated assumption that is not always true.{{Citation needed}}

=== Catalogue ===
Alain's handwritten catalogue of his own works includes a skip from 102 to 113, due to mistaking the zero in 102 for a one.

{| class="wikitable"
|+ Jehan Alain's Catalogue of Works
|-
|JA
|1
|Quarante variations
|<score>{\time 2/4 \relative c'' { c16 d f8 c16 bes c8 g16 aes c8 g16 f g8 }}</score>
|-
|JA
|2
|Theme et cinq variations
|<score>{\time 5/8 \relative ees' { <eis b' dis>8 <e gis b>4 <ees g> <f a des>8 <e gis>4 <dis b> }}</score>
|-
|JA
|3
|Etude sur un theme de 4 notes
|<score>{\key g \major \time 6/8 << \relative fis' { fis4. e d } \\ \relative fis' { fis16 d eis cis d b_\markup{ \bracket { "etc." } } } >>}</score>
|-
|JA
|4
|Ecce ancilla Domini
|<score>{\key g \major << \relative e'' { e4 e f d e c d2*1/4 } \\ \relative c'' { r8 c b a r8 d,8 f b r8 a,8 e' g f } >>}</score>
|-
|JA
|5
|Seigneur, donne-nous la paix éternelle
|<score>{\partial 4 << \relative d'' { <d bes>4 ees8 bes8 4~4 aes bes4 } \\ \relative e' { <e g>4 <ees ges bes>2 <ges des' ges>4 } >>}</score>
|-
|JA
|6
|Versel
|<score>{\time 3/4 \clef bass \key d \major \partial 2 \relative cis { cis4 e fis dis fis gis e }}</score>
|-
|JA
|7
|Berceuse. Transcrip Piano
|<score>{<< \relative d''' { d4 a8 a c4 a } \\ \relative c'' { c16 f d a' c, f d a' c, ees d g c, ees d g } >>}</score>
|-
|JA
|8
|Chanson triste
|<score>{\time 9/8 \key ees \major \relative g' { g4 8~4. fis4. ees4 8 c2. }}</score>
|-
|JA
|9
|Petite Ballade
|<score>{\time 10/4 << \relative d' { d4 a'4. g8 a f g4 b8 c d4 } \\ \relative d' { s4 f8 g f e f d b a g a f } >>}</score>
|-
|JA
|10
|Etude sur des doubles notes
|<score>{\key g \minor \time 9/8 << \relative g' { \parenthesize r16 \tuplet 3/2 { g8[ a d] } s16 s4. \parenthesize r16 \tuplet 3/2 { g,8[ a d] } } \\ \relative f' { <f bes>8 <g c> <e' a> d a g <f bes>8 <g c> <e' a> } >>}</score>
|-
|JA
|11
|Lumiere qui tombe d'un vasistas
|<score>{\time 13/32 \relative des' { des32[ aes' bes c ees des f, aes' c, ees des f, c'] a,! e'! }}</score>
|-
|JA
|12
|Petite Rhapsodie
|<score>{\time 3/8 \key ees \major \relative a { a8\noBeam f''16 <ees g> <f bes>8 r8 f16 <ees g> <f bes>8 r8 ees16 <des f> <ees aes>8}}</score>
|-
|JA
|13
|Heurenrement la bonne fee sa marraine
|<score>{<< \relative bes' { \tuplet 3/2 { bes4 4 4 } c4 c <ees aes,>2 } \\ \relative des' { <des ees f>2 <c d e g> } >>}</score>
|-
|JA
|14
|Lamento
|<score>{\time 4/2 \key fis \minor \relative cis'' { cis4 bis e2 cis4 bis a2 cis4 }}</score>
|-
|JA
|76bis
|Berceuse pour orgue
|<score>{\relative d'' { d4 a8\noBeam a\noBeam c4 a bes a8\noBeam a\noBeam }}</score>
|-
|JA
|15
|Histoire sur des tapis
|<score>{\key ges \major \time 6/4 \partial 2. \relative aes { <aes ees'>4 <f' c'> <ees' bes'>\laissezVibrer r4 r r <aes,, ees'> <fes' ces'> <ees' bes'>\laissezVibrer }}</score>
|-
|JA
|16
|Melodie Sandwich
|<score>{\key ges \major \partial 2 \relative bes' { bes4 ces des ces bes ges aes }}</score>
|-
|JA
|17
|Des nuages gris a 7 voix
|<score>{\relative dis'' { \time 1/4 dis4 \time 2/4 cis4~8 ais gis16 ais fis8 dis4\laissezVibrer }}</score>
|-
|JA
|18
|Canons a sept
|<score>{\clef bass \key b \major \time 8/4 \relative fis, { fis4 cis' gis fis e dis e }}</score>
|-
|JA
|19
|Nocturne
|<score>{\time 3/4 << \relative bes' { bes4. aes8 g aes bes c bes4 des\laissezVibrer } \\ \relative c' { c2.~c2. } \\ \relative e' { <e! ges>4 <d f>2 <e ges>4 <d f>2 } >>}</score>
|-
|JA
|20
|Pour le defrichage
|<score>{\key cis \minor \time 3/4 \relative gis' { r16 gis gis' gis,~gis gis gis' gis,~gis gis gis' gis,~gis g gis'? s16 fis,2 }}</score>
|-
|JA
|21
|Togo
|<score>{\time 8/4 \relative b { r8. b16 e8. b16 fis'8. d16 a8. d16 b8. fis16 \tuplet 3/2 { a8 d gis } }}</score>
|-
|JA
|22
|En devissant
|<score>{\time 6/2 << \relative c'' { c2~4 b a g f g a2 } \\ \relative c' { s2 c2~4 b a } \\ \\ \relative e' { s2 s2 e2 } >>}</score>
|-
|JA
|23
|26 September 31
|<score>{\time 3/8 << \relative c''' {\autoBeamOff <c~ e,>8 <c ees,>4 <bes~ d,>8 <bes des,>4 <c~ e,>8 <c ees,\=1(> <dis,\=1) b> } \\ \relative a' {\autoBeamOff <a! c!~>8 <aes c>4 <g bes~>8 <ges bes>4 <a c~>8 <aes c> <fis b,>} >>}</score>
|-
|JA
|24
|Ballade a Fr. Villon
|<score>{\time 8/4 \relative d'' { d8^-[ f f^- a a^- b b^- f d a' f^- b a^- f b b^-] des,[^- f f^-] }}</score>
|-
|JA
|25
|Chorale et variations (a ~Doudon~)
|<score>{\key cis \minor \time 9/4 \relative cis' { cis4 gis'2 \breathe gis4 a b2 a4 }}</score>
|-
|JA
|26
|Variations chorales sur sacris solemnis
|<score>{\clef soprano \key d \minor \time 9/4 \relative d' { d4 a' bes a2 a4 b c }}</score>
|-
|JA
|27
|Variations pour orgue sur Lucis Creator
|<score>{\time 16/4 \relative g' { g4 a c c c8 b a g c4 d b8 a }}</score>
|-
|JA
|28
|Fugue du mode de fa
|<score>{\clef bass \time 3/4 \relative f { f8 g f2 f8 g f2 f8 g }}</score>
|-
|JA
|29
|Postlude pour l'office de complies
|<score>{\time 13/8 \relative f'' { f8[ f g f ees f g g f ees f f^-] g[ bes] }}</score>
|-
|JA
|30
|un cercle d'argent
|<score>{\time 11/8 \relative e'' { <e c'>8 <ees aes>[ <e c'>] <ees aes>[ <d bes'>] <cis e>[ ] e,,[ <f' a>] }}</score>
|-
|JA
|31
|Romance
|<score>{\time 12/8 << \relative ees'' { ees4. d! c~ \tuplet 2/3 {c8 d} } \\ \relative bes' { r8 bes ges f a f e a! e a,[ e'] }>>}</score>
|-
|JA
|32
|Grave
|<score>{\clef bass \key cis \minor \relative fis, { fis2 cis4 e a2 g\laissezVibrer }}</score>
|-
|JA
|33
|Petite prelude variations et choral pour orgue (written in pencil: Petite piece pour orgue)
|<score>{\time 6/8 \partial 4. \key g \minor \relative g' { <ges bes ees>8 <aes c f> <ges bes ees> <bes ees ges>4 <ges bes ees>8 <f bes d>4 <ees aes c>8\laissezVibrer }}</score>
|-
|JA
|34
|Cantique en mode phrygien
|<score>{\time 8/4 << \relative a' { a8 g a4~2 a8 b c d \tuplet 3/2 { c8 b a } } \\ \relative d' { s2 d8 c d4 <e a,>4 } >>}</score>
|-
|JA
|35
|O quam suavis (motet) pour baryton
|<score>{\autoBeamOff \key a \major \relative e' { R1 r2 e4 fis8 gis a[ b] } \addlyrics { O quam su -- a __}}</score>
|-
|JA
|36
|Mme Husson
|<score>{\key bes \major \partial 2. \relative e' { <ees g bes>4( <f, bes d>) <ees' g bes>( <f a c> <g, bes d>) <bes' d f>( <f a c>) }}</score>
|-
|JA
|37
|Chant donne
|<score>{\key e \minor \time 3/4 \relative b' { b2 a4 b2 a4 b2 }}</score>
|-
|JA
|38
|Complainte a la mode ancienne (pour [illegible])
|<score>{\time 4/2 \partial 2 \relative d' { d2 f g a f bes1 a2 }}</score>
|-
|JA
|39
|Chanson a Gouche fermee
|<score>{\partial 2 \relative g' { g4 a g bes g2~g8 a g a }}</score>
|-
|JA
|40
|Une scie!
|<score>{\key des \major \time 5/4 \relative bes' { bes4^- 4^- 4^- bes8^- aes4. c8^- bes2^- }}</score>
|-
|JA
|41
|Il pleuvra toute la journie
|<score>{\partial 4 \key g \major \relative cis' { cis16 d cis bis cis e a fis g bes ees c cis[ e!] }}</score>
|-
|JA
|42
|sur le mode re me fa sol-flat la-flat, si-flat-flat, do
|<score>{\time 3/4 \partial 4. \clef bass \relative d { \set Staff.keyAlterations = #`((6 . ,FLAT)(6 . ,FLAT) (2 . ,FLAT) (5 . ,FLAT) (1 . ,NATURAL) (4 . ,FLAT)) d8 d ees d4 ees8 f ges }}</score>
|-
|JA
|43
|Adagio pour Cello et Piano
|<score>{\key aes \major \time 12/16 \clef bass \relative c { c8.~[ 16 b d] g8 f16 aes8 b16 e4~ }}</score>
|-
|JA
|44
|Amen
|<score>{\time 3/4 << {a'2.} \\ \relative e' { e8 f4 e8 d4 } >> \time 4/4 <e' g'>1^\fermata << \relative a' { a4^"Tres leul" bes4*1/2 } \\ \relative f' { f8 g4 } >>}</score>
|-
|JA
|45
|un tres vieux motif
|<score>{\time 3/4 \key bes \major \relative ees'' { ees2 d4 bes g a }}</score>
|-
|JA
|46
|Postscriptum
|<score>{\relative g' { r4 g bes a c2.\laissezVibrer } \addlyrics { "j'ai" ou -- bie __ }}</score>
|-
|JA
|47
|Fantasie pour 3 voix mixtes a gouche fermie
|<score>{\time 8/4 \relative c' { c4 g'2. aes4 bes c }}</score>
|-
|JA
|48
|Theorie
|<score>{\relative b { \key d \major \time 3/4 b8 a b4 cis \time 5/4 d8 cis d4 e fis }}</score>
|-
|JA
|49
|Le gai liseron
|<score>{\time 3/4 << \relative f'' { f4 d4. c8 b d bes4 } \\ \relative fis' { r4 r4 fis g d } >>}</score>
|-
|JA
|50
|Sonata
|<score>{\time 4/2 \key d \major << \relative b' { b1 b2 cis d } \\ \relative fis' { fis4 e fis g d g e a b a } >>}</score>
|-
|JA
|51
|Mephisto
|<score>{\key ees \major \clef bass \time 3/4 \relative g, { g8[ d'] bes'8[ 8] 8[ 8] aes8[ d,] d }}</score>
|-
|JA
|52
|La peste
|<score>{\clef bass \key fes \major \time 2/4 \voiceOne \partial 8 aes8 \repeat unfold 3 { <ges des'>8[ <fes ces'>] }}</score>
|-
|JA
|53
|Exposition
|<score>{\clef tenor \relative e' { e4 e e a, f'2. e4 d }}</score>
|-
|JA
|54
|Sujet
|<score>{\clef tenor \key aes \major \time 3/4 \relative c' { c4 f, des' \time 4/4 c8 bes c4 bes }}</score>
|-
|JA
|55
|Comme quoi [les projets les plus belliqueux]
|<score>{<< \relative a' { r8 a\noBeam e' a, gis eis] gis[ eis] r8 a\noBeam e' a, } \\ \relative g' { g1 g2 } >>}</score>
|-
|JA
|56
|Le bon Roi Dagobert
|<score>{\clef bass \key b \major \time 3/4 \relative dis' { dis4 2 cis4 2 }}</score>
|-
|JA
|57
|Fugue pour orgue
|<score>{\clef bass \time 1/4 \partial 16 \relative c, { c16 ees f fis a b8. bes16 }}</score>
|-
|JA
|58
|Laisse les nuages (F. [Jammes?]) pour Soprano ou Tenor
|<score>{\key des \major \time 2/4 \relative des'' { des4~ \tuplet 3/2 { des8 c bes } des8 c4 } \addlyrics { Lai -- sse les nua -- ges}}</score>
|-
|JA
|59
|Histoire d'un hommes
|<score>{\time 7/8 \relative b { r8 b fis'8.[ 16] 8 cis4\laissezVibrer }}</score>
|-
|JA
|60
|C'est moi le marchand pous voix de composites
|<score>{\partial 4 \clef bass \relative ges { ges8 8 4 4 4 4 } \addlyrics { c'est moi le mas -- chaud }}</score>
|-
|JA
|61
|Canon pour piano et harmonium
|<score>{\time 3/4 \relative a' { a2 bes4 a2 bes4 a2 g4 }}</score>
|-
|JA
|62
|de Jules Lemaitre
|<score>{\key ges \major \relative des' { des2. ces4 des2. ces4 }}</score>
|-
|JA
|63
|Fantasmagorie pour orgue
|<score>{\key fis \minor \relative gis'' { gis8 fis gis a b4 a8 gis fis eis }}</score>
|-
|JA
|64
|"Wieder an" pour piano
|<score>{\key f \major \relative f' { f4 e8 e d8. d16~16 c d bes }}</score>
|-
|JA
|65
|"Und jetzt" pour piano
|<score>{\time 16/8 \relative a' { \tuplet 2/2 { a8[ b~] } \tuplet 3/2 { b8 a b} \tuplet 3/2 { cis4 d8 } cis4. \tuplet 3/2 { b8 cis d } }}</score>
|-
|JA
|66
|Intermezzo pour 2 pianos et basson
|<score>{\key aes \major \time 12/8 \partial 4. \relative bes' { r8 bes8 c bes ees c des bes c bes c des }}</score>
|-
|JA
|67
|Choral Dorien
|<score>{\time 9/4 \relative g' { g4 a b b2. g }}</score>
|-
|JA
|68
|Choral phrygien
|<score>{\clef bass \time 4/2 \relative a { a2 d c a a b }}</score>
|-
|JA
|69
|Variations pour orgue
|<score>{\time 5/4 \key ees \major \relative d'' { d4 c ees d c bes4. c8 }}</score>
|-
|JA
|70
|Scherzo pour orgue
|<score>{\key gis \minor \time 2/4 \relative dis' { dis8 d cis bis b ais cis dis }}</score>
|-
|JA
|71
|Le jardin suspendu pour orgue
|<score>{R1 << \relative bis' { bes4 a } \\ \relative ees' { ees4 d } \\ {g'2} >> << \relative g' { g4. a8 } \\ \relative c' { <c e>2 } >>}</score>
|-
|JA
|72
|Fantaisie pour illutrer un quatrain d'omar [illegible] pour orgue
|<score>{\time 6/4 \relative d'' { <d f a>1 <gis, cis eis>8 <d' f a>4 <gis, cis e>8 <f b dis>4 }}</score>
|-
|JA
|69bis
|Andante varie pour quintette a cordes
|<score>{\time 5/4 \key ees \major \relative d'' { d4 c ees d c bes4. c8 }}</score>
|-
|JA
|73
|Andante pour flute et piano
|<score>{\time 3/4 \partial 2 \key e \major \relative gis'' { gis4 ais b gis fis gis2 }}</score>
|-
|JA
|74
|Allegretto con grazia flute et piano
|<score>{\time 6/8 \key e \major \partial 4. \relative gis' { gis8 8 8 8 fisis b gis g fis }}</score>
|-
|JA
|66bis
|Intermezzo transail pour orgue
|<score>{\key aes \major \time 12/8 \partial 4. \relative bes' { r8 bes8 c bes ees c des bes c bes c des r8 }}</score>
|-
|JA
|75
|Prelude a la fugue en ut No. 10 pour orgue mime cahier No. 57 du catalogue. 1er etat - Definitif a [illegible] avec la fugue
|<score>{\key ees \major \partial 2. << \relative f'' { f4 g4 a8 bes c4. d8 bes2*1/2 \bar "" } \\ \relative des'' { des4 c8 f ees des fis gis e4. d8 } >>}</score>
|-
|JA
|76
|Nocturne pour piano
|<score>{\key aes \major \time 6/8 << \relative des'' { s2. des4.~4 eeses8 \bar "" } \\ \relative ees' { ees4.~ <ees f>4.~4.\laissezVibrer } >>}</score>
|-
|JA
|77
|Deux Danses a Agni Yavishta pour orgue [1/2]
|<score>{\time 3/4 \relative b' { b8 d cis d e4 d8 cis d16( cis b8) b cis }}</score>
|-
|JA
|78
|Deux Danses a Agni Yavishta pour orgue [2/2]
|<score>{\time 3/4 \partial 2 \relative b { 8( <cis e>) <cis e>( <d f>) <cis e>16( <cis e>8 4) r4 }}</score>
|-
|JA
|79
|Climat pour orgue
|<score>{\time 6/8 << \relative e'' { e4. d e cis e4 } \\ \relative e'' { e8 f e d e d e f e cis e cis e[ f] } >>}</score>
|-
|JA
|80
|Monodie pour orgue (written in pencil: 1ere piece: animato / Suite monodique pour piano)
|<score>{\partial 2 \relative g' { g8 c a d bes4 aes8 g f16 g aes8 f e }}</score>
|-
|JA
|81
|Andante pour piano (written in pencil: illegible)
|<score>{\key g \minor << \relative f' { f8( d8 d4 g2) f8\noBeam( d)} \\ \relative bes { bes4 c16 c bes8 c d~4 bes4 } >>}</score>
|-
|JA
|82
|Chorale majeur pour orgue
|<score>{\time 3/1 \partial 1 \key aes \major << \relative ees'' { ees1~1 c des ees bes\breve\laissezVibrer } \\ \relative c' { c1~1 ees bes c des\breve } \\ \relative aes' { aes1 g\breve~1~\breve f1 } >>}</score>
|-
|JA
|81bis
|Largo assai ma moldo rubato: Cello
|<score>{\clef tenor \key bes \major \relative f' { f8 d c16 c bes8 c d8~4 \clef bass f,8[ d] }}</score>
|-
|JA
|83
|O salutasis de Dugay
|<score>{\key g \major \time 10/2 << \relative g' { g2 b a b c b a2. g4 2 } \\ \relative d' { d2 e1 d2 g4 a b d, e2 d4 c b c } >>}</score>
|-
|JA
|84
|Quand Marion
|<score>{\key e \major << \relative e'' { e4 dis8 cis b4 b cis dis e b e dis8 cis } \\ \relative e' { e2 2 2 2 2 } >>}</score>
|-
|JA
|85
|Nous n'irons plus an bois
|<score>{\key ees \major \relative ees' { \partial 4. ees8 g aes bes4 ees bes8 c bes aes }}</score>
|-
|JA
|86
|Berceuse pour piano
|<score>{\key fis \major \partial 4 \relative gis' { gis8 gis ais ais b b ais4 gis8 8 }}</score>
|-
|JA
|87
|Prelude en ut maj. pour piano
|<score>{\partial 4 \relative c' { s32 c32 d fis a c ees aes c4. c8 \grace bes16 c4. \tuplet 3/2 { bes16 c d } }}</score>
|-
|JA
|88
|Chanson pour soprano [Rydyan Kaypling?]
|<score>{\partial 2 \relative gis' { r4 r8 gis8 4~4 \tuplet 3/2 { gis8 8 8 } gis4 } \addlyrics { un soir chau -- re sou -- ris }}</score>
|-
|JA
|89
|Monodie pour piano
|<score>{\key g \major \time 8/4 \relative c'' { c2 e,4 fis2 c'}}</score>
|-
|JA
|89bis
|Transcript pour orgue de la presidente
|<score>{\time 9/4 \relative c'' { \key g \major r4 c r e, fis r c'2 }}</score>
|-
|JA
|90
|Complainte du Jean Rinand (harm. 4 voix)
|<score>{\time 6/8 \autoBeamOff \key fis \minor \partial 4. \relative fis' { fis8 8 8 cis'4 8 e[ d] cis }}</score>
|-
|JA
|91
|Pour piano (Tarass Boulba)
|<score>{\time 5/8 \partial 8 \relative e'' { e8 <dis bis> e, e' <dis bis> e, \time 6/8 <aes f>[ b,] }}</score>
|-
|JA
|92
|Final sur une Sonatine facile pour piano
|<score>{\key g \minor << \relative g' { g4 d' cis c bes a8 g } \\ \relative g { g8 g' fis g f g ees g d ees c bes }>>}</score>
|-
|JA
|93
|Barcarolle facile pour piano
|<score>{\time 6/8 \key d \major \relative d'' { d4. d d8. e16 d8 cis d16 e d cis }}</score>
|-
|JA
|94
|Invention a 3 voix pour flute hautbois et clarinette
|<score>{\time 12/8 \key ees \major \relative f' { s8 f g aes d, f c aes' bes ces f, aes \bar "" }}</score>
|-
|JA
|95
|Vocalia dorienne pour [illegible] et [il.]
|<score>{\relative a' { a2 f' d c d1 \bar "" }}</score>
|-
|JA
|96
|Fauxbordon pour le laudate du 6 ton a 3 voix egales
|<score>{\key des \major \time 14/4 \relative des' { <des f aes>\breve <f aes des>4 <ees ges c> <des f des'> } << <ees' aes'>2 \\ { des'4 c' } >>}</score>
|-
|JA
|97
|Un petit Jesus s'en ra a l'ecole facile pour piano
|<score>{\key des \major \relative f'' { \partial 4 f8 8 4 ees des ees8 8 }}</score>
|-
|JA
|98
|O salutaris [illegible] facile pour 2 voices egales a capella
|<score>{\key a \major << { \relative b' { b1~4 a } \addlyrics { O -- sa } } \\ \relative e' { r2 e2 4 4 } >>}</score>
|-
|JA
|99
|Idee pous improvite
|<score>{\time 5/4 << \relative g'' { <g d'>2. <fis cis'>4 <g d'> <gis e'>2 } \\ \relative b' { b2. 4 4 2 } >>}</score>
|-
|JA
|100
|Idee idem
|<score>{\time 7/8 \relative gis' { <gis cis,>8 <fis d>4 <a cis,>8\noBeam <gis bis,> <fis d>4 }}</score>
|-
|JA
|101
|Noel nouvelle harmonise a 3 voix (scribbled)
|<score>{\key f \major << \relative g' { g4 d' e c d2 bes \bar "" } \\ \relative g' { g4 bes g a bes a g f } >>}</score>
|-
|JA
|102
|que j'aime ce divin Enfant pour 3 voix
|<score>{\time 3/4 \partial 4 \key g \minor << \relative g' { g4 bes2 a4 g2 d'4 bes2 } \\ \relative d' { r4 r4 d f2 ees4 d2 g4 } >>}</score>
|-
|JA
|113
|Douvien vient qu'en cette nuitee a 2 voix egales
|<score>{\key d \major \partial 2 << \relative a' { a4. g8 fis4 a g fis } \\ \relative d' { r4 r4 d4. cis8 b4 d } >> \bar ""}</score>
|-
|JA
|114
|Noel pour Radicaux a 1 voix
|<score>{\time 6/8 \key g \major \partial 2 \relative b' { b8 4 a8 b4 8 4 8 4 } \addlyrics { A Per No -- el ras -- se ra -- til }}</score>
|-
|JA
|115
|Transcript du Ricit de Nazard Clarambault [pour] flute et orgue
|<score>{\time 12/8 \partial 1 \relative d'' { s8 d g a bes\noBeam a g^\trill fis\noBeam \grace fis8 g4 }}</score>
|-
|JA
|116
|Vivace - 3a piece du la Suite pour piano
|<score>{\time 10/4 \relative d' { r8 d[ ees ges] aes4\fermata d,8[ ees ges aes] b![ aes ges ees d] c4 }}</score>
|-
|JA
|117
|2e Fantaisie pour orgue
|<score>{\key g \major \time 6/8 << \relative fis'' { r4 r8 fis8 gis a b4. a4 gis8 } \\ \relative b' { b2.~4. a } >>}</score>
|-
|JA
|118
|Variations pour orgue sur theme du Clement Jannequin
|<score>{\key g \minor \relative g' { g2 4 4 f2 g a4 f g a bes2 }}</score>
|-
|JA
|119
|Litanies pour orgue
|<score>{\key bes \minor \time 15/8 \relative ees' { ees8[ ees f] ges[ f ees des c] ees[ des f ees gis f] }}</score>
|-
|JA
|120
|3 Dances pour orchestre
|<score>{\time 18/6 \clef bass \key bes \major \relative bes, { bes4_> 8~_>4 g8 ces4_> 8 bes_> ces bes r8 g4_> aes8 }}</score>
|-
|JA
|120bis
|Dance [illegible] une mimoire heroique
|<score>{\time 9/16 \clef bass \key aes \major \relative f, { f16 8[ ges] a[ bes] \time 3/4 c8.\noBeam c16\noBeam c8[ des] c[ bes] \bar "" }}</score>
|-
|JA
|121
|Marche du St Nicolas pour Clairons tambour et orgue
|<score>{\key bes \major \relative f' { \partial 4 f8. 16 bes2. f8. 16 bes2. f8. 16 \bar "" }}</score>
|-
|JA
|122
|Tantum ergo pour 2 voix egales ([illegble])
|<score>{\time 5/4 \relative e' { r4 r4 <e e'>2 4 r4 <dis dis'>4 <cis cis'> <dis dis'> <cis cis'>8 <dis dis'> } \addlyrics { Tan -- tum er -- go ta -- cra __ }}</score>
|-
|JA
|123
|Tu es Petrus a 3 voix egales
|<score>{\clef bass \partial 2 \key d \major \relative a { a4 d, b'8[ a] b[ cis] d4 }}</score>
|-
|JA
|124
|Messe gregorienne de mariage avec
|<score>{\time 8/8 \relative g' { r8 g[ a] g[ f g] a[ g] } \bar "||" s2}</score>
|-
|JA
|125
|Messe de Requiem repla du gregorien a 4 voix mixtes
|<score>{\time 16/8 << { \relative a' { a4. g4 c8 4. d c } \addlyrics { Ky -- - -- ri e } } \\ \relative c' { c4. d4 e8 e a4 bes8.[ a16 g f] e8[ f] } >>}</score>
|-
|JA
|126
|Fragment cantata Bach Erchallet ihr Lieder 2 Trompette et orgue
|<score>{\time 3/8 \partial 8 << \relative g' { g8 c8 r c16 d e8 r8 e16 f g8 } \\ \relative c' { c8 e8 r8 g16 g c8 r8 c16 d e8 } >>}</score>
|-
|JA
|127
|Allegro du concerto en sol majere Handel 2 Trompette et orgue
|<score>{\key g \major \partial 8 \relative g'' { g8 fis e d c b d a d g, a b c }}</score>
|-
|JA
|128
|Concerto en si Handel. 2 Trompette et orgue
|<score>{\key bes \major \relative bes' { bes4.^\mordent r16 f bes8. 16 d8. bes16 f'4^\mordent }}</score>
|}

=== Posthumous additions<ref>[https://web.archive.org/web/20160213224757/http://www.jehanalain.com/works.jsp?lang=en], accessed 26 August, 2023. Archived at [http://ftp.williamrehwinkel.net/archives/www.jehanalain.com%20works.jsp%20.txt ftp.williamrehwinkel.net]</ref> ===
{| class="wikitable"
|-
|JA
|129
|Lettre à son amie Lola pour la consoler d'avoir attrapé la grippe, for the piano
|
|-
|JA
|130
|Adagio, for the piano
|
|-
|JA
|131
|Variations sur un thème donné de Rimsky-Korsakov, for four voices
|
|-
|JA
|132
|Chant nupital, for baritone and organ
|
|-
|JA
|133
|Fugue sur un sujet de Henri Rabaud, for four voices
|
|-
|JA
|134
|Choral cistercien pour une Élévation, for the organ
|<score>{\key e \minor \time 5/4 << \relative e'' { e4( b cis) e2 } \\ \relative e' { e2.~2 } \\ \relative g' { g4 e2 g } \\ \relative b' { b4 g a b2 } >>}</score>
|-
|JA
|135
|Monodie, for the organ or the piano
|<score>{\relative ees' { \cadenzaOn ees4. d8 f8[ ees f] g[ f]\laissezVibrer }}</score>
|-
|JA
|135A
|Monodie, for the flute
|
|-
|JA
|136
|Messe modale en septuor, for soprano, the alto, the flute and string quartet or the organ
|
|-
|JA
|137
|Prière pour nous autres charnels
|
|-
|JA
|138
|Aria, for the organ
|<score>{\key c \minor \time 7/8 \relative d'' { \partial 4. <d a f>4 <ees b g>8 <c g ees>4 <g ees c> <d' a f> <ees b g>8}}</score>
|-
|JA
|139
|L'année liturgique israëlite, for the organ
|
|-
|JA
|140
|Tantum ergo, for soprano, baritone and the organ
|
|-
|JA
|141
|Salve, virilis pectoris, for soprano, tenor and the organ
|
|-
|JA
|142
|O salutaris, for soprano and the organ
|
|-
|JA
|143
|Pièces d'après François Campion, for the organ
|
|}

== See also ==
[[Gerald Woehl Organ, St. Remigius, Viersen]], dedicated to Jehan Alain.

== References ==
[[Marie-Claire Alain|Alain, Marie-Claire]], "Notes critiques sur l'oeuvre d'orgue de Jehan Alain". Paris: Alphonse Leduc, 2001.

[[Wilhelm Hafner|Hafner, Wilhelm]]. ''Das Orgelwerk von Jehan Alain (1911–1940) und sein Verhältnis zur Französischen Orgelmusik des 20. Jahrhunderts.'' Collection D'Études Musicologiques Sammlung Musikwissenschaftlicher Abhandlungen: Band 92. Baden-Baden: Verlag Valentin Koerner, 2000.

[[Category:Persons|Alain, Jehan]]
[[Category:Composers|Alain, Jehan]]
[[Category:Organists|Alain, Jehan]]
[[Category:WVlist pages|Alain, Jehan]]

Warsaw Musical Society Tablature

2026-07-22T15:52:48Z

Fiskfan1999: new facsimile link location

[[File:Wms4.jpg|thumb|right|The title page of the manuscript, from the photographs made of the manuscript]]
The '''Warsaw Musical Society Tablature''' (also called '''Łowicka tabulatura organowa''') is a tablature, apparently dated ~1580, that was housed by the Warsaw Musical Society. It was destroyed in WWII, but photographs of the manuscript were ordered by [[Willi Apel]].

Around July 2023{{Citation needed}}, the photographs taken of the manuscript, being held at Harvard University, were made available online.

{{Stub}}

== Description ==
[[File:Wms 150.jpg|thumb|right|A page from the tablature]]
Many aspects of the manuscript are not known, both because of how it first became known to musicologists and it's destruction in World War II. The manuscript was given to the Warsaw Musical Society by [[Aleksander Poliński]], but he did not know or say where it was found. The musicologist [[Melania Granczyńska]] stated that the manuscript was dated to the year 1580, but did not say how she determined this. The photographs taken of the manuscript to not have a visible year, either 1580 or any other. It has been theorized by [[Jerzy Gołos]] that this manuscript could be connected with a manuscript in the town of ''Łowicz'' which was given or taken away by an unknown person{{Citation needed}}.

As for the question of attribution, there is no full composer's name visible. However, some initials that are located in the manuscript have been linked with several 16th-century Polish court composers. Each initial appears one time, except for J.S. which appears three times.

{| class="wikitable"
|-
| [[File:Wms js.jpg]] [[File:Wms js2.jpg]] [[File:Wms js3.jpg]] || J.S. || [[Jakub Sowa]]
|-
| [[File:Wms dccsrm.jpg]] || D.C.C.S.R.M. Musici Cap. Mag. || [[Krzysztof Klabon]]
|-
| [[File:Wms mw.jpg]] || M.W. || [[Marcin Wartecki]]
|-
| [[File:Wms ml.jpg]] || M.L. || [[Marcin Leopolita]]
|}

It has been theorized that Sowa was the scribe of the pieces marked J.S. (and by extension the rest of the manuscript, because the same hand can be seen throughout) because the initials appear in "monogrammatic form". Klabon was the master of the chapel of King Stefan Batory from 1576-1586, the fact that this title "Cap. Mag." is referenced suggests that the manuscript was written during this time.

One matter of debate is wether the pieces in this manuscript are compositions written for the organ or if they are transcriptions ([[intabulations]]) of choral works. The latter opinion was stated by [[Zdzisław Jachimecki]], but [[Otto Gombosi]] stated otherwise, as it was found that many of the compositions are written to be performed in [[alternatum]] (for example, the Magnificat settings are set so that alternating verses starting with verse 1 are played on the organ).

== References ==
Online facsimile: [https://nrs.lib.harvard.edu/URN-3:FHCL.LOEB:103274534:VIEW?n=1 nrs.lib.harvard.edu] accessed 22 July, 2026. Mirrored: {{IMSLP|869460}}

''The organ tablature of Warsaw Musical Society.'' [[Antiquitates musicae in Polonia]] vol. 15. Warsaw: Warsaw University Press, (1976?)

[[Category:Manuscripts]][[Category:Polish Manuscripts]][[Category:Renaissance manuscripts]][[Category:Renaissance]]

Johann Bahr

2026-07-22T15:44:43Z

Fiskfan1999:

[[File:BahrOLux.jpg|thumb|right|The autograph manuscript of ''O Lux beata Trinitas'' from the [[Visby Tablature]]]]
'''Johann Bahr''' (1610?-1670) was a German-Swedish organist and composer. The only surviving compositions by him were written by him in the [[Visby Tablature]].

<blockquote> Bahr performed an important role as an intermediary between the north German music tradition and Gotland’s music life during the island’s first years as a part of Sweden.<ref>"Johann Bahr (ca 1610−1670)" [https://swedishmusicalheritage.com/tonsattare/bahr-johan/ swedishmusicalheritage.com], accessed 24 August, 2023.</ref></blockquote>

== Life ==
Bahr was probably born in Schleswig around 1610. He traveled to Visby in 1630 (he had come into the possession of the [[Visby Tablature]] before this). He became the substitute organist at [[Visby Cathedral]] sometime in the 1630s, and in 1638 he was promoted to organist after the death of [[David Herlicius]]. He passed away in June 1670.

== Works ==
In addition to two vocal cantatas in the same manuscript (''Concert a 4 voce: So Ziehet Hin'' f.81v-82r, ''Concert a sola voce: Befiehle Dem Herren Deine Wege'' f.82v-83r), Bahr copied two of his organ compositions into the [[Visby Tablature]].

{| class="wikitable"
|-
! Source !! Title !! Incipit !! Notes !! Ref.
|-
| [[Visby Tablature]] f.37v-39r
|A 4. Voc. / Magnificat / octavi toni / In Basso. / Johan Bahr.
|<score>\relative d' { \clef alto \time 4/2 d1 e <<{ d2 g2\laissezVibrer } \\ g,1 >> }</score> Secundus / Versus / auff / 2 Clavir. <score><< \relative d' { \time 4/2 \clef alto R\breve r1 d1*1/4 } \\ \relative g { g1 a g2 c2~4 } >></score> Tertius Versus / a 3. Voc: / In Basso. / Joh: Bahr. <score><< \relative g' { \time 4/2 \clef alto r2 r8 g a g c2 } \\ \relative g { g1 a2 } \\ \relative g' { e8\rest g a g d2 r8 d e fis } >></score>
|
|<ref>[https://sok.riksarkivet.se/bildvisning/J0000003_00030 sok.riksarkivet.se], accessed 15 August, 2023.</ref><ref>Rehwinkel, William (editor), "Johann Bahr: Magnificat Octavi Toni." 2023. [https://ftp.williamrehwinkel.net/scores/early/files/bahr_magnificat_8_toni.pdf ftp.williamrehwinkel.net], accessed 25 September, 2023.</ref>
|-
| [[Visby Tablature]] f.78v-82r
| I.N.I. / O Lux beata / Trinitas. / auff zweÿ Clavir. / Johann Bahr.
|<score>\relative e' { \clef alto << { \time 4/2 e1 d2 c b c } \\ { r1 r2 a g f4 e } >> }</score>
| ''At end:'' Anno 1655 / Die / 20. Martz Wisbüens
|<ref>[https://sok.riksarkivet.se/bildvisning/J0000003_00071 sok.riksarkivet.se], accessed 15 August, 2023.</ref><ref>Rehwinkel, William (editor), "Johann Bahr: O Lux beata Trinitas." 2023. [https://ftp.williamrehwinkel.net/scores/early/files/bahr%20O%20Lux%20beata%20Trinitas.pdf ftp.williamrehwinkel.net], accessed 25 September, 2023.</ref>
|}

Bahr placed his setting of the ''Magnificat Octavi Toni'' immediately adjacent to the setting by [[Hieronymus Praetorius]] and his chorale fantasia within the area of the manuscript dedicated to the anonymous chorale settings. Therefore, [[Klaus Beckmann]] noted that it seems that Bahr had intended to neatly organize his pieces in the manuscript ''genre by genre'' (and ''tone by tone''), instead of in random positions. For this reason, one can not conclude that the ''Magnificat Octavi Toni'' was written much earlier than ''O Lux beata Trinitas'' simply based on its position.

The Magnificat by Bahr has been described by [[Willi Apel]] as ''nothing of particular interest;'' On the other hand, ''O Lux beata Trinitas'' was described as ''a noteworthy early example of the extended chorale fantasy replete with echoes and echo-like sound effects.''<ref>Apel, 1972.</ref>

[[Klaus Beckmann|Beckmann]] said that Bahr's setting of the ''Magnificat Octavi Toni'' (which could possibly be dated to the same time as ''O Lux beata Trinitas'') was evidence that the Hamburg-model of the [[Magnificat]] setting (from around 1605, represented by [[Hieronymus Praetorius]]) had been retained to as late as 1650, even though the first verse had shifted from a tenor- to a bass cantus firmus. It seems like Bahr (and perhaps the other organists in Visby) continued to model their church music after their masters from 50 years before.<ref>Beckmann, 2009. 499-500.</ref>

For ''O Lux beata Trinitas'', Beckmann noted that there was a clear attempt to create a varied collection of different textures and sounds, but this attempt fell short by high repetitions of some motifs and writing styles and the complete lack of other techniques, such as the cantus firmus appearing in the alto and tenor. This points to an unfortunately low level of compositional competence compared with other well-known composers in the [[North German Organ School]].<ref>Beckmann, 2009. 501.</ref>

== Editions ==
The first edition of the ''Magnificat Octavi Toni'' was in the second volume of the dissertation on Magnificat Settings by [[Gordon Harold Farndell]] (see references). An excerpt of ''O Lux beata Trinitas'' appeared in [[Willi Apel]]'s book on ''The History of Keyboard Music to 1700.''

All four pieces by Johann Bahr in the [[Visby Tablature]] were published in [[Jeffery Kite-Powell]]'s investigation and critical edition.

== Links ==
[https://imslp.org/wiki/Category:Bahr,_Johann Category:Bahr,_Johann] on IMSLP

== References ==
[[Willi Apel|Apel, Willi]], ''The History of Keyboard Music to 1700,'' translated by Hans Tischler. Bloomington: Indiana University Press, 1972. 350, 380-381.

{{NdS2 2009}} 499-501.

[[Gordon Harold Farndell|Farndell, Gordon Harold]]. ''The development of organ Magnificat settings as found in representative German composers between 1450 and 1750.'' Dissertaion: The University of Michigan, 1966. UMI 66-14,516.

[[Jeffery Kite-Powell|Kite-Powell, Jeffery T.]], ''The Visby (Petri) Organ Tablature: Investigation and Critical Edition.'' Wilhelmshaven: Heinrichshofen's Verlag, 1979.

{{Grove2|Bahr, Johann|Jeffery T. Kite-Powell|2|486}}

[[Category:Persons|Bahr, Johann]]
[[Category:Composers|Bahr, Johann]]
[[Category:Baroque Composers|Bahr, Johann]]
[[Category:Organists|Bahr, Johann]]
[[Category:Baroque|Bahr, Johann]]
[[Category:Norddeutsche Orgelschule|Bahr, Johann]]
[[Category:WVlist pages|Bahr, Johann]]

Template:Grove2

2026-07-22T15:43:20Z

Fiskfan1999: Category

{{{2}}}, "{{{1}}}," in The New Grove Dictionary of Music and Musicians, eds. Stanley Sadie and John Tyrrell (London: Macmillan, 2001), Volume {{{3}}}: {{{4}}}.[[Category:New Grove Dictionary of Music and Musicians Citations]]
<noinclude>
<templatedata>
{
"params": {
"1": {
"label": "Title",
"description": "Title of the article (usually the person's name)",
"example": "Bahr, Johann",
"type": "string",
"required": true
},
"2": {
"label": "Author's name",
"description": "The author of the article",
"example": "Jerrery T. Kite-Powell",
"type": "string",
"required": true
},
"3": {
"label": "Volume",
"description": "The volume of the printed edition",
"example": "2",
"required": true
},
"4": {
"label": "Page",
"description": "Page number in the printed edition",
"example": "486"
}
},
"description": "For citations from the printed edition of the New Grove Dictionary of Music and Musicians",
"paramOrder": [
"1",
"2",
"3",
"4"
]
}
</templatedata>
</noinclude>

Template:Grove2

2026-07-22T15:42:29Z

Fiskfan1999: First attempt at creating template

{{{2}}}, "{{{1}}}," in The New Grove Dictionary of Music and Musicians, eds. Stanley Sadie and John Tyrrell (London: Macmillan, 2001), Volume {{{3}}}: {{{4}}}.
<noinclude>
<templatedata>
{
"params": {
"1": {
"label": "Title",
"description": "Title of the article (usually the person's name)",
"example": "Bahr, Johann",
"type": "string",
"required": true
},
"2": {
"label": "Author's name",
"description": "The author of the article",
"example": "Jerrery T. Kite-Powell",
"type": "string",
"required": true
},
"3": {
"label": "Volume",
"description": "The volume of the printed edition",
"example": "2",
"required": true
},
"4": {
"label": "Page",
"description": "Page number in the printed edition",
"example": "486"
}
},
"description": "For citations from the printed edition of the New Grove Dictionary of Music and Musicians",
"paramOrder": [
"1",
"2",
"3",
"4"
]
}
</templatedata>
</noinclude>

Category:VIAF Citations

2026-07-16T23:22:38Z

Fiskfan1999: Created blank page

Klaus Beckmann

2026-07-16T23:22:21Z

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>.

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.

{{VIAF|265944549}}<references />

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

Georg Friedrich Kauffmann

2026-07-16T23:20:37Z

Fiskfan1999: Created page with "'''Georg Friedrich Kauffmann''' {{Stub}} == References == {{VIAF|37102286}}"

'''Georg Friedrich Kauffmann'''

{{Stub}}

== References ==
{{VIAF|37102286}}

Template:VIAF

2026-07-16T23:19:50Z

Fiskfan1999: Created page with "[http://viaf.org/viaf/{{{1}}} VIAF{{{1}}}]Category:VIAF Citations"

[http://viaf.org/viaf/{{{1}}} VIAF{{{1}}}][[Category:VIAF Citations]]

Johann Christian Heinrich Rinck

2026-07-14T17:58:47Z

Fiskfan1999: Created page with "'''Johann Christian Heinrich Rinck''' (1770–1846) was a German composer, organist, violinist and teacher. Rinck wrote more than 1000 compositions for the organ alone, many in standalone and periodical publications and even more found in manuscripts now found in the United States and Germany. He also wrote organ method books in addition to music for other combinations of voice and instrument. {{Stub}} == Life == Rinck was born in Elgersburg, Thuringia, on February 18..."

'''Johann Christian Heinrich Rinck''' (1770–1846) was a German composer, organist, violinist and teacher.

Rinck wrote more than 1000 compositions for the organ alone, many in standalone and periodical publications and even more found in manuscripts now found in the United States and Germany. He also wrote organ method books in addition to music for other combinations of voice and instrument.

{{Stub}}

== Life ==
Rinck was born in Elgersburg, Thuringia, on February 18, 1770.

His first musical teacher was [[Johann Christoph Kittel]], a Bach student.

In 1805, Rinck became the organist and musical teacher of the musical school in Darmstadt and was appointed to the ''Hofkapelle'' of Grand Duke Ludwig and became the court organist in 1813.

Rinck passed away in Darmstadt on August 7, 1846. His musical library was sold and is now in Yale University.

== References ==
Dohr, Christoph. "Rinck, Rink, Johann Christian Heinrich" in ''Die Musik in Geschichte und Gegenwart''. 2te neubearbeitete Ausgabe. Personenteil Vol. 14 Column 171.

Kramer, Ursula. "Rinck, Johann Christian Heinrich" in ''The New Grove Dictionary of Music and Musicians''. Second Edition. vol. 21 p. 426.

[[Category:Organists]][[Category:Composers]][[Category:Teachers]][[Category:German organists]][[Category:German composers]][[Category:German teachers]][[Category:Classical organists]][[Category:Classical composers]][[Category:Classical teachers]]

D-B Mus.ms. 22541/3

2026-07-14T01:58:55Z

Fiskfan1999: rism

{{Stub}}

== Links ==
{{RISM|467300735}}

{{OnlFac|sig=D-B Mus.ms. 22541/3|url=http://resolver.staatsbibliothek-berlin.de/SBB00016B9800000000|urlc=digital.staatsbibliothek-berlin.de|date=13 October, 2024}}

Talk:List of Historical Registrations Used in Chorale Fantasias

2026-07-13T19:58:04Z

Fiskfan1999: /* Order */ new section

== Order ==

I think that entries should be placed in chronological order (earliest first/top).

--[[User:Fiskfan1999|Fiskfan1999]] ([[User talk:Fiskfan1999|talk]]) 15:58, 13 July 2026 (EDT)

Chorale Fantasia

2026-07-13T19:56:20Z

Fiskfan1999:

The '''Chorale Fantasia''' (or '''Chorale Fantasy''', or '''Choral...''', de: ''Choralfantasie'') is a genre of piece from the [[North German Organ School]].

The chorale fantasia was described by [[Pieter Dirksen]] thus:

<blockquote>In this exclusive niche of works based on a chorale, the scope of the composition going far beyond that of the chorale melody itself is achieved by repeating, coloring, and fragmentating the individual chorale phrases. The potential of (at least) two manuals (and pedal) are fully exploited by alternating the melodic material between both hands and pedal, by inserting sections of unembellished melody, by fragmenting, and by extensively using echo techniques. Created in this way was a convincing as well as highly original redisigning of the great fantasia type coming from [[Heinrich Scheidemann|Scheidemann's]] teacher [[Jan Pieterszoon Sweelinck]], thereby linking the quasi-concertante duties (Sunday vespers) of a Hamburg principal organist at the start of the 17th century with the fantasia, the then "highest" form of keyboard music.<ref>[[Pieter Dirksen]] (editor). ''Scheidemann: Choralfantasien für Orgel.'' Edition Breitkopf, 2022. p.7.</ref></blockquote>

{{Stub}}

== See Also ==
[[List of Historical Registrations Used in Chorale Fantasias]]

List of Historical Registrations Used in Chorale Fantasias

2026-07-13T19:53:38Z

Fiskfan1999: Created page with "This page is a list of surviving accounts of registrations from the Baroque era that were used for Chorale Fantasias, particularly noting examples in which the melody is played on a manual other than the ''Rückpositiv''. {{Stub}} == Matthias Weckmann == The account of the 1655 audition for the job at St. Jacobikirche in Hamburg by Matthias Weckmann includes a description of the registration he used for an improvised chorale fantasia on ''An Wa..."

This page is a list of surviving accounts of registrations from the Baroque era that were used for [[Chorale Fantasia|Chorale Fantasias]], particularly noting examples in which the melody is played on a manual other than the ''Rückpositiv''.

{{Stub}}

== Matthias Weckmann ==
The account of the 1655 audition for the job at St. Jacobikirche in Hamburg by [[Matthias Weckmann]] includes a description of the registration he used for an improvised chorale fantasia on ''An Wasserflüssen Babylon''.

<blockquote>Next he treated the sacred church hymn that had been given him: "An Waßerflüßen Babylon" with pedal and two manuals. In the Oberwerck he used the registration of the late [[Jacob Schultz]], as was his custom at St. Peter's, namely Trommete 8, Zinke 8, Nassat 3, Gemshorn 2, Hohlfleute 4 foot; in the Rückpositiv, Principal 8 and Oktave 4 foot for the soft middle part; in the pedal Posaune 16 foot, Prinzipal-Baß 24, Trommete 8 and 4 foot, Cornet 2 foot. All these stops, except Principal 24, were on the Jacobi organ at that time.<ref>{{SnyderB2}} 228.</ref></blockquote>

Turin Tablatures

2026-07-03T22:29:21Z

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 ==
{{DirksenS2007}} 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.

Heinrich Scheidemann

2026-07-03T22:28:46Z

Fiskfan1999: /* Chronological Bibliography */

[[File:Heinrich Scheidemann.jpg|thumb|right|[[Heinrich Scheidemann]]]]
'''Heinrich Scheidemann''' (1595-1663)

Scheidemann has been described as ''both the originator as well as the principal master of the North German [[Chorale Fantasia]]''.<ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor), ''Heinrich Scheidemann: Choralfantasien für Orgel''. Wiesbaden: Breitkopf & Härtel, 2022. p.7</ref>

{{Stub}}

== Works ==
=== WV ===
The Werke-Verzeichnis catalogue of Scheidemann's works was first published by [[Werner Breig]] in his 1967 book on Scheidemann's organ works. His list included source information and scores in which the pieces could be located (some pieces had not been published yet at that time; others were found in scores of works from other composers due to older attributions). His list was split into four parts: works securely attributable by name (in the manuscript) and style, anonymous works attributable to Scheidemann, works with Scheidemann's name which were dubious, and two works which were known to be not composed by Scheidemann (WV 87-88). Within each of these sections, the pieces were simply arranged with the chorale-based works first in alphabetical order of the choral, then the präaumbulums in order of key, the other free works, and finally the intabulations.

This list was expanded on by [[Pieter Dirksen]] in his Scheidemann book. While he left the WV numbers the same for all of the pieces, Dirksen's opinions about the part that each piece was catalogued in were different. He also added a few new pieces (all anonymously attributed) starting with WV number 89, and he catalogued the known harpsichord pieces by Scheidemann starting with number 100.

=== Works secured according to attribution and style ===
{| class="wikitable"
|-
! Sources !! WV !! Title !! Incipit !! Notes !! Ref.
|-
|
|1
|A solis ortus cardine
|<score>{\clef alto \relative a { a1 c2 c d e } << {a2 f'\laissezVibrer} \\ {d1} >>}</score>
|
|
|-
|
|2
|Aus tiefer Not schrei ich zu dir
|<score>{\key g \major << \relative g' { R1 g1 fis2. g4 } \\ \relative c' { c1 b2 c d d } >>}</score>
|
|
|-
|
|3
|Christ lag in Todesbanden
|<score>{<< \relative a' { a1 gis2 a c2*1/4 } \\ \relative e' { R1 r4 e c d e8 } >>}</score>
|
|
|-
|
|4
|Erbarm dich mein, o Herre Gott
|<score>{\relative e' { e1 c2 c b <a e'> }}</score>
|
|
|-
|
|5
|Es spricht der Unweisen Mund wohl
|<score>{<< \relative c'' { c1 c2. } \\ \relative e' { r4 e4 c d8 e f2 c4 } >>}</score>
|
|
|-
|
|6
|Gott sei gelobet und gebenedeiet
|<score>{<< \relative g' { g1 g2 } \\ \relative c' { r4 c b a g2 } \\ \relative e' { r4 e d c b4 } >>}</score>
|
|
|-
|
|7
|Herr Christ, der einig Gottes Sohn
|<score>{\key g \major \relative g { g1 g2 b a g }}</score>
|
|
|-
|[[Lynar Tablatures|D-B Ms. Lynar B 4]] f.1r-2r [[D-Lr Mus.ant.pract. K.N. 208]] f.38v-41r [[Zellerfeld Tablatures|D-CZu Zellerfelder Orgeltabulatur 2]] f.24
|8
|In dich hab ich gehoffet, Herr
|<score>{\clef alto << \relative d' { d1 d2 a' e2*1/4 } \\ \relative d { r2 d2~4 e f g a8 } >>}</score>
|
|<ref name="dirked">[[Pieter Dirksen|Dirksen, Pieter]] (editor), ''Heinrich Scheidemann: Choralfantasien für Orgel''. Wiesbaden: Breitkopf & Härtel, 2022. Dirksens says "KN 208i" instead of "K.N. 208"</ref>
|-
|
|9
|In dich hab ich gehoffet, Herr
|<score>{\clef alto << \relative d' { d1 d2 a' e } \\ \relative d { r2 d2~4 e f g a2 } \\ \relative a { R1 a2. b4 c } >>}</score>
|
|
|-
|[[Zellerfeld Tablatures|D-CZu Zellerfelder Orgeltabulatur 1]] p.111<ref name="dirked"></ref> [[Lynar Tablatures|D-B Ms. Lynar B 4]] f.2v-5r<ref name="dirked"></ref> [[Pelplin Tablatures|PL-PE 306 (Tabulatura organowa Tom. III)]] f.139v-144r<ref name="dirked"></ref>
|10
|Jesus Christus, unser Heiland
|<score>{\clef alto \relative a { a1 d d2 cis d }}</score>
|
|
|-
|
|11
|Kyrie dominicale
|<score>{\key f \major << \relative a' { a1 bes1*3/4 \bar "" } \\ \relative d' { r4 d4. e8 fis4 g f8 e d4 } >>}</score>
|
|
|-
|
|12
|Kyrie summum
|<score>{<< \relative g' { g1 a b2 } \\ \relative c' { r2 c2~4 c d2~4 } \\ \relative e' { r2 e2~4 e fis2~4 } >>}</score>
|
|
|-
|[[D-Lr Mus.ant.pract. K.N. 209]] pp.174f<ref name="dirked"></ref>
|13
|Lobet den Herren, denn er ist sehr freundlich
|<score>{\key f \major \clef bass << \relative d' { R1 d2 cis4 } \\ \relative g { g2 fis4 g4 8 a bes g a } >>}</score>
|
|
|-
|
|14
|Magnificat I. Toni
|<score>{<< \relative f' { f1 g2. 4 a4 } \\ \relative d' { r2 d e4 d c b a } >>}</score>
|
|
|-
|
|15
|Magnificat II. Toni
|<score>{<< \relative f' { f1 g f2 } \\ \relative d' { r4 d f2~4 f ees2 d2. } >>}</score>
|
|
|-
|
|16
|Magnificat III. Toni
|<score>{<< \relative g' { g1 a1*5/8 \bar "" } \\ \relative e' { r4 e c4. d16 e f4. e8 d } >>}</score>
|
|
|-
|
|17
|Magnificat IV. Toni
|<score>{<< \relative e' { e1 g a2 c\laissezVibrer } \\ \relative a { R1 R a } >>}</score>
|
|
|-
|
|18
|Magnificat V. Toni
|<score>{<< \relative f' { R1 f a2 } \\ \relative bes { bes1 d2 d4. e8 f2 } >>}</score>
|
|
|-
|
|19
|Magnificat VI. Toni
|<score>{<< \relative f' { f1 g } \\ \relative d' { r4 d f2~4 e8 d e f g e } >>}</score>
|
|
|-
|
|20
|Magnificat VIII. Toni
|<score>{<< \relative g' { r2 g2~4 a b c d1 } \\ \relative g { g1~1 a } \\ \relative d' { r2 d2 e4 fis g2~4 fis8 e fis2 } \\ \relative b { r2 b c d2~2 2 } >>}</score>
|
|
|-
|
|21
|Mensch, willst du leben seliglich
|<score>{\clef alto << \relative e' { e1 g2 } \\ \relative a { r4 <a c>4 <g b> <a f> <e g> <d b'> } >>}</score>
|
|
|-
|
|22
|O Gott, wir danken deiner Güt
|<score>{\time 3/2 \partial 2 \key d \minor \relative d' { <d fis a d>2 <d g bes>1 <d f bes>2 <c f a>2 }}</score>
|
|
|-
|
|23
|O lux beata trinitas
|<score>{<< \relative e' { r1 a g2 } \\ \relative e' { e1 d2 c b4 } >>}</score>
|
|
|-
|
|24
|O lux beata trinitas (Frag.)
|<score>{\clef alto \relative e' { e1~2 d c b c }}</score>
|
|
|-
|
|25
|Te Deum laudamus (Frag.)
|<score>{<< \relative a' { a1 gis4 gis8 a b4 e,8 fis } \\ \relative c' { c4 d8 e f4 c8 d e1 } >>}</score>
|
|
|-
|
|26
|Vater unser im Himmelreich
|<score>{\key bes \major << \relative g' { g1 g2 ees f } \\ \relative c' { r4 c c d ees d c bes aes } >>}</score>
|
|
|-
|[[D-Lr Mus.ant.pract. K.N. 208]] f.25v-28r<ref name="dirked"></ref>
|27
|Vater unser im Himmelreich (Fantasy)
|<score>{\clef alto \key bes \major << \relative ees' { r4 ees d c bes a g bes a } \\ \relative g { g1 g2 ees f } >>}</score>
|
|
|-
|
|28
|Vater unser im Himmelreich
|<score>{\key bes \major << \relative g' { g1 g2 ees f g ees } \\ \relative c' { r2 c2~2 c aes bes c } >>}</score>
|
|
|-
|
|29
|Wir glauben all an einen Gott
|<score>{<< \relative d' { d1 a'2 g a } \\ \relative a { R1 r4 a e' d c } >>}</score>
|
|
|-
|
|30
|Praeambulum in C
|<score>{\relative g' { g4 a8 b c b c d <e g,>2. }}</score>
|
|
|-
|
|31
|Praeambulum in d
|<score>{<< \relative d' { d1~4 e8 fis g4 a bes2. } \\ \relative a { a1 bes2. c4 d1 } >>}</score>
|
|
|-
|
|32
|Praeambulum in d
|<score>{\relative a' { <a d, a fis>1 } \bar "||" << \relative g' { g4\repeatTie g4 fis e f! } \\ \relative bes { bes4\repeatTie bes a g a4 } \\ \relative d' { d1\repeatTie~4 } >>}</score>
|
|
|-
|
|33
|Praeambulum in d
|<score>{\relative a' { a4 b!8 c d4 c } \bar "||" \partial 4 << \relative d'' { d4~d8 d a4 c4. } \\ \relative d' { r4 <d f>4. 8 <e a,>4 } >>}</score>
|
|
|-
|
|34
|Praeambulum in d
|<score>{<< \relative a' { R1 a1~4 } \\ \relative f' { R1 f2. e8 d cis4 } \\ \\ \relative d' { d1~d4 c8 b a2~4 } >>}</score>
|
|
|-
|
|35
|Praeambulum in d
|<score>{\relative a' { <a d, fis,>1 } \bar "||" \partial 2 << \relative a' { a2~4 a d2 c4 } \\ \relative c' { r2 d2. d4 a'2.*1/3 } >>}</score>
|
|
|-
|
|36
|Praeambulum in d
|<score>{<< \relative d' { d2~8 e f g <f a>1 } \\ \relative a { R1 r8 a b c d2 } >>}</score>
|
|
|-
|
|37
|Praeambulum in e
|<score>{<< \relative b' { b4 c8 d e2~e4 d c b a1 } \\ \relative b { b1 a2. b c2 } >>}</score>
|
|
|-
|
|38
|Praeambulum in e
|<score>{<< \relative b' { b1~8 b c d e4 b8 d }\\ { <e' b gis>1 1 } >>}</score>
|
|
|-
|
|39
|Praeambulum in F
|<score>{\key f \major c''1 << \relative c'' { c8) c8 d e f a, bes c } \\ \relative c' { <c a f>1 } >>}</score>
|
|
|-
|
|40
|Praeambulum in F
|<score>{\key f \major << \relative c'' { c1 d4 ees8 d c bes c4 } \\ \relative f' { f1 f } >>}</score>
|
|
|-
|
|41
|Praeambulum in g
|<score>{\key f \major << \relative g' { g1~4 a8 b c4 d } \\ \relative d' { d1 ees2. f4 } >>}</score>
|
|
|-
|
|42
|Fuga in D
|<score>{<< \relative a' { a2 f4 d a' b c2 r8 } \\ \relative d' { R1 r4 d c a f' } >>}</score>
|
|
|-
|
|43
|Toccata in G
|<score>{\clef alto << \relative d' { r2 d d4. e8 d4 c b2 } \\ \relative g { g1 g~4 } \\ \relative b { b2. a4 b4. c8 b4 a g2 } >>}</score>
|
|
|-
|
|44
|Canzon in F
|<score>{\key f \major \relative c'' { c4 a8 c \repeat tremolo 4 bes8 a4 g8 f g8. }}</score>
|
|
|-
|
|45
|(Haßler) Alleluja. Laudem dicite
|<score>{\relative e' { <e e'>2 <a cis>4 <f d'> <e e'>2 }}</score>
|
|
|-
|
|46
|(Lasso) Angelus ad pastores ait
|<score>{\key f \major \clef alto << { R1 g'1~4. } \\ \relative g { g1~2 g4 a bes2*3/4 } \\ \relative d' { R1 r2 d2~2*3/4 } \\ \relative g { R1 R1 g1*3/8 \bar "" } >>}</score>
|
|
|-
|
|47
|(Lasso) Benedicam Dominum
|<score>{<< \relative g' { g1~2 g4 a b4. a8 b4 } \\ \relative g { R1 g1~2 4 } \\ \relative d' { R1 R1 d\laissezVibrer \bar "" } >>}</score>
|
|
|-
|
|48
|(Hier. Praetorius) Benedicam Dominum
|<score>{<< \relative a' { R1 r8 a16 b c d e f g2\laissezVibrer } \\ \relative c'' { c1 g } >>}</score>
|
|
|-
|
|49
|(Lasso) Confitemini Domino et invocate
|<score>{\clef alto << \relative a' { R1 a a2 2\laissezVibrer \bar "" } \\ \relative d { R1 R1 d } \\ \relative d' { R1 R1 r2 d\laissezVibrer } \\ \relative a { a1 a2 a2~4 4 4. } >>}</score>
|
|
|-
|
|50
|(Lasso) De ore prudentis procedit mel
|<score>{<< \relative a' { a1~8 d c bes a bes a g } \\ \relative d' { R1 d\laissezVibrer } >>}</score>
|
|
|-
|
|51
|(Bassano) Dic nobis, Maria, quid vidisti in via
|<score>{<< \relative d'' { d4 d d8 c16 d e f g c, d8 } \\ \relative g' { <g b>4 4 4 <c c,> <g b>2*1/4 } >>}</score>
|
|
|-
|
|52
|(Haßler) Dixit Maria ad angelum
|<score>{\key f \major \clef bass \relative f { f1 f2 f g2. f8 }}</score>
|
|
|-
|
|53
|(Lasso) Ego sum panis
|<score>{\key f \major << \relative c'' { c1~2 c8. d16 bes8. c16 a2\laissezVibrer } \\ \relative f' { R1 f1 f8. g16 e8. } >>}</score>
|
|
|-
|
|54
|(Lasso) Omnia, quae fecisti nobis
|<score>{<< \relative a' { R1 a\laissezVibrer } \\ \relative d' { d1~8 e f e d cis d4 } >>}</score>
|
|
|-
|
|55
|(Lasso) Surrexit pastor bonus
|<score>{\key f \major << \relative c' { c2. d8 e f1~2 f4 } \\ \relative f { R1 f2. a8 bes bes1\laissezVibrer \bar "" } \\ \relative c' { R1 r2 c d1\laissezVibrer } >>}</score>
|
|
|-
|
|56
|(Haßler) Verbum caro factum est
|<score>{<< \relative e'' { e8. d16 e8. f16 e4 e } \\ \relative a' { <a c>2. 4 } >>}</score>
|
|
|}

=== Anonymous pieces attributed to Scheidemann ===
{| class="wikitable"
|-
! Sources !! WV !! Title !! Incipit !! Notes !! Ref.

|-
|
|57
|Durch Adams Fall ist ganz verderbt
|<score>{<< \relative a' { a1 a2 a g } \\ \relative d' { r2 d4 e f2 <a, c>4 <c e>2 } >>}</score>
|
|
|-
|
|58
|Es ist das Heil uns kommen her
|<score>{\key d \major << \relative a' { a1 a2 a a c b } \\ \relative d' { s1 s r4 d e fis g2 } >>}</score>
|
|
|-
|
|59
|Es ist gewißlich an der Zeit
|<score>{\key g \major << \relative g' { g1 g2 b a } \\ \relative c' { r2 c4 d e fis g2 fis } >>}</score>
|
|
|-
|
|60
|Gelobet seist du, Jesu Christ
|<score>{<< \relative g' { g1 g2 2 } \\ \relative g { r2 <g b>4 <a c> <g b> <c e\laissezVibrer >2 } >>}</score>
|
|
|-
|
|61
|Herr Christ, der einig Gotts Sohn
|<score>{\key g \major << \relative g' { g1 g2 b a } \\ \relative c' { r2 c4 d e fis g2 fis } >>}</score>
|
|
|-
|
|62
|Herzlich lieb hab ich dich, o Herr
|<score>{<< \relative c'' { c1~4 d8 c b4 c8 b a4 } \\ \relative c' { <c e g>1~2 <g d' g>2 <a c e> } >>}</score>
|
|
|-
|
|63
|Jesus Christus, unser Heiland
|<score>{\clef bass \relative d { d1 a' a2 g a d,2~4 }}</score>
|
|
|-
|
|64
|Jesus Christus, unser Heiland
|<score>{\clef alto << \relative d' { d2 a'2~4 g f2~4 g8 f e4 } \\ \relative d { R1 r2 d a'1*3/4 \bar "" } \\ \relative a { r2 r4 a d2 d2~4 d c } >>}</score>
|
|
|-
|
|65
|Magnificat VII. Toni
|<score>{<< \relative a' { a1 gis2 a r4 } \\ \relative d' { r2 d e4. d8 cis4 a d2 } >>}</score>
|
|
|-
|
|66
|Magnificat VIII. Toni
|<score>{\clef alto << \relative b { r4 b e d g4. f8 e f d e c1\laissezVibrer } \\ \relative g { g1~1 a\laissezVibrer } >>}</score>
|
|
|-
|[[D-Lr Mus.ant.pract. K.N. 208]] f.30v-33r<ref name="dirked"></ref>
|67
|Nun freut euch, lieben Christen gmein
|<score>{\clef bass \relative g { g1 g2 d g <c g'\laissezVibrer> }}</score>
|
|
|-
|
|68
|Victimae paschali laudes
|<score>{\clef bass << \relative a { r2 a2~4 a g2 f4 } \\ \relative d { d1 c d2.*1/3 } >>}</score>
|
|
|-
|
|69
|Vom Himmel hoch da komm ich her
|<score>{<< \relative c'' { c1 b2 a b4. } \\ \relative b { R1 r4 b c d b }\\ \relative c' { r4 c e fis g2. fis4 g4. } >>}</score>
|
|
|-
|
|70
|Wär Gott nicht mit uns diese Zeit
|<score>{\clef alto \key g \major << \relative e' { e1 g2 g a } \\ \relative a { r2 a e'2. d4 cis } >>}</score>
|
|
|-
|
|71
|Wo Gott der Herr nicht bei uns hält
|<score>{\clef bass << \relative g { r4 g bes c d4. g8 d4 e f2 } \\ \relative g, { R1 r4 g bes c d } \\ \\ \relative bes { R1 bes1 bes2 } >>}</score>
|
|
|-
|
|72
|Praeambulum in C
|<score>{<< \relative g' { g2. a8 b c2. d8 e } \\ \relative c' { c1~1 } \\ \relative e' { e1~4 f8 g a2 } >>}</score>
|
|
|-
|
|73
|Praeambulum in G
|<score>{<< \relative g' { g2. a4 b c d2~2*1/2 } \\ \relative b { b2. c4 d2. c4 b2.*1/3 } \\ \relative d' { d1 g2 a~4 } >>}</score>
|
|
|-
|
|74
|Canzon in G
|<score>{\clef alto << \relative d' { d2 4 4 g f8 e d4 g e } \\ \relative g { R1 g2 g4 g c } >>}</score>
|
|
|}

=== Works of dubious authenticity with Scheidemann's name ===
{| class="wikitable"

|-
! Sources !! WV !! Title !! Incipit !! Notes !! Ref.
|-
|[[Pelplin Tablatures|PL-PE 306 (Tabulatura organowa Tom. III)]] f.123v-127r<ref name="dirked"></ref>
|75
|Allein zu dir, Herr Jesu Christ
|<score>{\clef alto << \relative g' {r4 g4~16. f32 e16. d32 c8 } \\ \relative c' { c4 c16. c32 b16. a32 g4 a8.*2/3 } >>}</score>
|
|
|-
|[[Pelplin Tablatures|PL-PE 304 (Tabulatura organowa Tom. I)]]<ref name="dirked"></ref> [[D-Lr Mus.ant.pract. K.N. 208]] f.11v-12r<ref name="dirked"></ref>
|76
|Ein feste Burg ist unser Gott
|<score>{\clef alto << \relative g' { r2 r4 g g g c,4. d8 e2 } \\ \relative c' { c2 c4 c g2 a4. b8 c2 } >>}</score>
|
|
|-
|
|77
|Gott der Vater wohn uns bei
|<score>{\partial 4 << \relative g' { g16 g a b c8 c b4 a8. b16 c4*1/4 \bar "" } \\ \relative c' { r4 c8 c d e f f e16 } >>}</score>
|
|
|-
|
|78
|(Gastoldi) Jesu, wollst uns weisen
|<score>{\clef alto \partial 2 \relative g { <g d' g b>4 8 8 4 <e g g' cis> }}</score>
|
|
|-
|
|79
|Jesus Christus, unser Heiland
|<score>{<< \relative d' { d2 a'2 a4 g a } \\ \relative d { \clef alto r4 d8 e f g a b! c8 d e d c } >>}</score>
|
|
|-
|
|80
|Komm, heiliger Geist, Herre Gott
|<score>{\clef bass \key f \major \relative f { f1 g2 <f c'>2 <d d'> <f\laissezVibrer c'> }}</score>
|
|
|-
|
|81
|Nun bitten wir den heiligen Geist
|<score>{\clef alto \key f \major << \relative bes { bes1 c2 c bes4 a bes c d } \\ \relative f { R1 r2 f g g f4 } >>}</score>
|
|
|-
|
|82
|Fantasia in C
|<score>{<< \relative c'' { <c g>1 <c a>2. 8 <a f> <e g>4 } \\ \relative e' { e1 f4 e8 d c4 d e } >>}</score>
|
|
|-
|
|83
|Fantasia in d
|<score>{\relative a' { a2 4 4 c cis d c8 b } << { a'2} \\ { r4 d'4 } >>}</score>
|
|
|-
|
|84
|Fuga
|<score>{\clef alto \relative e' { e2 4 4 a, c d e f4. }}</score>
|
|
|-
|
|85
|Toccata in C
|<score>{\relative c'' { <c g e>4 b8 a g f e d <e g>1 }}</score>
|
|
|-
|
|86
|Fantasia in C
|<score>{<< \relative d'' { d2. d4 e2~8 d c b a2*1/4 } \\ \relative g' { r2 g2~4 g a2~8 } >>}</score>
|
|
|}

=== Later additions to Scheidemann WV table ===
{| class="wikitable"

|-
! Sources !! WV !! Title !! Incipit !! Notes !! Ref.
|-
|[[Lynar Tablatures|D-B Ms. Lynar B 2]] f.6v-8r
| 89
| Ach Gott, vom Himmel sieh darein
|
|
|<ref name="dirked"></ref>
|-
|[[Lynar Tablatures|D-B Ms. Lynar B 2]] f.12v-15r, 22v-23r
| 91
| Nun freut euch, lieben Christen gmein
|
|
|<ref name="dirked"></ref>
|}

== Chronological Bibliography ==
[[Werner Breig|Breig, Werner]]. ''Die Orgelwerke von Heinrich Scheidemann.'' Beihefte zum Archiv für Musikwissenschaft: Band 3. Wiesbaden: Steiner, 1967.

{{DirksenS2007}}

{{NdS2 2009}} 172-210.

== References ==

[[Category:Persons|Scheidemann, Heinrich]]
[[Category:Composers|Scheidemann, Heinrich]]
[[Category:Baroque Composers|Scheidemann, Heinrich]]
[[Category:Organists|Scheidemann, Heinrich]]
[[Category:Baroque|Scheidemann, Heinrich]]
[[Category:Norddeutsche Orgelschule|Scheidemann, Heinrich]]
[[Category:WVlist pages|Scheidemann, Heinrich]]

Template:DirksenS2007

2026-07-03T22:28:03Z

Fiskfan1999: Created page with "Dirksen, Pieter. Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology. Aldershot: Ashgate, 2007.Category:Pieter Dirksen Scheidemann citations"

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

Franz Tunder

2026-07-03T19:28:35Z

Fiskfan1999: /* Analysis */ re-arrange

'''Franz Tunder''' (1614-1667) was a German organist, composer, and ''Werckmeister''. He was part of a prestigious line of organists (and one of the longest serving organists) working at the [[Marienkirche, Lübeck]], and was an important composer in the [[North German Organ School]].

[[Klaus Beckmann]] stated that, together with [[Heinrich Scheidemann]], Franz Tunder formed the ''avant-garde'' of organ music in the Lutheran northern German-speaking lands.

== Life ==
[[File:HLWerkhausMarker.JPG|thumb|right|Plaque at the ''Werkhaus'' at the [[Marienkirche, Lübeck]] commemorating Franz Tunder and [[Dietrich Buxtehude]]]]
<ref>Beckmann (2009). 262-263.</ref>Franz Tunder was born around 1614. His exact date of birth is not known due to missing records, but can be estimated because he was described as 53 years old in a note in an elegy found in the ''Marienkirche'' protocol book.

Opinions about Tunder's place of birth varied during the course of modern musicology of early organ music. Around 1925, [[Peter Wiepert]], a local historian in ''Bannesdorf auf Fehmarn'' said that Tunder had been listed as originating from there in local historical documents (however, these documents have since been lost). These same documents stated that Tunder was working as an organist in Copenhagen around 1632...it is not clear if this is supported by any other evidence or if this is the same person.

However, in 1996 [[Gerhard Kay Birkner]]<ref>Birkner, Gerhard Key. "Franz Tunder in Lübeck geboren!". ''Lübeckische Blätter'' 161 (1996) Heft 16 (October 12). p.248.</ref> found that Tunder could be connected to a Franz Tunder Sr. who was active in Lübeck starting in 1598 and was even active with the Marienkirche, leasing storage space for books from the church in 1599. Furthermore, writings by Franz Tunder on August 28, 1665 directly reference his father ("Vaters Frantz Tunders..."). Therefore, it has been conclusively proven that Franz Tunder, the organist, was born in Lübeck, the son of Franz Tunder the older.

Tunder's music teachers are not known. If Tunder was working in Copenhagen around 1632, it is possible that he was taught by [[Melchior Borchgrevinck]], the ''Hoforganist'' and ''Hofkapellmeister'' there. [[Johann Mattheson]]–in 1740–wrote that Franz Tunder studied with [[Girolamo Frescobaldi]] in Italy, but there is no other evidence of this claim.

In February 1640, Tunder married [[Maria Elisabeth Voigt]]. Together they produced five children, including [[Sophia Augusta Tunder]], born in 1644 and the Cantor of the [[Marienkirche, Lübeck]] starting in 1663, and [[Anna Margreta Buxtehude|Anna Margreta]], who was born in 1646 and married [[Dietrich Buxtehude]] in 1668.

At the end of September, 1641, Franz Tunder assumed the office of Organist at the [[Marienkirche, Lübeck|Marienkirche]]. He became the ''Werckmeister'' in 1647. On July 31, 1648 Tunder played for the wedding of [[Matthias Weckmann]] and [[Regina Beute]].

Franz Tunder passed away at 9:30 PM on November 5, 1667.

== Works ==
The organ chorale works of Franz Tunder can be divided into four categories<ref>{{NdS2 2009}} 277</ref>:
* ''Verse cycles'' with separate verses - Jesus Christus, unser Heiland
* Continuous ''Verse cycles'' - Auf meinen lieben Gott
* ''Choral ricercare'' - Jesus Christus, wahr' Gottes Sohn
* ''Choral Fantasie'' (the rest of the surviving compositions)

[[File:S-Uu Ms Ihre 285 Tunder.jpg|thumb|right|The Canzona by Franz Tunder, found in S-Uu Ms. Ihre 285]]Except for one work, all remaining pieces by Franz Tunder are unicas. The sources of Tunder's organ music are in three main categories:

* [[:Category:Lüneburg Tablatures|The Lüneburg Tablatures]], including [[D-Lr Mus.ant.pract. K.N. 209]].
*[[Pelplin Tablatures|The Pelplin Tablatures]], a collection of manuscripts from the Pelplin Monestary.
*The Canzona by Tunder is located in a manuscript currently housed in the Universitetsbibliotek, Uppsala.

''Note: numbers in brackets are written in the manuscript by a librarian.''

{| class="wikitable"
|+ Surviving works by Franz Tunder
|-
! Source(s) !! Title !! Notes !! Incipit
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P486-489 || [34] Auff meinen Lieben / Gott / Auff 2 Clavier / Manualiter / F. Tunder || || <score>\relative d' {\key g \minor \partial 4 d8 e16 fis | g4 a8 bes16 c bes4 c | d2. }</score>
|-
| [[Pelplin Tablatures|PL-PE 306 (Tabulatura organowa Tom. III)]] P282-293 || Christ lag in / todtes banden / Frans: Tunder: || || <score><< \relative a' { \clef alto a1 g2 a2*1/2 } \\ \relative a { r4 a d c | b c4. a8 }>></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/17/1]] P428-431
[[D-Lr Mus.ant.pract. K.N. 209]] P644-649
| [207/17/1:] [13] Herr Gott / dich loben wir p / auff 2. Clav. / Franciscus Tunder. || || <score><< \relative e' { \clef alto e1 g2 a4. b8 } \\ \relative a { r4 a c2 b4 <e e,> <c f,> <d d,> } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P474-477 || [30] Indich habichge / hoffet Herr. / Auff 2. Clavier. / F. Tunder. || || <score>\relative g { \key g \minor g16 a b a g a b c d g e fis g a fis a g1 }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P562-565 || [48] Jesus Christus / Unser Heÿland. / F. T. || || <score>\relative a { \clef bass r16 a g a fis g e g fis8 g16 e fis d e cis << d1 \\ \relative d, { r4 d g1*1/2 } >> }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P470-473 || [29] Jesus Christus / wahr Gottes Sohn / F: Tunder || || <score><< \relative g' { \key g \minor \time 3/2 \partial 2 g4 a bes1 c2 d1*1/4 } \\ \relative g' { r2 r2 g4 f ees f bes, } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P634-639 || [72] Komm Heÿliger / Geist Herre Gott / Auff 2 Clauier / Franciscus: Tunder: Ped: || || <score>\relative d' { \key g \major r16 d e fis g a fis a g a b c d e cis e << d1 \\ { r2 <g, b, g>2 } >> }</score>
|-
| [[Pelplin Tablatures|PL-PE 305 (Tabulatura organowa Tom. II)]] P288-294 || Was kan uns / kommen an fur: / Noth / 2 Clav: Ped: / Frans: Tunder. || Pelplin/C-Major version, fragment || <score><< \relative c'' { c1 c4. d8 e2 } \\ \relative g' { r2 g2 a g } \\ \\ \relative e' { r2 e2 e4 f e c } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P612-621 || [65] Waß kan vns / kommen an / für noth / Auf 2. Clauier. / F. Tunder. Ped: || Lüneburg/F-Major version || <score>\relative f { \key f \major \clef bass f16 c a' f c' a f c' \clef treble f2 f8. e16 d e f g a2 }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F3v-4r || Praeludium / [3] / Franc: Tunder. || F-Major || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F2v-3r || Praeludium / [2] / Franc. Tunder. || G-Minor || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F4v-5r || Praeludium / Franc. Tunder. [4] || G-Minor || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F5v-6r || Praeludium [5] / Franc: Tunder || G-Minor || <score><< \relative d'' { \key g \minor d8. ees16 d8. c16 b4 c } \\ \relative g' g1 \\ \\ \relative b { b4 c d8. ees16 c8. d16 } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/15]] P909-910 || [55] Praeludium / F. Tund: || G-Minor || <score><< \relative a'' { \key g \minor r16 a g e fis g e fis d c bes c a bes g a fis } \\ \relative a' { s2 r16 a g e fis g e fis d } >></score>
|-
| [[S-Uu Ms. Ihre 285]] P50-52 || [20] Cantzon / F: Töndern || On a theme by [[Francesco Della Porta]]? || <score>\relative d'' { \key g \major d8 d d e c8. b16 a8 b16 c d8 d, g a }</score>
|}

=== Other theorized works ===
Two chorale fantasias from the [[Pelplin Tablatures]] are theorized to be by Franz Tunder by [[Klaus Beckmann]], despite the composer "H.S.M." being written<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor), ''Zwei Choralfantasien: Allein zu dir, Herr Jesu Christ ; Ein feste Burg ist unser Gott.'' Wiesbaden: Breitkopf & Härtel, 1991.</ref>. He also theorized that the anonymous ''Magnificat octavi toni'' (also a chorale fantasia) from the [[Zellerfeld Tablatures]] no.1 is by Tunder{{Citation needed}}.

The first praeludium in [[D-Lr Mus.ant.pract. K.N. 207/16]], which is anonymous, has been described as being reminiscent of Tunder<ref>[[Organum IV]] vol.10</ref>.

== Analysis ==
=== Canzon ===
[[Klaus Beckmann]] noted that the location of the ''Canzon'' in [[S-Uu Ms. Ihre 285]], a manuscript which primarily transmitted harpsichord suites, suggests that the piece may have been written for the harpsichord or other string keyboard instrument.<ref name="beckmann276">Beckmann (2009), 276.</ref>

It has been found that the theme of the ''Canzon'' is similar to a ''Canzon'' by [[Francesco Della Porta]] found on f.52v-54r of Ms. Foa 1 (vol. 10) from the [[Turin Tablatures]]. This piece is theorized to be from a printed collection of Canzonas by Porta that is now lost. The copy in this manuscript can be dated to ca. 1639. However, it is not confirmed that Franz Tunder copied the theme from this piece or knew about it, so this can not lead to any conclusions about the date of Tunder's ''Canzon''.<ref>[[Michel Belotti|Belotti, M.]] (editor). ''Franz Tunder: Sämtliche Orgelwerke.'' Edition Breitkopf 8825, 2012. 10, 13.</ref>

'''''Canzon Quarta'' by [[Francesco Della Porta]]:'''

<score><< \relative g'' { s1 | r2 g8 g g a f8. e16 d8 e16 f g8 e f d } \\ \relative d'' { \time 2/2 d8 d d e c8. b16 a8 b16 c d8 b c a g c b e d4 r8 c b c a b } >></score>

== Editions ==
An incomplete list of editions of the organ works of Tunder is included below.

* [[Max Seiffert]], Leipzig: Kistner & Siegel, n.d. ([[Organum IV]] vol. 6). (Preludia only)
* [[Rudolf Walter]]. ''Sämtliche Choralbearbeitungen für Orgel / Franz Tunder.'' Mainz: Schott, 1958.
* [[Klaus Beckmann]], Wiesbaden: Breitkopf & Hartel.
* [[Jan van Biezen]]. ''Christ lag in Todesbanden : für Orgel / Franz Tunder.'' Amsterdam : Annie Bank, 1982. (Stichting Centrum voor de Kerkzang 129)
* [[Michel Belotti]], Wiesbaden: Breitkopf & Hartel.
* [[Claudia Schumacher]], Mainz: Schott. 2022 (revised edition) ([[Meister der Norddeutschen Orgelschule|MdNO]] 17)

== References ==
{{NdS2 2009}} 262-288.

[[Claudia Schumacher|Schumacher, Claudia]] (editor). ''Franz Tunder: Sämtliche Orgelwerke''. Mainz: Schott, 2019.

[[Category:Persons|Tunder, Franz]]
[[Category:Composers|Tunder, Franz]]
[[Category:Baroque Composers|Tunder, Franz]]
[[Category:Organists|Tunder, Franz]]
[[Category:Baroque|Tunder, Franz]]
[[Category:Norddeutsche Orgelschule|Tunder, Franz]]

Franz Tunder

2026-07-03T19:27:54Z

Fiskfan1999: /* Canzon */ score

'''Franz Tunder''' (1614-1667) was a German organist, composer, and ''Werckmeister''. He was part of a prestigious line of organists (and one of the longest serving organists) working at the [[Marienkirche, Lübeck]], and was an important composer in the [[North German Organ School]].

[[Klaus Beckmann]] stated that, together with [[Heinrich Scheidemann]], Franz Tunder formed the ''avant-garde'' of organ music in the Lutheran northern German-speaking lands.

== Life ==
[[File:HLWerkhausMarker.JPG|thumb|right|Plaque at the ''Werkhaus'' at the [[Marienkirche, Lübeck]] commemorating Franz Tunder and [[Dietrich Buxtehude]]]]
<ref>Beckmann (2009). 262-263.</ref>Franz Tunder was born around 1614. His exact date of birth is not known due to missing records, but can be estimated because he was described as 53 years old in a note in an elegy found in the ''Marienkirche'' protocol book.

Opinions about Tunder's place of birth varied during the course of modern musicology of early organ music. Around 1925, [[Peter Wiepert]], a local historian in ''Bannesdorf auf Fehmarn'' said that Tunder had been listed as originating from there in local historical documents (however, these documents have since been lost). These same documents stated that Tunder was working as an organist in Copenhagen around 1632...it is not clear if this is supported by any other evidence or if this is the same person.

However, in 1996 [[Gerhard Kay Birkner]]<ref>Birkner, Gerhard Key. "Franz Tunder in Lübeck geboren!". ''Lübeckische Blätter'' 161 (1996) Heft 16 (October 12). p.248.</ref> found that Tunder could be connected to a Franz Tunder Sr. who was active in Lübeck starting in 1598 and was even active with the Marienkirche, leasing storage space for books from the church in 1599. Furthermore, writings by Franz Tunder on August 28, 1665 directly reference his father ("Vaters Frantz Tunders..."). Therefore, it has been conclusively proven that Franz Tunder, the organist, was born in Lübeck, the son of Franz Tunder the older.

Tunder's music teachers are not known. If Tunder was working in Copenhagen around 1632, it is possible that he was taught by [[Melchior Borchgrevinck]], the ''Hoforganist'' and ''Hofkapellmeister'' there. [[Johann Mattheson]]–in 1740–wrote that Franz Tunder studied with [[Girolamo Frescobaldi]] in Italy, but there is no other evidence of this claim.

In February 1640, Tunder married [[Maria Elisabeth Voigt]]. Together they produced five children, including [[Sophia Augusta Tunder]], born in 1644 and the Cantor of the [[Marienkirche, Lübeck]] starting in 1663, and [[Anna Margreta Buxtehude|Anna Margreta]], who was born in 1646 and married [[Dietrich Buxtehude]] in 1668.

At the end of September, 1641, Franz Tunder assumed the office of Organist at the [[Marienkirche, Lübeck|Marienkirche]]. He became the ''Werckmeister'' in 1647. On July 31, 1648 Tunder played for the wedding of [[Matthias Weckmann]] and [[Regina Beute]].

Franz Tunder passed away at 9:30 PM on November 5, 1667.

== Works ==
The organ chorale works of Franz Tunder can be divided into four categories<ref>{{NdS2 2009}} 277</ref>:
* ''Verse cycles'' with separate verses - Jesus Christus, unser Heiland
* Continuous ''Verse cycles'' - Auf meinen lieben Gott
* ''Choral ricercare'' - Jesus Christus, wahr' Gottes Sohn
* ''Choral Fantasie'' (the rest of the surviving compositions)

[[File:S-Uu Ms Ihre 285 Tunder.jpg|thumb|right|The Canzona by Franz Tunder, found in S-Uu Ms. Ihre 285]]Except for one work, all remaining pieces by Franz Tunder are unicas. The sources of Tunder's organ music are in three main categories:

* [[:Category:Lüneburg Tablatures|The Lüneburg Tablatures]], including [[D-Lr Mus.ant.pract. K.N. 209]].
*[[Pelplin Tablatures|The Pelplin Tablatures]], a collection of manuscripts from the Pelplin Monestary.
*The Canzona by Tunder is located in a manuscript currently housed in the Universitetsbibliotek, Uppsala.

''Note: numbers in brackets are written in the manuscript by a librarian.''

{| class="wikitable"
|+ Surviving works by Franz Tunder
|-
! Source(s) !! Title !! Notes !! Incipit
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P486-489 || [34] Auff meinen Lieben / Gott / Auff 2 Clavier / Manualiter / F. Tunder || || <score>\relative d' {\key g \minor \partial 4 d8 e16 fis | g4 a8 bes16 c bes4 c | d2. }</score>
|-
| [[Pelplin Tablatures|PL-PE 306 (Tabulatura organowa Tom. III)]] P282-293 || Christ lag in / todtes banden / Frans: Tunder: || || <score><< \relative a' { \clef alto a1 g2 a2*1/2 } \\ \relative a { r4 a d c | b c4. a8 }>></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/17/1]] P428-431
[[D-Lr Mus.ant.pract. K.N. 209]] P644-649
| [207/17/1:] [13] Herr Gott / dich loben wir p / auff 2. Clav. / Franciscus Tunder. || || <score><< \relative e' { \clef alto e1 g2 a4. b8 } \\ \relative a { r4 a c2 b4 <e e,> <c f,> <d d,> } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P474-477 || [30] Indich habichge / hoffet Herr. / Auff 2. Clavier. / F. Tunder. || || <score>\relative g { \key g \minor g16 a b a g a b c d g e fis g a fis a g1 }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P562-565 || [48] Jesus Christus / Unser Heÿland. / F. T. || || <score>\relative a { \clef bass r16 a g a fis g e g fis8 g16 e fis d e cis << d1 \\ \relative d, { r4 d g1*1/2 } >> }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P470-473 || [29] Jesus Christus / wahr Gottes Sohn / F: Tunder || || <score><< \relative g' { \key g \minor \time 3/2 \partial 2 g4 a bes1 c2 d1*1/4 } \\ \relative g' { r2 r2 g4 f ees f bes, } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P634-639 || [72] Komm Heÿliger / Geist Herre Gott / Auff 2 Clauier / Franciscus: Tunder: Ped: || || <score>\relative d' { \key g \major r16 d e fis g a fis a g a b c d e cis e << d1 \\ { r2 <g, b, g>2 } >> }</score>
|-
| [[Pelplin Tablatures|PL-PE 305 (Tabulatura organowa Tom. II)]] P288-294 || Was kan uns / kommen an fur: / Noth / 2 Clav: Ped: / Frans: Tunder. || Pelplin/C-Major version, fragment || <score><< \relative c'' { c1 c4. d8 e2 } \\ \relative g' { r2 g2 a g } \\ \\ \relative e' { r2 e2 e4 f e c } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P612-621 || [65] Waß kan vns / kommen an / für noth / Auf 2. Clauier. / F. Tunder. Ped: || Lüneburg/F-Major version || <score>\relative f { \key f \major \clef bass f16 c a' f c' a f c' \clef treble f2 f8. e16 d e f g a2 }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F3v-4r || Praeludium / [3] / Franc: Tunder. || F-Major || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F2v-3r || Praeludium / [2] / Franc. Tunder. || G-Minor || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F4v-5r || Praeludium / Franc. Tunder. [4] || G-Minor || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F5v-6r || Praeludium [5] / Franc: Tunder || G-Minor || <score><< \relative d'' { \key g \minor d8. ees16 d8. c16 b4 c } \\ \relative g' g1 \\ \\ \relative b { b4 c d8. ees16 c8. d16 } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/15]] P909-910 || [55] Praeludium / F. Tund: || G-Minor || <score><< \relative a'' { \key g \minor r16 a g e fis g e fis d c bes c a bes g a fis } \\ \relative a' { s2 r16 a g e fis g e fis d } >></score>
|-
| [[S-Uu Ms. Ihre 285]] P50-52 || [20] Cantzon / F: Töndern || On a theme by [[Francesco Della Porta]]? || <score>\relative d'' { \key g \major d8 d d e c8. b16 a8 b16 c d8 d, g a }</score>
|}

=== Other theorized works ===
Two chorale fantasias from the [[Pelplin Tablatures]] are theorized to be by Franz Tunder by [[Klaus Beckmann]], despite the composer "H.S.M." being written<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor), ''Zwei Choralfantasien: Allein zu dir, Herr Jesu Christ ; Ein feste Burg ist unser Gott.'' Wiesbaden: Breitkopf & Härtel, 1991.</ref>. He also theorized that the anonymous ''Magnificat octavi toni'' (also a chorale fantasia) from the [[Zellerfeld Tablatures]] no.1 is by Tunder{{Citation needed}}.

The first praeludium in [[D-Lr Mus.ant.pract. K.N. 207/16]], which is anonymous, has been described as being reminiscent of Tunder<ref>[[Organum IV]] vol.10</ref>.

== Analysis ==
[[Klaus Beckmann]] noted that the location of the ''Canzon'' in [[S-Uu Ms. Ihre 285]], a manuscript which primarily transmitted harpsichord suites, suggests that the piece may have been written for the harpsichord or other string keyboard instrument.<ref name="beckmann276">Beckmann (2009), 276.</ref>

=== Canzon ===
It has been found that the theme of the ''Canzon'' is similar to a ''Canzon'' by [[Francesco Della Porta]] found on f.52v-54r of Ms. Foa 1 (vol. 10) from the [[Turin Tablatures]]. This piece is theorized to be from a printed collection of Canzonas by Porta that is now lost. The copy in this manuscript can be dated to ca. 1639. However, it is not confirmed that Franz Tunder copied the theme from this piece or knew about it, so this can not lead to any conclusions about the date of Tunder's ''Canzon''.<ref>[[Michel Belotti|Belotti, M.]] (editor). ''Franz Tunder: Sämtliche Orgelwerke.'' Edition Breitkopf 8825, 2012. 10, 13.</ref>

'''''Canzon Quarta'' by [[Francesco Della Porta]]:'''

<score><< \relative g'' { s1 | r2 g8 g g a f8. e16 d8 e16 f g8 e f d } \\ \relative d'' { \time 2/2 d8 d d e c8. b16 a8 b16 c d8 b c a g c b e d4 r8 c b c a b } >></score>

== Editions ==
An incomplete list of editions of the organ works of Tunder is included below.

* [[Max Seiffert]], Leipzig: Kistner & Siegel, n.d. ([[Organum IV]] vol. 6). (Preludia only)
* [[Rudolf Walter]]. ''Sämtliche Choralbearbeitungen für Orgel / Franz Tunder.'' Mainz: Schott, 1958.
* [[Klaus Beckmann]], Wiesbaden: Breitkopf & Hartel.
* [[Jan van Biezen]]. ''Christ lag in Todesbanden : für Orgel / Franz Tunder.'' Amsterdam : Annie Bank, 1982. (Stichting Centrum voor de Kerkzang 129)
* [[Michel Belotti]], Wiesbaden: Breitkopf & Hartel.
* [[Claudia Schumacher]], Mainz: Schott. 2022 (revised edition) ([[Meister der Norddeutschen Orgelschule|MdNO]] 17)

== References ==
{{NdS2 2009}} 262-288.

[[Claudia Schumacher|Schumacher, Claudia]] (editor). ''Franz Tunder: Sämtliche Orgelwerke''. Mainz: Schott, 2019.

[[Category:Persons|Tunder, Franz]]
[[Category:Composers|Tunder, Franz]]
[[Category:Baroque Composers|Tunder, Franz]]
[[Category:Organists|Tunder, Franz]]
[[Category:Baroque|Tunder, Franz]]
[[Category:Norddeutsche Orgelschule|Tunder, Franz]]

Franz Tunder

2026-07-03T19:21:35Z

Fiskfan1999: Canzon

'''Franz Tunder''' (1614-1667) was a German organist, composer, and ''Werckmeister''. He was part of a prestigious line of organists (and one of the longest serving organists) working at the [[Marienkirche, Lübeck]], and was an important composer in the [[North German Organ School]].

[[Klaus Beckmann]] stated that, together with [[Heinrich Scheidemann]], Franz Tunder formed the ''avant-garde'' of organ music in the Lutheran northern German-speaking lands.

== Life ==
[[File:HLWerkhausMarker.JPG|thumb|right|Plaque at the ''Werkhaus'' at the [[Marienkirche, Lübeck]] commemorating Franz Tunder and [[Dietrich Buxtehude]]]]
<ref>Beckmann (2009). 262-263.</ref>Franz Tunder was born around 1614. His exact date of birth is not known due to missing records, but can be estimated because he was described as 53 years old in a note in an elegy found in the ''Marienkirche'' protocol book.

Opinions about Tunder's place of birth varied during the course of modern musicology of early organ music. Around 1925, [[Peter Wiepert]], a local historian in ''Bannesdorf auf Fehmarn'' said that Tunder had been listed as originating from there in local historical documents (however, these documents have since been lost). These same documents stated that Tunder was working as an organist in Copenhagen around 1632...it is not clear if this is supported by any other evidence or if this is the same person.

However, in 1996 [[Gerhard Kay Birkner]]<ref>Birkner, Gerhard Key. "Franz Tunder in Lübeck geboren!". ''Lübeckische Blätter'' 161 (1996) Heft 16 (October 12). p.248.</ref> found that Tunder could be connected to a Franz Tunder Sr. who was active in Lübeck starting in 1598 and was even active with the Marienkirche, leasing storage space for books from the church in 1599. Furthermore, writings by Franz Tunder on August 28, 1665 directly reference his father ("Vaters Frantz Tunders..."). Therefore, it has been conclusively proven that Franz Tunder, the organist, was born in Lübeck, the son of Franz Tunder the older.

Tunder's music teachers are not known. If Tunder was working in Copenhagen around 1632, it is possible that he was taught by [[Melchior Borchgrevinck]], the ''Hoforganist'' and ''Hofkapellmeister'' there. [[Johann Mattheson]]–in 1740–wrote that Franz Tunder studied with [[Girolamo Frescobaldi]] in Italy, but there is no other evidence of this claim.

In February 1640, Tunder married [[Maria Elisabeth Voigt]]. Together they produced five children, including [[Sophia Augusta Tunder]], born in 1644 and the Cantor of the [[Marienkirche, Lübeck]] starting in 1663, and [[Anna Margreta Buxtehude|Anna Margreta]], who was born in 1646 and married [[Dietrich Buxtehude]] in 1668.

At the end of September, 1641, Franz Tunder assumed the office of Organist at the [[Marienkirche, Lübeck|Marienkirche]]. He became the ''Werckmeister'' in 1647. On July 31, 1648 Tunder played for the wedding of [[Matthias Weckmann]] and [[Regina Beute]].

Franz Tunder passed away at 9:30 PM on November 5, 1667.

== Works ==
The organ chorale works of Franz Tunder can be divided into four categories<ref>{{NdS2 2009}} 277</ref>:
* ''Verse cycles'' with separate verses - Jesus Christus, unser Heiland
* Continuous ''Verse cycles'' - Auf meinen lieben Gott
* ''Choral ricercare'' - Jesus Christus, wahr' Gottes Sohn
* ''Choral Fantasie'' (the rest of the surviving compositions)

[[File:S-Uu Ms Ihre 285 Tunder.jpg|thumb|right|The Canzona by Franz Tunder, found in S-Uu Ms. Ihre 285]]Except for one work, all remaining pieces by Franz Tunder are unicas. The sources of Tunder's organ music are in three main categories:

* [[:Category:Lüneburg Tablatures|The Lüneburg Tablatures]], including [[D-Lr Mus.ant.pract. K.N. 209]].
*[[Pelplin Tablatures|The Pelplin Tablatures]], a collection of manuscripts from the Pelplin Monestary.
*The Canzona by Tunder is located in a manuscript currently housed in the Universitetsbibliotek, Uppsala.

''Note: numbers in brackets are written in the manuscript by a librarian.''

{| class="wikitable"
|+ Surviving works by Franz Tunder
|-
! Source(s) !! Title !! Notes !! Incipit
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P486-489 || [34] Auff meinen Lieben / Gott / Auff 2 Clavier / Manualiter / F. Tunder || || <score>\relative d' {\key g \minor \partial 4 d8 e16 fis | g4 a8 bes16 c bes4 c | d2. }</score>
|-
| [[Pelplin Tablatures|PL-PE 306 (Tabulatura organowa Tom. III)]] P282-293 || Christ lag in / todtes banden / Frans: Tunder: || || <score><< \relative a' { \clef alto a1 g2 a2*1/2 } \\ \relative a { r4 a d c | b c4. a8 }>></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/17/1]] P428-431
[[D-Lr Mus.ant.pract. K.N. 209]] P644-649
| [207/17/1:] [13] Herr Gott / dich loben wir p / auff 2. Clav. / Franciscus Tunder. || || <score><< \relative e' { \clef alto e1 g2 a4. b8 } \\ \relative a { r4 a c2 b4 <e e,> <c f,> <d d,> } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P474-477 || [30] Indich habichge / hoffet Herr. / Auff 2. Clavier. / F. Tunder. || || <score>\relative g { \key g \minor g16 a b a g a b c d g e fis g a fis a g1 }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P562-565 || [48] Jesus Christus / Unser Heÿland. / F. T. || || <score>\relative a { \clef bass r16 a g a fis g e g fis8 g16 e fis d e cis << d1 \\ \relative d, { r4 d g1*1/2 } >> }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P470-473 || [29] Jesus Christus / wahr Gottes Sohn / F: Tunder || || <score><< \relative g' { \key g \minor \time 3/2 \partial 2 g4 a bes1 c2 d1*1/4 } \\ \relative g' { r2 r2 g4 f ees f bes, } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P634-639 || [72] Komm Heÿliger / Geist Herre Gott / Auff 2 Clauier / Franciscus: Tunder: Ped: || || <score>\relative d' { \key g \major r16 d e fis g a fis a g a b c d e cis e << d1 \\ { r2 <g, b, g>2 } >> }</score>
|-
| [[Pelplin Tablatures|PL-PE 305 (Tabulatura organowa Tom. II)]] P288-294 || Was kan uns / kommen an fur: / Noth / 2 Clav: Ped: / Frans: Tunder. || Pelplin/C-Major version, fragment || <score><< \relative c'' { c1 c4. d8 e2 } \\ \relative g' { r2 g2 a g } \\ \\ \relative e' { r2 e2 e4 f e c } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P612-621 || [65] Waß kan vns / kommen an / für noth / Auf 2. Clauier. / F. Tunder. Ped: || Lüneburg/F-Major version || <score>\relative f { \key f \major \clef bass f16 c a' f c' a f c' \clef treble f2 f8. e16 d e f g a2 }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F3v-4r || Praeludium / [3] / Franc: Tunder. || F-Major || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F2v-3r || Praeludium / [2] / Franc. Tunder. || G-Minor || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F4v-5r || Praeludium / Franc. Tunder. [4] || G-Minor || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F5v-6r || Praeludium [5] / Franc: Tunder || G-Minor || <score><< \relative d'' { \key g \minor d8. ees16 d8. c16 b4 c } \\ \relative g' g1 \\ \\ \relative b { b4 c d8. ees16 c8. d16 } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/15]] P909-910 || [55] Praeludium / F. Tund: || G-Minor || <score><< \relative a'' { \key g \minor r16 a g e fis g e fis d c bes c a bes g a fis } \\ \relative a' { s2 r16 a g e fis g e fis d } >></score>
|-
| [[S-Uu Ms. Ihre 285]] P50-52 || [20] Cantzon / F: Töndern || On a theme by [[Francesco Della Porta]]? || <score>\relative d'' { \key g \major d8 d d e c8. b16 a8 b16 c d8 d, g a }</score>
|}

=== Other theorized works ===
Two chorale fantasias from the [[Pelplin Tablatures]] are theorized to be by Franz Tunder by [[Klaus Beckmann]], despite the composer "H.S.M." being written<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor), ''Zwei Choralfantasien: Allein zu dir, Herr Jesu Christ ; Ein feste Burg ist unser Gott.'' Wiesbaden: Breitkopf & Härtel, 1991.</ref>. He also theorized that the anonymous ''Magnificat octavi toni'' (also a chorale fantasia) from the [[Zellerfeld Tablatures]] no.1 is by Tunder{{Citation needed}}.

The first praeludium in [[D-Lr Mus.ant.pract. K.N. 207/16]], which is anonymous, has been described as being reminiscent of Tunder<ref>[[Organum IV]] vol.10</ref>.

== Analysis ==
[[Klaus Beckmann]] noted that the location of the ''Canzon'' in [[S-Uu Ms. Ihre 285]], a manuscript which primarily transmitted harpsichord suites, suggests that the piece may have been written for the harpsichord or other string keyboard instrument.<ref name="beckmann276">Beckmann (2009), 276.</ref>

=== Canzon ===
It has been found that the theme of the ''Canzon'' is similar to a ''Canzona Quarta'' by [[Francesco Della Porta]] found in Ms. Foa 1 from the [[Turin Tablatures]]. This piece is theorized to be from a printed collection of Canzonas by Porta that is now lost. The copy in this manuscript can be dated to ca. 1639. However, it is not confirmed that Franz Tunder copied the theme from this piece or knew about it, so this can not lead to any conclusions about the date of Tunder's ''Canzon''.<ref>[[Michel Belotti|Belotti, M.]] (editor). ''Franz Tunder: Sämtliche Orgelwerke.'' Edition Breitkopf 8825, 2012. 10, 13.</ref>

== Editions ==
An incomplete list of editions of the organ works of Tunder is included below.

* [[Max Seiffert]], Leipzig: Kistner & Siegel, n.d. ([[Organum IV]] vol. 6). (Preludia only)
* [[Rudolf Walter]]. ''Sämtliche Choralbearbeitungen für Orgel / Franz Tunder.'' Mainz: Schott, 1958.
* [[Klaus Beckmann]], Wiesbaden: Breitkopf & Hartel.
* [[Jan van Biezen]]. ''Christ lag in Todesbanden : für Orgel / Franz Tunder.'' Amsterdam : Annie Bank, 1982. (Stichting Centrum voor de Kerkzang 129)
* [[Michel Belotti]], Wiesbaden: Breitkopf & Hartel.
* [[Claudia Schumacher]], Mainz: Schott. 2022 (revised edition) ([[Meister der Norddeutschen Orgelschule|MdNO]] 17)

== References ==
{{NdS2 2009}} 262-288.

[[Claudia Schumacher|Schumacher, Claudia]] (editor). ''Franz Tunder: Sämtliche Orgelwerke''. Mainz: Schott, 2019.

[[Category:Persons|Tunder, Franz]]
[[Category:Composers|Tunder, Franz]]
[[Category:Baroque Composers|Tunder, Franz]]
[[Category:Organists|Tunder, Franz]]
[[Category:Baroque|Tunder, Franz]]
[[Category:Norddeutsche Orgelschule|Tunder, Franz]]

D-Lr Mus.ant.pract. K.N. 207/17/1

2026-07-03T03:26:24Z

Fiskfan1999: Redirected page to D-Lr Mus.ant.pract. K.N. 207-17/1

#REDIRECT [[D-Lr Mus.ant.pract. K.N. 207-17/1]]

D-Lr Mus.ant.pract. K.N. 207-17/1

2026-07-03T03:26:08Z

Fiskfan1999: expand

'''D-Lr Mus.ant.pract. K.N. 207-17/1''' is a manuscript which is a part of the [[Lüneburg Tablatures]].

It was written in [[New German Tablature Notation]] by many unidentified hands likely from the [[Jakob Praetorius]] school. The manuscript is dated perhaps between 1640-1670.

== Contents ==
{| class="wikitable"
|-
! Pages !! Title !! Incipit !! Notes !! Ref.
|-
| 1, 6-7 || Praeambulum / Ex Clave / E || || This piece appears twice in this manuscript || {{RISM|450101383}} {{RISM|450101386}}
|-
| 2 || Te Deum / Laudamus || || Fragmented || {{RISM|450101384}}
|-
| 4-5 || Herr Gott / dich Loben Wir. || 1 Heilig ist | Vnser gott, | Auff 1 oder | 2 Clavier. Dein göttlich | Macht Vnd | Herligkeitt. Du König | der Ehren | Jesu Christ. Nun hilff | Vnß Herr den | dienern dein. Teglich Herr | Gott dich loben | wir. | Auff 2 Clavier. || At end: ''Finis. / Jacob: Praet: / Anno 1636 / fecit.'' || {{RISM|450101385}}
|-
| 6-11 || 1mus Versus. / Herr gott dich loben / Wir, Herr gott wir / dancken dier / J. K. || 1 Versus 2ds. | Heilig ist | Vnser Gott. 3tius Versus. | Dein Göttlich macht | undt Herrligkeit, geht | Auff 2. Clavier. Quartus Versus | Manualiter | Du König der Ehren | Jesu Christ. Quintus versus | Nun hilff unß Herr | den dienern dein, die | Choral im Pedall. Sextus Versus. | Täglich Herr Gott | dich loben wier | Manualiter. || Verse 3 written in different hand || {{RISM|450101387}}
|-
| 12-13 || S / Du König der / Ehren Jesu Christ. / Auff zwey Clavier. || || || {{RISM|450101388}}
|-
| 14-17 || Herr Gott / dich loben wir. / auff 2. Clav. / Franciscus Tunder. || || || {{RISM|450101389}}
|}

== References ==
[[Michael Belotti|Belotti, Michael]] (editor). ''Franz Tunder: Sämtliche Orgelwerke.'' Germany, Edition Breitkopf 8825. p. 111.

[[Claudia Schumacher|Schumacher, Claudia]] (editor). ''Franz Tunder: Sämtliche Orgelwerke'', Revised Edition. Mainz: Schott, 2019. p. 94.

{{RISM|450101382}}

[[Category:Lüneburg Tablatures|207-17/1]]

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

2026-07-03T03:20:31Z

Fiskfan1999: written -> copied

'''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]], copied by [[Heinrich Baltzer Wedemann]], and contains five preludes, four by [[Franz Tunder]] and one unattributed.

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]]

D-Lr Mus.ant.pract. K.N. 207/17/1

2026-07-03T03:18:40Z

Fiskfan1999: Created page with "'''D-Lr Mus.ant.pract. K.N. 207/17/1''' is a manuscript which is a part of the Lüneburg Tablatures. It was written in New German Tablature Notation by many unidentified hands likely between 1640-1670. It contains three compositions on ''Te Deum'' by Jakob Praetorius, Jakob Kortkamp and Franz Tunder. == References == Schumacher, Claudia (editor). ''Franz Tunder: Sämtliche Orgelwerke'', Revised Edition. Mainz: Schott, 2019...."

'''D-Lr Mus.ant.pract. K.N. 207/17/1''' is a manuscript which is a part of the [[Lüneburg Tablatures]].

It was written in [[New German Tablature Notation]] by many unidentified hands likely between 1640-1670. It contains three compositions on ''Te Deum'' by [[Jakob Praetorius]], [[Jakob Kortkamp]] and [[Franz Tunder]].

== References ==
[[Claudia Schumacher|Schumacher, Claudia]] (editor). ''Franz Tunder: Sämtliche Orgelwerke'', Revised Edition. Mainz: Schott, 2019.

[[Category:German Manuscripts]][[Category:Baroque Manuscripts]][[Category:Manuscripts]][[Category:Lüneburg Tablatures]]

Franz Tunder

2026-07-03T02:57:36Z

Fiskfan1999:

'''Franz Tunder''' (1614-1667) was a German organist, composer, and ''Werckmeister''. He was part of a prestigious line of organists (and one of the longest serving organists) working at the [[Marienkirche, Lübeck]], and was an important composer in the [[North German Organ School]].

[[Klaus Beckmann]] stated that, together with [[Heinrich Scheidemann]], Franz Tunder formed the ''avant-garde'' of organ music in the Lutheran northern German-speaking lands.

== Life ==
[[File:HLWerkhausMarker.JPG|thumb|right|Plaque at the ''Werkhaus'' at the [[Marienkirche, Lübeck]] commemorating Franz Tunder and [[Dietrich Buxtehude]]]]
<ref>Beckmann (2009). 262-263.</ref>Franz Tunder was born around 1614. His exact date of birth is not known due to missing records, but can be estimated because he was described as 53 years old in a note in an elegy found in the ''Marienkirche'' protocol book.

Opinions about Tunder's place of birth varied during the course of modern musicology of early organ music. Around 1925, [[Peter Wiepert]], a local historian in ''Bannesdorf auf Fehmarn'' said that Tunder had been listed as originating from there in local historical documents (however, these documents have since been lost). These same documents stated that Tunder was working as an organist in Copenhagen around 1632...it is not clear if this is supported by any other evidence or if this is the same person.

However, in 1996 [[Gerhard Kay Birkner]]<ref>Birkner, Gerhard Key. "Franz Tunder in Lübeck geboren!". ''Lübeckische Blätter'' 161 (1996) Heft 16 (October 12). p.248.</ref> found that Tunder could be connected to a Franz Tunder Sr. who was active in Lübeck starting in 1598 and was even active with the Marienkirche, leasing storage space for books from the church in 1599. Furthermore, writings by Franz Tunder on August 28, 1665 directly reference his father ("Vaters Frantz Tunders..."). Therefore, it has been conclusively proven that Franz Tunder, the organist, was born in Lübeck, the son of Franz Tunder the older.

Tunder's music teachers are not known. If Tunder was working in Copenhagen around 1632, it is possible that he was taught by [[Melchior Borchgrevinck]], the ''Hoforganist'' and ''Hofkapellmeister'' there. [[Johann Mattheson]]–in 1740–wrote that Franz Tunder studied with [[Girolamo Frescobaldi]] in Italy, but there is no other evidence of this claim.

In February 1640, Tunder married [[Maria Elisabeth Voigt]]. Together they produced five children, including [[Sophia Augusta Tunder]], born in 1644 and the Cantor of the [[Marienkirche, Lübeck]] starting in 1663, and [[Anna Margreta Buxtehude|Anna Margreta]], who was born in 1646 and married [[Dietrich Buxtehude]] in 1668.

At the end of September, 1641, Franz Tunder assumed the office of Organist at the [[Marienkirche, Lübeck|Marienkirche]]. He became the ''Werckmeister'' in 1647. On July 31, 1648 Tunder played for the wedding of [[Matthias Weckmann]] and [[Regina Beute]].

Franz Tunder passed away at 9:30 PM on November 5, 1667.

== Works ==
The organ chorale works of Franz Tunder can be divided into four categories<ref>{{NdS2 2009}} 277</ref>:
* ''Verse cycles'' with separate verses - Jesus Christus, unser Heiland
* Continuous ''Verse cycles'' - Auf meinen lieben Gott
* ''Choral ricercare'' - Jesus Christus, wahr' Gottes Sohn
* ''Choral Fantasie'' (the rest of the surviving compositions)

[[File:S-Uu Ms Ihre 285 Tunder.jpg|thumb|right|The Canzona by Franz Tunder, found in S-Uu Ms. Ihre 285]]Except for one work, all remaining pieces by Franz Tunder are unicas. The sources of Tunder's organ music are in three main categories:

* [[:Category:Lüneburg Tablatures|The Lüneburg Tablatures]], including [[D-Lr Mus.ant.pract. K.N. 209]].
*[[Pelplin Tablatures|The Pelplin Tablatures]], a collection of manuscripts from the Pelplin Monestary.
*The Canzona by Tunder is located in a manuscript currently housed in the Universitetsbibliotek, Uppsala.

''Note: numbers in brackets are written in the manuscript by a librarian.''

{| class="wikitable"
|+ Surviving works by Franz Tunder
|-
! Source(s) !! Title !! Notes !! Incipit
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P486-489 || [34] Auff meinen Lieben / Gott / Auff 2 Clavier / Manualiter / F. Tunder || || <score>\relative d' {\key g \minor \partial 4 d8 e16 fis | g4 a8 bes16 c bes4 c | d2. }</score>
|-
| [[Pelplin Tablatures|PL-PE 306 (Tabulatura organowa Tom. III)]] P282-293 || Christ lag in / todtes banden / Frans: Tunder: || || <score><< \relative a' { \clef alto a1 g2 a2*1/2 } \\ \relative a { r4 a d c | b c4. a8 }>></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/17/1]] P428-431
[[D-Lr Mus.ant.pract. K.N. 209]] P644-649
| [207/17/1:] [13] Herr Gott / dich loben wir p / auff 2. Clav. / Franciscus Tunder. || || <score><< \relative e' { \clef alto e1 g2 a4. b8 } \\ \relative a { r4 a c2 b4 <e e,> <c f,> <d d,> } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P474-477 || [30] Indich habichge / hoffet Herr. / Auff 2. Clavier. / F. Tunder. || || <score>\relative g { \key g \minor g16 a b a g a b c d g e fis g a fis a g1 }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P562-565 || [48] Jesus Christus / Unser Heÿland. / F. T. || || <score>\relative a { \clef bass r16 a g a fis g e g fis8 g16 e fis d e cis << d1 \\ \relative d, { r4 d g1*1/2 } >> }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P470-473 || [29] Jesus Christus / wahr Gottes Sohn / F: Tunder || || <score><< \relative g' { \key g \minor \time 3/2 \partial 2 g4 a bes1 c2 d1*1/4 } \\ \relative g' { r2 r2 g4 f ees f bes, } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P634-639 || [72] Komm Heÿliger / Geist Herre Gott / Auff 2 Clauier / Franciscus: Tunder: Ped: || || <score>\relative d' { \key g \major r16 d e fis g a fis a g a b c d e cis e << d1 \\ { r2 <g, b, g>2 } >> }</score>
|-
| [[Pelplin Tablatures|PL-PE 305 (Tabulatura organowa Tom. II)]] P288-294 || Was kan uns / kommen an fur: / Noth / 2 Clav: Ped: / Frans: Tunder. || Pelplin/C-Major version, fragment || <score><< \relative c'' { c1 c4. d8 e2 } \\ \relative g' { r2 g2 a g } \\ \\ \relative e' { r2 e2 e4 f e c } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P612-621 || [65] Waß kan vns / kommen an / für noth / Auf 2. Clauier. / F. Tunder. Ped: || Lüneburg/F-Major version || <score>\relative f { \key f \major \clef bass f16 c a' f c' a f c' \clef treble f2 f8. e16 d e f g a2 }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F3v-4r || Praeludium / [3] / Franc: Tunder. || F-Major || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F2v-3r || Praeludium / [2] / Franc. Tunder. || G-Minor || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F4v-5r || Praeludium / Franc. Tunder. [4] || G-Minor || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F5v-6r || Praeludium [5] / Franc: Tunder || G-Minor || <score><< \relative d'' { \key g \minor d8. ees16 d8. c16 b4 c } \\ \relative g' g1 \\ \\ \relative b { b4 c d8. ees16 c8. d16 } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/15]] P909-910 || [55] Praeludium / F. Tund: || G-Minor || <score><< \relative a'' { \key g \minor r16 a g e fis g e fis d c bes c a bes g a fis } \\ \relative a' { s2 r16 a g e fis g e fis d } >></score>
|-
| [[S-Uu Ms. Ihre 285]] P50-52 || [20] Cantzon / F: Töndern || On a theme by [[Francesco Della Porta]]? || <score>\relative d'' { \key g \major d8 d d e c8. b16 a8 b16 c d8 d, g a }</score>
|}

=== Other theorized works ===
Two chorale fantasias from the [[Pelplin Tablatures]] are theorized to be by Franz Tunder by [[Klaus Beckmann]], despite the composer "H.S.M." being written<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor), ''Zwei Choralfantasien: Allein zu dir, Herr Jesu Christ ; Ein feste Burg ist unser Gott.'' Wiesbaden: Breitkopf & Härtel, 1991.</ref>. He also theorized that the anonymous ''Magnificat octavi toni'' (also a chorale fantasia) from the [[Zellerfeld Tablatures]] no.1 is by Tunder{{Citation needed}}.

The first praeludium in [[D-Lr Mus.ant.pract. K.N. 207/16]], which is anonymous, has been described as being reminiscent of Tunder<ref>[[Organum IV]] vol.10</ref>.

== Analysis ==
[[Klaus Beckmann]] noted that the location of the ''Canzon'' in [[S-Uu Ms. Ihre 285]], a manuscript which primarily transmitted harpsichord suites, suggests that the piece may have been written for the harpsichord or other string keyboard instrument.<ref name="beckmann276">Beckmann (2009), 276.</ref>

It has been found that the theme of the ''Canzon'' is similar to a Canzona by [[Francesco Della Porta]]. Combined with the appearance of a solo motet ''Salve Regina'' by [[Giovanni Rovetta]] (published in ''Motet concertati'' in 1647) re-written as a Cantata ''Salve me Jesu'' under Tunder's name, this shows how much of an influence early Italian music was to Tunder.<ref name="beckmann276">Beckmann (2009), 276.</ref>

== Editions ==
An incomplete list of editions of the organ works of Tunder is included below.

* [[Max Seiffert]], Leipzig: Kistner & Siegel, n.d. ([[Organum IV]] vol. 6). (Preludia only)
* [[Rudolf Walter]]. ''Sämtliche Choralbearbeitungen für Orgel / Franz Tunder.'' Mainz: Schott, 1958.
* [[Klaus Beckmann]], Wiesbaden: Breitkopf & Hartel.
* [[Jan van Biezen]]. ''Christ lag in Todesbanden : für Orgel / Franz Tunder.'' Amsterdam : Annie Bank, 1982. (Stichting Centrum voor de Kerkzang 129)
* [[Michel Belotti]], Wiesbaden: Breitkopf & Hartel.
* [[Claudia Schumacher]], Mainz: Schott. 2022 (revised edition) ([[Meister der Norddeutschen Orgelschule|MdNO]] 17)

== References ==
{{NdS2 2009}} 262-288.

[[Claudia Schumacher|Schumacher, Claudia]] (editor). ''Franz Tunder: Sämtliche Orgelwerke''. Mainz: Schott, 2019.

[[Category:Persons|Tunder, Franz]]
[[Category:Composers|Tunder, Franz]]
[[Category:Baroque Composers|Tunder, Franz]]
[[Category:Organists|Tunder, Franz]]
[[Category:Baroque|Tunder, Franz]]
[[Category:Norddeutsche Orgelschule|Tunder, Franz]]

Emanuel Benisch

2026-07-02T21:38:34Z

Fiskfan1999:

'''Emanuel Benisch Sr.''' (1649-1725) was a Saxon organist who worked in the Frauen– and Sophienkirche from 1679-1695 and at the Kreuzkirche in Dresden from 1696 until his death in 1725.

Benisch is the scribe of the first part of the [[Lowell Mason Codex]]

== References ==
[[Harald Vogel|Vogel, H.]] (editor). ''[[Dietrich Buxtehude]]: Orgelwerke. Volume II.'' Germany: Edition Breitkopf 9306, 2022. Critical Report. [https://www.breitkopf.com/assets/pdf/EB_9306_web_Critical_Report.pdf www.breitkopf.com], Accessed 2 July, 2026.

{{NdS2 2009}} 293, 469.

[[Category:German Organists]]

Emanuel Benisch

2026-07-02T21:25:41Z

Fiskfan1999: Created page with "'''Emanuel Benisch''' (ca. 1660-1725) was a Saxon organist who worked in the Frauen– and Sophienkirche from 1679-1695 and at the Kreuzkirche in Dresden from 1696 until his death in 1725. Benisch is the scribe of the first part of the Lowell Mason Codex == References == {{NdS2 2009}} 293, 469. Category:German Organists"

'''Emanuel Benisch''' (ca. 1660-1725) was a Saxon organist who worked in the Frauen– and Sophienkirche from 1679-1695 and at the Kreuzkirche in Dresden from 1696 until his death in 1725.

Benisch is the scribe of the first part of the [[Lowell Mason Codex]]

== References ==
{{NdS2 2009}} 293, 469.

[[Category:German Organists]]

Lowell Mason Codex

2026-07-02T21:18:12Z

Fiskfan1999: fix mispelling

[[File:10591808.jpg|thumb|right|Toccata in D Minor (BuxWV 155) by [[Dietrich Buxtehude]] from the Lowell Mason Codex]]
US-NH LM 5056 (also known as Ma21 Y2 L8, The '''Lowell Mason Codex''', or "Codex E. B. 1688") is a manuscript which is held in the Yale University Library. It contains keyboard and organ works by [[Dietrich Buxtehude]], [[Johann Sebastian Bach]], [[Alessandro Poglietti]], and others.

<blockquote>This manuscript in Yale's Lowell Mason Collection provides the only extensive source of Buxtehude's organ music that survives from the seventeenth century. (Kerala Snyder)</blockquote>

Despite being only one of thousands of manuscripts in the Lowell Mason library that was donated to Yale University, it was dubbed the "Lowell Mason Codex" by Max Seiffert{{Citation needed}}.

== Description ==
Based on analysis of the paper used in this book, it can be traced to late 17th-century Saxony. The description of the first two sections of paper is as follows:

# Pages 1-124 contain a watermark and coat of arms related to Johann Georg III, who was the elector of Saxony from 1680-1691.
# Pages 125-228 contain a watermark reading ''Hainsbach'' and the year 1686. This could refer to the Heinsbach estate, located in Niedereinsiedel, east of Dresden.

A note written on page 228 states that [[Johannes Becker]] purchased this book at auction in 1776 and that he copied the following pieces. The section of the book starting on page 229 contains different paper from the first two, with an unidentified "ICB" watermark.

Furthermore, the date "1688" found on the cover of the book suggests the year it was bound. Even though the binding appears to have been rebound, the first part of the manuscript may have been finished before this date.

=== Scribe ===
Initially, the initials "E.B." which appear on the cover of the manuscript was conjecturally connected with [[Emanuel Benisch]] as he was the only known organist with these initials in Saxony in this time period. Later musicological findings and analysis of other documents known to have been written by him confirmed that the manuscript was in his hand. [[Johannes Becker]] stated that he was the scribe for the rest of the manuscript after he came into possession of it.

=== Date ===
Based on these findings, it can be concluded that the Lowell Mason Codex up to page 228 was copied from around 1680 to 1688 in Saxony. On the question of how pieces by composers from countries further away could have found their way into this book, [[Kerala Snyder]] suggested that they were rounded up by [[Nicolaus Adam Strungk]], who is known to have travelled to Lübeck, Hamburg, Vienna, and Rome (However, it is known that the handwriting in this part of the Lowell Mason Codex is not Strungk's).

Some pieces in the manuscript are found in an earlier handwriting style by Benisch, suggesting that he had access to these pieces not only by Strungk but by other channels.

== Links ==
{{OnlFac|sig=US-NH LM 5056|url=https://collections.library.yale.edu/catalog/10544169|urlc=collections.library.yale.edu|date=20 July, 2023|imslp=880548}}

== References ==
[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''Dietrich Buxtehude: Sämtliche Orgelwerke, Band I-II''. Wiesbaden, Breitkopf & Härtel, 1997. 104.

{{SnyderB2}} 331-333.

{{RISM|103727}}

[[Category:Manuscripts|Lowell Mason Codex]]
[[Category:Tablatures|Lowell Mason Codex]]
[[Category:US Manuscripts|Lowell Mason Codex]]

Lowell Mason Codex

2026-07-02T21:16:23Z

Fiskfan1999: expand description

[[File:10591808.jpg|thumb|right|Toccata in D Minor (BuxWV 155) by [[Dietrich Buxtehude]] from the Lowell Mason Codex]]
US-NH LM 5056 (also known as Ma21 Y2 L8, The '''Lowell Mason Codex''', or "Codex E. B. 1688") is a manuscript which is held in the Yale University Library. It contains keyboard and organ works by [[Dietrich Buxtehude]], [[Johann Sebastian Bach]], [[Alessandro Poglietti]], and others.

<blockquote>This manuscript in Yale's Lowell Mason Collection provides the only extensive source of Buxtehude's organ music that survives from the seventeenth century. (Kerala Snyder)</blockquote>

Despite being only one of thousands of manuscripts in the Lowell Mason library that was donated to Yale University, it was dubbed the "Lowell Mason Codex" by Max Seiffert{{Citation needed}}.

== Description ==
Based on analysis of the paper used in this book, it can be traced to late 17th-century Saxony. The description of the first two sections of paper is as follows:

# Pages 1-124 contain a watermark and coat of arms related to Johann Georg III, who was the elector of Saxony from 1680-1691.
# Pages 125-228 contain a watermark reading ''Hainsbach'' and the year 1686. This could refer to the Heinsbach estate, located in Niedereinsiedel, east of Dresden.

A note written on page 228 states that [[Johannes Becker]] purchased this book at auction in 1776 and that he copied the following pieces. The section of the book starting on page 229 contains different paper from the first two, with an unidentified "ICB" watermark.

Furthermore, the date "1688" found on the cover of the book suggests the year it was bound. Even though the binding appears to have been rebound, the first part of the manuscript may have been finished before this date.

=== Scribe ===
Initially, the initials "E.B." which appear on the cover of the manuscript was conjecturally connected with [[Emmanuel Benisch]] as he was the only known organist with these initials in Saxony in this time period. Later musicological findings and analysis of other documents known to have been written by him confirmed that the manuscript was in his hand. [[Johannes Becker]] stated that he was the scribe for the rest of the manuscript after he came into possession of it.

=== Date ===
Based on these findings, it can be concluded that the Lowell Mason Codex up to page 228 was copied from around 1680 to 1688 in Saxony. On the question of how pieces by composers from countries further away could have found their way into this book, [[Kerala Snyder]] suggested that they were rounded up by [[Nicolaus Adam Strungk]], who is known to have travelled to Lübeck, Hamburg, Vienna, and Rome (However, it is known that the handwriting in this part of the Lowell Mason Codex is not Strungk's).

Some pieces in the manuscript are found in an earlier handwriting style by Benisch, suggesting that he had access to these pieces not only by Strungk but by other channels.

== Links ==
{{OnlFac|sig=US-NH LM 5056|url=https://collections.library.yale.edu/catalog/10544169|urlc=collections.library.yale.edu|date=20 July, 2023|imslp=880548}}

== References ==
[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''Dietrich Buxtehude: Sämtliche Orgelwerke, Band I-II''. Wiesbaden, Breitkopf & Härtel, 1997. 104.

{{SnyderB2}} 331-333.

{{RISM|103727}}

[[Category:Manuscripts|Lowell Mason Codex]]
[[Category:Tablatures|Lowell Mason Codex]]
[[Category:US Manuscripts|Lowell Mason Codex]]

Category:Citations of Kerala Snyder's Buxtehude book

2026-07-02T03:21:56Z

Fiskfan1999: Created blank page

Musical Party (Voorhout)

2026-07-02T03:21:38Z

Fiskfan1999: Use Kerala Snyder citation template

'''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 ==
{{SnyderB2}} 109-112.

Dietrich Buxtehude

2026-07-02T03:20:30Z

Fiskfan1999: Change for Kerala Snyder citation template

[[File:"The Musical Party" by Johannes Voorhout.png|thumb|[[Musical Party (Voorhout)|"The Musical Party" by Johannes Voorhout]]. Buxtehude is now thought to be playing the Viola de Gamba. [[Jean-Adam Reincken]] is playing the harpsichord.]]
'''Dietrich Buxtehude''' (1637-1707)

{{Stub}}

== Organ Works ==
=== BuxWV ===
Compositions by Buxtehude are classified according to ''Buxtehude-Werke-Verzeichnis'' (BuxWV). Before this, the works would typically be referred to by their location in the edition by [[Philipp Spitta]], for example "Sp.I:1", or "Erg." for the ''Ergänzungsband''<ref>[[Josef Hedar|Hedar, Josef]], ''Dietrich Buxtehudes Orgelwerke''. 372-373.</ref>.

=== Organ Works in BuxWV Catalogue ===
{| class="wikitable"
|-
! Sources<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor), ''D. Buxtehude: Sämtliche Orgelwerke.'' Wiesbaden: Breitkopf & Härtel, 1997.</ref> !! BuxWV<ref name="buxwv">Karstädt, Georg. ''Thematisch-systematisches Verzeichnis der musikalischen Werke von Dietrich Buxtehude.'' Wiesbaden: Breitkopf & Härtel, 1985.</ref> !! Title !! Incipit !! Notes !! Ref.
|-
|[[D-KA Aa36 V, no.48]] [[D-B Mus.ms. 2680]] f.1r-3r
|76
|Mit Fried und Freud ich fahr dahin
|<score>{\time 4/2 <<\relative d' { d1 a'2 a g } \\ \relative a { r4 a f a8 b c2. d8 c bes2 } \\ \relative f' { r2 r4 f e f8 g a4 f g2 } >>}</score>
|[[RISM A/I B 5200]]
||<ref>[[Michael Belotti|Belotti, Michael]] (editor). ''Dieterich Buxtehude: The Collected Works.'' Volume 16: Keyboard Works, Part 2: Organ Chorales, Section B: Commentary. New York: The Broude Trust, 2010. 17.</ref><ref>{{RISM|990007776}}</ref>
|-
|[[Lowell Mason Codex]] p.137-141
|136
|Praeludium in C Major
|<score>{<< \relative g { r16 g a b c d e f g e f g a } \\ \relative g { r8 r16 g a b c d e c d e f } >>}</score>
|-
|[[Andreas Bach Book]] f.111v-113v
|137
|Praeludium in C Major
|<score>{\clef bass \relative c { r16 c e c g'8 g, r g c c, r4 }}</score>
|-
|[[US-NH LM 4838]] p.65-67
|138
|Praeludium in C Major
|<score>{\relative c'' { r16 c b a g e f g c, d e f g }}</score>
|-
|[[Schmahl Organ Tablatures]] (4) p.4-5 [[Lindemann Tablatures|S-L Wenster U:6]] [[D-B Mus.ms. 2681]] p.13-17 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|139
|Praeludium in D Major
|<score>{<< \relative a' { r8 r16 a d fis d a a'8 r8 r4 r8 } \\ \relative d' { s2 r16 d fis a d a fis d d'8 } >>}</score>
|-
|[[D-B Mus.ms. 2681]] p.18-22 [[US-Pc qM 786.8 B98]] p.1-5 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|140
|Praeludium in D Minor
|<score>{\relative g' { r16 <g e'> <a f'> <g e'> <f d'> <g e'> <f d'> <e cis'> <f d'> }}</score>
|-
|[[D-B Mus.ms. 2681]] p.23-28 [[US-Pc qM 786.8 B98]] p.6-9 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|141
|Praeludium in E Major
|<score>{\key e \major \relative b' { r16 b cis dis e b cis b32 a b16 a32 gis e'16~32 }}</score>
|-
|[[Lowell Mason Codex]] p.92-99 [[Lindemann Tablatures|S-L Wenster N:5]] [[D-B Mus.ms. 2681]] p.1-7 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|142
|Praeludium in E Minor
|<score>{\key e \minor \relative e' { r16 e g b g e c' a b e cis dis e }}</score>
|-
|[[D-B Mus.ms. Fot. Bü 227]] (Foto 535-538) p.1-4 [[D-B Mus.ms. 2681]] p.43-47 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|143
|Praeludium in E Minor
|<score>{\key e \minor \clef bass \relative e, { e4~16 e' dis e b b' a b e,8 }}</score>
|-
|[[Lowell Mason Codex]] p.134-137
|144
|Praeludium in F Major
|<score>{\clef bass \key f \major {f16 bes a bes g c' bes c' } \clef treble << \relative c' { c16 f e f d } \\ {a4 bes8} >>}</score>
|-
|[[D-B Mus.ms. 30381]] No. 3 [[D-B Mus.ms. 2681]] p.31-37 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|145
|Praeludium in F Major
|<score>{\relative f'' { r16 e f e f c d bes c a bes g a }}</score>
|-
|[[B-Bc 26659]] f.22v-24v [[D-DS Mus.ms. 1462/1]] p.1-7 [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]] [[D-LEm Becker III.8.6]] p.1-7 [[A-Wn Mus. Hs. 5011]] p.1
|146
|Praeludium in F-Sharp Minor
|<score>{\key fis \minor \relative fis'' { \repeat percent 4 { fis16 a eis gis } fis16 }}</score>
|-
|[[S-L Engelhart 216]]
|147
|Preludium in G Major
|<score>{\clef bass \relative g { r8 g fis16 g e fis d g b, d c g' a, }}</score>
|-
|[[Lowell Mason Codex]] p.120-125 [[Grobe Tablature]] [[US-Pc qM 786.8 B98]] p1.5
|148
|Praeludium in G Minor
|<score>{\key g \minor << \relative d'' { r16 d ees c d bes c a bes g a fis g } \\ \relative d' { r4 r16 d ees c d bes c a bes } >>}</score>
|-
|[[Lindemann Tablatures|S-L Wenster U:5]] [[D-B Mus.ms. 2681]] p.75-81 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|149
|Praeludium in G Minor
|<score>{\key g \minor \relative g'' { \tuplet 6/4 4 { r16 fis g a g fis g cis, d e d cis d }}}</score>
|-
|[[Andreas Bach Book]] f. 6, 53, 54r
|150
|Praeludium in G Minor
|<score>{\clef alto \key g \minor \relative g { g8. 16 a g a32 g a fis g16 d bes' g d' }}</score>
|-
|[[Schmahl Organ Tablatures]] (1) [[Möller Manuscript]] f.47-48
|151
|Praeludium in A Major
|<score>{\key a \major \relative e'' { e8. a16 cis, d e b cis d a b cis }}</score>
|-
|[[Lowell Mason Codex]] p.84-87
|152
|Praeludium quarti toni
|<score>{\relative e'' { e8 d16 c b c d e gis, a b a gis }}</score>
|-
|[[D-B Mus.ms. 2681]] p.8-12 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|153
|Praeludium in A minor
|<score>{\clef alto << \relative e' { r2 e16 a gis b a } \\ \relative e { e16 a gis b a c b d c8 b16 d c } >>}</score>
|-
| [[Lowell Mason Codex]] p.142-147
|155
|Toccata in D Minor
|<score>{\relative d'' { d8. a16 bes a f g } << \relative a' { <a f>4 }\\ \relative cis' {r16 cis d d, } >>}</score>
|-
| [[D-B Mus.ms. 2681]] p.66-71 [[US-Pc qM 786.8 B98]] p.10-15 [[D-Bim Mus.ms. Buxtehude 1]] [[B-Bc 26659]] f.18r-20r [[D-B Mus.ms. 2683]] [[D-B Am.B 462]] [[D-B Am.B 430]] [[D-B Mus.ms. 2681/1]]
|156
|Toccata in F Major
|<score>{\relative c' { r32 c d e f g a bes c a bes c d e f g a16 }}</score>
|-
|[[BuxWV 157 Manuscript]]
|157
|Toccata in F Major
|<score>{\relative f' { f16 c d e f g a bes c a bes c d e f g a c, d e f }}</score>
|-
|[[Lowell Mason Codex]] p.88-91
|158
|Praeambulum in A Minor
|<score>{\relative e'' { e4. d16 c b8 c16 d gis,8 a16 b e,4 }}</score>
|-
|[[Andreas Bach Book]] f.33v-35r [[D-B Mus.ms. 30069]] p.42-43
|159
|Ciacona in C Minor
|<score>{\key c \minor \time 3/4 << \relative c'' { r8 c16 b c4. d8 b8 } \\ \relative e' {r8 ees16 d ees8. d16 c4 d8 } \\ \relative g' { r4 g f g8 } >>}</score>
|-
|[[Andreas Bach Book]] f.91-92v
|160
|Ciacona in E Minor
|<score>{\key e \minor \time 3/4 << \relative a' { r8 a b4. c8~8 } \\ \relative a { r4 r r8 a b } \\ \relative fis' { r4 r8 fis g4 fis8 } >>}</score>
|-
|[[Andreas Bach Book]] f.107v-108v
|161
|Passacaglia in D Minor
|<score>{\partial 2 \key d \minor \time 3/2 << \relative f'' { r4 f~f e2. r4 g8 a f4 } \\ \relative d' { r4 d~d2 cis r4 e~e } \\ \relative a' { r4 a4~1 r4 a~a }>>}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:2]]
|162
|Praeludium manualiter in G Major
|<score>{\relative g'' { g8 a16 g fis a g fis g b a g fis e d cis d }}</score>
|-
|[[D-B Mus.ms. 2681]] p.58-65 [[D-Bim Mus.ms. Buxtehude 1]]
|163
|Praeludium manualiter in G Minor
|<score>{\relative g'' { g16 aes g f ees d c bes a g fis g~ g32 a }}</score>
|-
|[[D-B Mus.ms. 2681]] p.72-74 [[US-NH LM 4983]] p.1-3 [[S-Uu Instr. Mus. i. hs. 410]] p.72-73 [[D-B Mus.ms. 30194]] (5) p. 1-2
|164
|Toccata manualiter in G Major
|<score>{\relative g' { g8. a16 b fis g d e fis b, d a }}</score>
|-
|[[Möller Manuscript]] f.47-48 [[D-LEm Mus.ms. S 4]] p.1-2
|165
|Toccata manualiter in G Major
|<score>{\clef bass \relative g { <g g, d''>1 r16 g fis g d g b, d g,2 }}</score>
|-
|[[Lowell Mason Codex]] p.100-105 [[D-B Mus.ms. 40268]] p.64-66
|166
|Canzona in C Major
|<score>{\relative c' { c16 e d e f g f e d f e f g }}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:6]]
|167
|Canzonetta in C Major
|<score>{\relative g' { \repeat unfold 2 \repeat tremolo 4 { g8} a8 a e f g e f d e }}</score>
|-
|[[D-B Mus.ms. 2681]] p.48-51 [[D-LEm Becker II.2.51]] f.1v-3r [[D-Bim Mus.ms. Buxtehude 1]]
|168
|Canzona in D Minor
|<score>{\relative a' { a2 d,8 d' c bes a16 bes c8 f,16 g a8 d, }}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:9]]
|169
|Canzonetta in E Minor
|<score>{\relative b' { r8 b e, fis g16 fis g a g8. fis16 e8 }}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:8]]
|170
|Canzona in G Major
|<score>{\key g \major \relative d'' { d16 e d c b g' f g e f d e c }}</score>
|-
|[[D-B Mus.ms. 2681]] p.29-30 [[D-Bim Mus.ms. Buxtehude 1]]
|171
|Canzonetta in G Major
|<score>{\relative d'' { \repeat tremolo 2 d16 \repeat tremolo 2 b16 \repeat tremolo 2 e16 \repeat tremolo 2 a,16 \repeat tremolo 2 b16 \repeat tremolo 2 g16 \repeat tremolo 2 d'16 \repeat tremolo 2 fis,16 }}</score>
|-
|[[US-NH LM 4983]] p.6-7
|172
|Canzonetta in G Major
|<score>{\relative d'' { r16 d d d e d e b c b c a d }}</score>
|-
|[[Lindemann Tablatures|S-L Wenster N:1]]
|173
|Canzona in G Minor
|<score>{\key g \minor \relative d'' { d4. g16 d ees c g' c, d bes g' bes, c }}</score>
|-
|[[Andreas Bach Book]] f.61v-62v
|174
|Fuga in C Major
|<score>{\time 12/8 \relative c' { r4 c8 g' a g e4 e8 a bes a g4 g8 c4 }}</score>
|-
|[[Lowell Mason Codex]] p.117-119
|175
|Fuga in G Major
|<score>{\relative d'' { d4 d8 d e d16 c b8 b16 c d8 a d c }}</score>
|-
|[[D-B Mus.ms. 2681]] p.38-42 [[D-Bim Mus.ms. Buxtehude 1]]
|176
|Fuga in B-flat Major
|<score>{\key bes \major \relative f' { f8 16 16 8 16 16 g8 aes16 g f g ees f d }}</score>
|-
|[[Plauen Organ Book]] [[D-B Mus.ms. 11419]] p.101-102
|177
|Ach Gott und Herr (2 Versus)
|<score>{<< \relative f' { r4 f8 e f g a b c } \\ { d'1 c'8 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.141-142
|178
|Ach Herr, mich armen Sünder
|<score>{\clef bass << \relative e' { s1 s r2 e a } \\ \relative e { r1 r2 e a2. g4 f2 } \\ \\ \relative b { r2 b2 e2. d4 c1~4 } >>}</score>
|-
|[[Frankenberger Walther Manuscript]] p.356-358
|179
|Auf meinen lieben Gott
|<score>{\key e \minor \relative e' { \partial 8 e8 e4. fis8 g8 g32 a b16 a8. g32 a b2 }}</score>
|-
|[[Frankenberger Walther Manuscript]] p.113-114
|180
|Christ, unser Herr, zum Jordan kam
|<score>{\relative d' { d2~8 e32 f g16 f8. e16 f2 }}</score>
|-
|[[Plauen Organ Book]] [[D-B Mus.ms. 30245]] p.77-78 [[D-B Mus.ms. Bach P 806]]
|181
|Danket dem Herren (3 Versus)
|<score>{\key g \minor << \relative g' { g1 bes2*1/2 } \\ \relative c' { r4 r8 c16 b c8 d ees4~4 } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.64-66 [[D-B Mus.ms. 22541/2]] p.104-106 [[Ms. fol. Sp. 1440]]
|182
|Der Tag, der ist so freudenreich
|<score>{\clef alto \key g \major <<\relative g' { r2 g g g2*1/2 } \\ \relative g { r2 r4 g8 a b c~c b c4 } \\ \relative b { r2 r4 b8 c d e d4 e4 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.151-152
|183
|Durch Adams Fall ist ganz verderbt
|<score>{<< \relative a' { a1 a2 a } \\ \relative d' { r4 d cis d a cis d } \\ \relative f' { r4 f e f cis e f2 } >>}</score>
|-
|[[Frankenberger Walther Manuscript]] p.305-306
|184
|Ein feste Burg ist unser Gott
|<score>{\relative c'' { r16 c d e c e b d c2 c4~16}}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.318
|185
|Erhalt uns, Herr, bei deinem Wort
|<score>{\key g \minor \relative g' { r16 g bes g d' a bes fis g4~16 }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Plauen Organ Book]] [[Frankenberger Walther Manuscript]] p.157-158 [[D-B Mus.ms. 30245]] p. 95-96 [[Ms. fol. Sp. 1439]]
|186
|Es ist das Heil uns kommen her
|<score>{\relative a' { r8 a g8. fis16 g2 g g g4. }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.295-296
|187
|Es spricht der Unweisen Mund wohl
|<score>{\key g \major << \relative e' { r4 e e d8 c b4 e4~8 } \\ \relative c' { r4 c c b8 a g2 a4 } \\ \relative g' { g1 g4. a16 g f8 } >>}</score>
|-
|[[D-B Mus.ms. Bach P 802]] p.57-69
|188
|Gelobet seist du, Jesu Christ
|<score>{\clef alto << \relative d' { d2 d4 d e2 d r8 } \\ \relative g { r1 r4 g g g a2 } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.72-73 [[D-B Mus.ms. 22541/2]] p.100-101
|189
|Gelobet seist du, Jesu Christ
|<score>{<< \relative b { r16 b c d g, d' e fis g2 g } \\ \relative g' { r2 r8 g e c r <c e> <g b> } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.70-71
|190
|Gott der Vater wohn uns bei
|<score>{<< \relative g' { g4 g a b c c b } \\ \relative c' { c4 c~c b a2 g4 } \\ \\ \relative e' { e4 e fis g~g fis g } >>}</score>
|-
|[[Plauen Organ Book]] [[D-B Mus.ms. 30245]] p.99-100
|191
|Herr Christ, der einig Gottes Sohn
|<score>{\key g \major << {g'1 g'2 b'2*1/4 } \\ \relative b { r4 b c4. d8 e b e4~e8 } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.22-23 [[Frankenberger Walther Manuscript]] p.197-198
|192
|Herr Christ, der einig Gottes Sohn
|<score>{ \key g \major << \relative g' { r2 g2 g4. a8 b2 } \\ \relative b { r2 r8 b c d e4 d8 c b } \\ \relative fis' { s1 s4. fis8 g4. } >>}</score>
|Beginning incipit in [[Ritter Catalogue]] <score>\new Staff \with { \magnifyStaff 0.6 }\relative fis' { \key g \major r8 fis\noBeam g16[ a g32 a g fis] g2*1/4 }</score>
|<ref>[[Michael Belotti|Belotti, Michael]] (editor). ''Dieterich Buxtehude: The Collected Works.'' Volume 16: Keyboard Works, Part 2: Organ Chorales, Section B: Commentary. New York: The Broude Trust, 2010. 30.</ref>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|193
|Herr Jesu Christ, ich weiß gar wohl
|<score>{ \partial 2 << \relative a' { a2 a gis a } \\ \relative d' { s2 r4 d8 c b a b4 a4 } \\ \relative a' { r4 a8 g f e f e d c d4 c4 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|194
|Ich dank dir, lieber Herre
|<score>{\key f \major \clef alto \relative f' { \partial 2 <f c a>2 4 4 <f d a>4 <g d~ g,~> <e d g,>8 }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|195
|Ich dank dir shon durch deinen Sohn
|<score>{\time 4/2 \key f \major \relative c' { c1 2 2 f1. d2 e1. }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|196
|Ich ruf zu dir, Herr Jesu Christ
|<score>{<< \relative a' { a1 } \\ \relative a, { r16 \clef bass a16 b cis d e f g a cis, d e f g a d, } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.96-97 [[D-B Mus.ms. 22541/2]] p.103
|197
|In dulci jubilo
|<score>{\key g \major \time 3/2 \partial 2 << \relative g' { g2 g1 a4 b8 c b2. } \\ \relative d' { d2 e1 d2~2. } >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.162
|198
|Jesus Christus, unser Heiland, der den Tod
|<score>{\key f \major \clef alto << \relative g' { g2 g } \\ \relative c' { r2 r16 c b a g8 } \\ \relative f' { r16 f ees d c8 d ees d16 c bes8 } >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.165-166
|199
|Komm, Heiliger Geist, Herre Gott
|<score>{\key f \major \relative c' { r16 c d e f g a bes c2 d }}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.167-168
|200
|Komm, Heiliger Geist, Herre Gott
|<score>{\key f \major << { c''1} \\ \relative e' { r16 <e g> <f a> <g bes> <f a>8 <e g> <f a>2 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.179-180
|201
|Kommt her zu mir, spricht Gottes Sohn
|<score>{\key g \minor \clef alto << \relative d' { d2 4 4 g2. fis4 g } \\ \relative g { r2 r4 g g g d'2~4 } >>}</score>
|-
|[[D-B Mus.ms. 22541/1]] p.100 [[D-B Mus.ms. 22541/2]] p.101
|202
|Lobt Gott, ihr Christen allzugleich
|<score>{\key g \major \partial 4 \relative g { g4 d' d d d e d8. c16 b4. }}</score>
|-
|[[B-Bc 26659]] p.3-6
|203
|Magnificat primi toni
|<score>{\key d \minor \relative d' { d16 e f g a b cis d e f g a r16 e,}}</score>
|-
|[[D-B Mus.ms. 30280]] p.26 [[D-LEm Becker III.8.26]]
|204
|Magnificat primi toni
|<score>{\key d \minor \clef bass \relative e { r16 e f g f a g bes a d cis e d }}</score>
|-
|[[D-B Mus.ms. 30280]] p.27 [[D-LEm Becker III.8.26]]
|205
|Magnificat noni toni
|<score>{\key d \minor \clef alto << \relative d' { r4 d f2~4 e8 d e4 } \\ \relative a { r2 r4 a c2. } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.96
|206
|Mensch, willt du leben seliglich
|<score>{\clef bass << \relative b { r4 b c2~4 b8. a16 b8} \\ \relative e { e2. fis4 g2 gis8 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Plauen Organ Book]] [[Frankenberger Walther Manuscript]] p.98-99, p.102-103 [[D-B Mus.ms. 30245]] p.35-39 [[D-B Mus.ms. Bach P 806]]
|207
|Nimm von uns, Herr, du treuer Gott (4 versus)
|<score>{<< {a'1} \\ \relative g' { r16 g f e f g f e f8 e16 d e4 } >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.181
|208
|Nun bitten wir den Heiligen Geist
|<score>{\partial 2 << \relative g' { g4. fis16 g a2*1/4 } \\ \relative b { r8 <e c>4~8 } >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.182
|209
|Nun bitten wir den Heiligen Geist
|<score>{<< \relative g' { g1 a2 a } \\ \relative b { r2 <c~ e> <c d> } >>}</score>
|-
|[[D-B Mus.ms. Bach P 802]] p.17-37 [[D-WRz Fol 49/11 (3)]]
|210
|Nun freut euch, lieben Christen gmein
|<score>{\relative g { r8 r16 fis g a b c b g a b c }}</score>
|-
|[[D-B Mus.ms. 22541/1]] p. 6-7 [[D-B Mus.ms. 22541/2]] p. 25
|211
|Nun komm, der Heiden Heiland
|<score>{\clef alto \key g \minor << \relative g' { g2 g8. bes16 a8. g16 f2 } \\ \relative d' { r4 d ees2 d4 a } \\ \\ \relative bes { r4 bes4~8 g c bes a g f } >>}</score>
|-
|[[Plauen Organ Book]]
|212
|Nun lob, mein Seel, den Herren
|<score>{\time 3/2 \partial 2 << \relative c'' { c2 c1 b2 a1 } \\ \relative g' { g2 g a g g f } \\ \\ \relative e' { e2 e1 e2 c1 } >>}</score>
|-
|[[D-B Mus.ms. 2681/2]] p.82-87 [[Sammlung Gotthold Ms. 15,839]] [[Plauen Organ Book]] [[Frankenberger Walther Manuscript]] p.40-41, p.44-45 [[D-B Mus.ms. 30245]] p.70-74 [[D-B Mus.ms. Bach P 806]]
|213
|Nun lob, mein Seel, den Herren (3 versus)
|<score>{\clef alto \time 3/2 \partial 2 << \relative g' { g2 g1 fis2 e1*1/4 } \\ \relative g { g4 g8 a b4 g b c d fis,8 g a4 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Plauen Organ Book]] [[Frankenberger Walther Manuscript]] p.42-43 [[D-B Mus.ms. 30245]] p.74-76 [[D-B Mus.ms. Bach P 806]] [[Ms. fol. Sp. 1439]] p.28-29
|214
|Nun lob, mein Seel, den Herren
|<score>{\time 3/2 \clef alto \relative c' { r2 r2 c c2. d8 c b2 a2. }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]]
|215
|Nun lob, mein Seel, den Herren
|<score>{\key g \major \time 3/2 \partial 2 << \relative g' { g2 g1 } \\ \relative c' { r8 c e c b2~8 b cis4 } >>}</score>
|-
|[[Andreas Bach Book]] f.110r
|216
|O lux beata trinitas (frag.)
|<score>{\relative e'' { e8 b g e d d' d d c2 }}</score>
|-
|[[D-B Mus.ms. 22541/1]] p. 69 [[D-B Mus.ms. 22541/2]] p. 106
|217
|Puer natus in Bethlehem
|<score>{\time 3/2 r2 r2 << \relative a' { a2 a1 a2 b2. } \\ \relative c' { c2 c1 a2~a1 } \\ \\ \relative e' { e2 1 d4 e f2 } >>}</score>
|-
|[[D-B Mus.ms. Bach P 801]] p.333-353 [[D-LÜmh Mus. U 212]] [[Lost BuxWV 218 Manuscript]]
|218
|Te Deum laudamus
|<score>{\time 3/4 \relative b' { r16 b c d e b c a c e d c b }}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.104-105 [[D-B Mus.ms. 30280]] p.5
|219
|Vater unser im Himmelreich
|<score>{<< \relative a' { a1 a4. } \\ \relative d' { r4 d2 cis4 r4 a4*1/2 } \\ \\ \relative f' { r4 f4 e2 r4 e2*1/4 } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.200
|220
|Von Gott will ich nicht lassen
|<score>{\clef alto \partial 4 << \relative a { a4 e' fis g4. g8 c, } \\ \relative e { r4 r2 r4 e a } >>}</score>
|-
|[[Sammlung Gotthold Ms. 15,839]] [[Frankenberger Walther Manuscript]] p.199-200
|221
|Von Gott will ich nicht lassen
|<score>{\partial 4 << \relative e' { r16 e fis gis a8 gis16 a b16 } \\ \relative c' { r4 r16 c b a gis8 } >>}</score>
|-
|[[Frankenberger Walther Manuscript]] p.311 [[D-B Mus.ms. 30280]] p.2
|222
|Wär Gott nicht mit uns diese Zeit
|<score>{<< \relative a' { a2. b4 c2 cis d e } \\ \relative c' { r4 c f2 a1~a2. g4 } >>}</score>
|-
|[[D-B Mus.ms. 22541/2]] p.1-5
|223
|Wie schön leuchtet der Morgenstern
|<score>{\time 6/4 \clef bass g,1. << \relative a' { r4 \clef treble a g fis a fis }\\ {d1.} >>}</score>
|-
|[[D-B Mus.ms. 22541/3]] p.148
|224
|Wir danken dir, Herr Jesu Christ
|<score>{\clef alto \time 3/2 << \relative a { a2 a a d1 e2 f4 g f e d } \\ \relative d { s1. s1. d2 d d } >>}</score>
|-
|[[S-N Finspong 1136:2]] p.1-2
|225
|Canzonetta in A Minor
|<score>{\relative a' { a16 a' gis a b, a' gis a c, a' gis a d, }}</score>
|}

In 2006, [[Johann Sebastian Bach's Buxtehude and Reincken Manuscripts|two manuscripts]] containing transcriptions by [[Johann Sebastian Bach]] of ''An Wasserflüssen Babylon'' by [[Johann Adam Reincken]] and the beginning of ''Nun freut euch...'' by Buxtehude in [[New German Tablature Notation]] were discovered.<ref>{{NdS2 2009}} 294-295.</ref>

=== Organ works in BuxWV anh. ===
[[File:Buxtehude Sonata.jpg|thumb|right|The opening to BuxWV anh. 5]]
{| class="wikitable"
|+ Caption text
|-
! Sources !! BuxWV<ref name="buxwv"></ref> !! Title !! Incipit !! Notes !! Ref.
|-
| [[Lowell Mason Codex]] p.81-83 || anh.5 || Sonata a 2 Clavir Pedal || <score><< \relative a' { \time 2/2 r2 a2~ a4 a a2 } \\ \relative d' { d2. d4 d2. cis4 } \\ \\ \relative f' { f2. f4 f2 e } >></score> || ||
|-
| || anh.11 || Erhalt uns Herr, bei deinem Wort || || ||
|}

==== Sonata in D Minor ====
Recently, concordances to the Sonata in D Minor have been found, one with attribution to [[Johann Michael Nicolai]]<ref>{{RISM|190025158}}</ref> and two others with attributions to [[William Young]]<ref>{{RISM|806934061}}, {{RISM|806904606}}</ref>, all three being discovered by [[Jochen Thesmann]]<ref>Snyder2 p. 306, 507.</ref>. With conflicting evidence, the question of authorship remains unsolved. The piece bears no resemblance to any instrumental sonata or organ piece written by Dietrich Buxtehude. Stylistically, this piece is more similar to instrumental chamber sonatas than organ pieces. The middle voice frequently doubles the bass line, sometimes with more ornamentation.

=== Notable works not included in BuxWV ===
{| class="wikitable"
|-
! Source !! Title !! Incipt !! Notes !! Ref.
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] No.45 || Nun freuet / Euch Lieben Chri- / sten Gemein. / Auf 2. Clavier || <score>\relative d' { \key a \major d1 d2 a d cis~ cis4 }</score> || This chorale fantasia has been theoried to be a young composition by Buxtehude by [[Pieter Dirksen]]. || <ref>[[Pieter Dirksen|Dirksen, Pieter]] (editor), ''Dietrich Buxtehude(?): Nun freut euch, lieben Christen gmein.'' Wiesbaden: Breitkopf & Härtel, 2006. Introduction: [https://www.breitkopf.com/assets/pdf/8548_PDF_EB8643_Vw.pdf www.breitkopf.com], accessed 14 August, 2023.</ref><ref>{{RISM|450101448}}</ref>
|}

== References ==
{{SnyderB2}} ("Snyder2")

[[Category:Persons|Buxtehude, Dietrich]]
[[Category:Composers|Buxtehude, Dietrich]]
[[Category:Baroque Composers|Buxtehude, Dietrich]]
[[Category:Organists|Buxtehude, Dietrich]]
[[Category:Baroque|Buxtehude, Dietrich]]
[[Category:Norddeutsche Orgelschule|Buxtehude, Dietrich]]
[[Category:WVlist pages|Buxtehude, Dietrich]]

Template:SnyderB2

2026-07-02T03:19:14Z

Fiskfan1999: Create template for Kerala Snyder citations

[[Kerala Snyder|Snyder, Kerala J.]]. ''Dietrich Buxtehude: organist in Lübeck.'' Revised edition. Rochester: University of Rochester Press, 2007.[[Category:Citations of Kerala Snyder's Buxtehude book]]

User talk:WilliamAtRutgers

2026-07-01T01:29:00Z

Fiskfan1999: /* Welcome! */ new section

== Welcome! ==

Hello, myself

--[[User:Fiskfan1999|Fiskfan1999]] ([[User talk:Fiskfan1999|talk]]) 21:29, 30 June 2026 (EDT)

Main Page

2026-06-30T01:40:38Z

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

=== Account Creation ===
New accounts are subject to verification. Please email William at <nowiki>william@williamrehwinkel.net</nowiki> if you are unable to request an account.

==== Editing pages ====
After your requested account is approved, you may still not be able to edit pages. Due to a shortcoming with the account requesting interface, you have to confirm your email a second time in order for your email address to count as confirmed by Mediawiki. Go to [[Special:Preferences]] and scroll down to '''Email options.''' We apologize for the inconvenience.

== 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]].

== pipe-organ.wiki links ==
* [https://altpod.pipe-organ.wiki Better Pipe Organ Database]

== How to create a page ==

# Enter the title of the page on the search bar at the left.
# There will be a prompt saying

Create the page "<name>" on this wiki!

[[Category:The Wiki]]

Marcus Olter

2026-06-27T19:51:17Z

Fiskfan1999: fix biography

'''Marcus Olter''' (1625-1684) was a German organist and composer.

== Life ==
Olter was born in 1625 in Meldorf, a town about 50 kilometers northwest of Hamburg.

In 1653 he was in Meldorf, in Dithmarschen, where he was the organist at the cathedral (St. Johannis church). Before the beginning of this post, he was probably already the organist at St. Stephen's Church in Tangermünde.

Marcus Olter passed away in 1684.

== Works ==
Only one piece by Olter survives, a canzona in C minor.

{| class="wikitable"
|-
! Source !! Title !! Incipit !! Notes !! Ref.
|-
| [[D-Lr Mus.ant.pract. K.N. 207-15]] f.17v-18r || 25 / CANZON. || <score>\relative c'' { \partial 4 c4 f, g aes g8 aes | bes4 c4. c8 b4 }</score> || end: ''Marcus Olter / org. zu Meldorff.'' || <ref>{{RISM|450101341}}</ref>
|}

This piece is a canzona a 4 in three sections, each of which has a theme based on the ascending 5-note scale.

== Links ==
[https://imslp.org/wiki/Canzon_(Olter,_Marcus) Canzon] on IMSLP

== References ==
{{NdS2 2009}} 521-523.

Marcus Olter

2026-06-15T04:14:29Z

Fiskfan1999:

'''Marcus Olter''' (1625-1684) was a German organist and composer.

== Life ==
Olter was born in 1625 in Meldorf, a town about 50 kilometers northwest of Hamburg). In 1653 he was in Dithmarschen, in Bauern, where he was the organist at the cathedral (St. Johannis church). He probably also worked as an organist in Meldorf (based on the suffix ''org. zu Meldorff'' in the piece found below). He passed away in 1684.

== Works ==
Only one piece by Olter survives, a canzona in C minor.

{| class="wikitable"
|-
! Source !! Title !! Incipit !! Notes !! Ref.
|-
| [[D-Lr Mus.ant.pract. K.N. 207-15]] f.17v-18r || 25 / CANZON. || <score>\relative c'' { \partial 4 c4 f, g aes g8 aes | bes4 c4. c8 b4 }</score> || end: ''Marcus Olter / org. zu Meldorff.'' || <ref>{{RISM|450101341}}</ref>
|}

This piece is a canzona a 4 in three sections, each of which has a theme based on the ascending 5-note scale.

== Links ==
[https://imslp.org/wiki/Canzon_(Olter,_Marcus) Canzon] on IMSLP

== References ==
{{NdS2 2009}} 521-523.

Franz Tunder

2026-06-05T02:02:44Z

Fiskfan1999: re-arrange sections and fix one major false fact about the Canzona.

'''Franz Tunder''' (1614-1667) was a German organist, composer, and ''Werckmeister''. He was part of a prestigious line of organists (and one of the longest serving organists) working at the [[Marienkirche, Lübeck]], and was an important composer in the [[North German Organ School]].

== Life ==
[[File:HLWerkhausMarker.JPG|thumb|right|Plaque at the ''Werkhaus'' at the [[Marienkirche, Lübeck]] commemorating Franz Tunder and [[Dietrich Buxtehude]]]]
<ref>Beckmann (2009). 262-263.</ref>Franz Tunder was born around 1614. His exact date of birth is not known due to missing records, but can be estimated because he was described as 53 years old in a note in an elegy found in the ''Marienkirche'' protocol book.

Opinions about Tunder's place of birth varied during the course of modern musicology of early organ music. Around 1925, [[Peter Wiepert]], a local historian in ''Bannesdorf auf Fehmarn'' said that Tunder had been listed as originating from there in local historical documents (however, these documents have since been lost). These same documents stated that Tunder was working as an organist in Copenhagen around 1632...it is not clear if this is supported by any other evidence or if this is the same person.

However, in 1996 [[Gerhard Kay Birkner]]<ref>Birkner, Gerhard Key. "Franz Tunder in Lübeck geboren!". ''Lübeckische Blätter'' 161 (1996) Heft 16 (October 12). p.248.</ref> found that Tunder could be connected to a Franz Tunder Sr. who was active in Lübeck starting in 1598 and was even active with the Marienkirche, leasing storage space for books from the church in 1599. Furthermore, writings by Franz Tunder on August 28, 1665 directly reference his father ("Vaters Frantz Tunders..."). Therefore, it has been conclusively proven that Franz Tunder, the organist, was born in Lübeck, the son of Franz Tunder the older.

Tunder's music teachers are not known. If Tunder was working in Copenhagen around 1632, it is possible that he was taught by [[Melchior Borchgrevinck]], the ''Hoforganist'' and ''Hofkapellmeister'' there. [[Johann Mattheson]]–in 1740–wrote that Franz Tunder studied with [[Girolamo Frescobaldi]] in Italy, but there is no other evidence of this claim.

In February 1640, Tunder married [[Maria Elisabeth Voigt]]. Together they produced five children, including [[Sophia Augusta Tunder]], born in 1644 and the Cantor of the [[Marienkirche, Lübeck]] starting in 1663, and [[Anna Margreta Buxtehude|Anna Margreta]], who was born in 1646 and married [[Dietrich Buxtehude]] in 1668.

At the end of September, 1641, Franz Tunder assumed the office of Organist at the [[Marienkirche, Lübeck|Marienkirche]]. He became the ''Werckmeister'' in 1647. On July 31, 1648 Tunder played for the wedding of [[Matthias Weckmann]] and [[Regina Beute]].

Franz Tunder passed away at 9:30 PM on November 5, 1667.

== Works ==
The organ chorale works of Franz Tunder can be divided into four categories<ref>{{NdS2 2009}} 277</ref>:
* ''Verse cycles'' with separate verses - Jesus Christus, unser Heiland
* Continuous ''Verse cycles'' - Auf meinen lieben Gott
* ''Choral ricercare'' - Jesus Christus, wahr' Gottes Sohn
* ''Choral Fantasie'' (the rest of the surviving compositions)

[[File:S-Uu Ms Ihre 285 Tunder.jpg|thumb|right|The Canzona by Franz Tunder, found in S-Uu Ms. Ihre 285]]Except for one work, all remaining pieces by Franz Tunder are unicas. The sources of Tunder's organ music are in three main categories:

* [[:Category:Lüneburg Tablatures|The Lüneburg Tablatures]], including [[D-Lr Mus.ant.pract. K.N. 209]].
*[[Pelplin Tablatures|The Pelplin Tablatures]], a collection of manuscripts from the Pelplin Monestary.
*The Canzona by Tunder is located in a manuscript currently housed in the Universitetsbibliotek, Uppsala.

''Note: numbers in brackets are written in the manuscript by a librarian.''

{| class="wikitable"
|+ Surviving works by Franz Tunder
|-
! Source(s) !! Title !! Notes !! Incipit
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P486-489 || [34] Auff meinen Lieben / Gott / Auff 2 Clavier / Manualiter / F. Tunder || || <score>\relative d' {\key g \minor \partial 4 d8 e16 fis | g4 a8 bes16 c bes4 c | d2. }</score>
|-
| [[Pelplin Tablatures|PL-PE 306 (Tabulatura organowa Tom. III)]] P282-293 || Christ lag in / todtes banden / Frans: Tunder: || || <score><< \relative a' { \clef alto a1 g2 a2*1/2 } \\ \relative a { r4 a d c | b c4. a8 }>></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/17/1]] P428-431
[[D-Lr Mus.ant.pract. K.N. 209]] P644-649
| [207/17/1:] [13] Herr Gott / dich loben wir p / auff 2. Clav. / Franciscus Tunder. || || <score><< \relative e' { \clef alto e1 g2 a4. b8 } \\ \relative a { r4 a c2 b4 <e e,> <c f,> <d d,> } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P474-477 || [30] Indich habichge / hoffet Herr. / Auff 2. Clavier. / F. Tunder. || || <score>\relative g { \key g \minor g16 a b a g a b c d g e fis g a fis a g1 }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P562-565 || [48] Jesus Christus / Unser Heÿland. / F. T. || || <score>\relative a { \clef bass r16 a g a fis g e g fis8 g16 e fis d e cis << d1 \\ \relative d, { r4 d g1*1/2 } >> }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P470-473 || [29] Jesus Christus / wahr Gottes Sohn / F: Tunder || || <score><< \relative g' { \key g \minor \time 3/2 \partial 2 g4 a bes1 c2 d1*1/4 } \\ \relative g' { r2 r2 g4 f ees f bes, } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P634-639 || [72] Komm Heÿliger / Geist Herre Gott / Auff 2 Clauier / Franciscus: Tunder: Ped: || || <score>\relative d' { \key g \major r16 d e fis g a fis a g a b c d e cis e << d1 \\ { r2 <g, b, g>2 } >> }</score>
|-
| [[Pelplin Tablatures|PL-PE 305 (Tabulatura organowa Tom. II)]] P288-294 || Was kan uns / kommen an fur: / Noth / 2 Clav: Ped: / Frans: Tunder. || Pelplin/C-Major version, fragment || <score><< \relative c'' { c1 c4. d8 e2 } \\ \relative g' { r2 g2 a g } \\ \\ \relative e' { r2 e2 e4 f e c } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 209]] P612-621 || [65] Waß kan vns / kommen an / für noth / Auf 2. Clauier. / F. Tunder. Ped: || Lüneburg/F-Major version || <score>\relative f { \key f \major \clef bass f16 c a' f c' a f c' \clef treble f2 f8. e16 d e f g a2 }</score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F3v-4r || Praeludium / [3] / Franc: Tunder. || F-Major || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F2v-3r || Praeludium / [2] / Franc. Tunder. || G-Minor || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F4v-5r || Praeludium / Franc. Tunder. [4] || G-Minor || <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>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/16]] F5v-6r || Praeludium [5] / Franc: Tunder || G-Minor || <score><< \relative d'' { \key g \minor d8. ees16 d8. c16 b4 c } \\ \relative g' g1 \\ \\ \relative b { b4 c d8. ees16 c8. d16 } >></score>
|-
| [[D-Lr Mus.ant.pract. K.N. 207/15]] P909-910 || [55] Praeludium / F. Tund: || G-Minor || <score><< \relative a'' { \key g \minor r16 a g e fis g e fis d c bes c a bes g a fis } \\ \relative a' { s2 r16 a g e fis g e fis d } >></score>
|-
| [[S-Uu Ms. Ihre 285]] P50-52 || [20] Cantzon / F: Töndern || On a theme by [[Francesco Della Porta]]? || <score>\relative d'' { \key g \major d8 d d e c8. b16 a8 b16 c d8 d, g a }</score>
|}

=== Other theorized works ===
Two chorale fantasias from the [[Pelplin Tablatures]] are theorized to be by Franz Tunder by [[Klaus Beckmann]], despite the composer "H.S.M." being written<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor), ''Zwei Choralfantasien: Allein zu dir, Herr Jesu Christ ; Ein feste Burg ist unser Gott.'' Wiesbaden: Breitkopf & Härtel, 1991.</ref>. He also theorized that the anonymous ''Magnificat octavi toni'' (also a chorale fantasia) from the [[Zellerfeld Tablatures]] no.1 is by Tunder{{Citation needed}}.

The first praeludium in [[D-Lr Mus.ant.pract. K.N. 207/16]], which is anonymous, has been described as being reminiscent of Tunder<ref>[[Organum IV]] vol.10</ref>.

== Analysis ==
[[Klaus Beckmann]] noted that the location of the ''Canzon'' in [[S-Uu Ms. Ihre 285]], a manuscript which primarily transmitted harpsichord suites, suggests that the piece may have been written for the harpsichord or other string keyboard instrument.<ref name="beckmann276">Beckmann (2009), 276.</ref>

It has been found that the theme of the ''Canzon'' is similar to a Canzona by [[Francesco Della Porta]]. Combined with the appearance of a solo motet ''Salve Regina'' by [[Giovanni Rovetta]] (published in ''Motet concertati'' in 1647) re-written as a Cantata ''Salve me Jesu'' under Tunder's name, this shows how much of an influence early Italian music was to Tunder.<ref name="beckmann276">Beckmann (2009), 276.</ref>

== Editions ==
An incomplete list of editions of the organ works of Tunder is included below.

* [[Max Seiffert]], Leipzig: Kistner & Siegel, n.d. ([[Organum IV]] vol. 6). (Preludia only)
* [[Rudolf Walter]]. ''Sämtliche Choralbearbeitungen für Orgel / Franz Tunder.'' Mainz: Schott, 1958.
* [[Klaus Beckmann]], Wiesbaden: Breitkopf & Hartel.
* [[Jan van Biezen]]. ''Christ lag in Todesbanden : für Orgel / Franz Tunder.'' Amsterdam : Annie Bank, 1982. (Stichting Centrum voor de Kerkzang 129)
* [[Michel Belotti]], Wiesbaden: Breitkopf & Hartel.
* [[Claudia Schumacher]], Mainz: Schott. 2022 (revised edition) ([[Meister der Norddeutschen Orgelschule|MdNO]] 17)

== References ==
{{NdS2 2009}} 262-288.

[[Claudia Schumacher|Schumacher, Claudia]] (editor). ''Franz Tunder: Sämtliche Orgelwerke''. Mainz: Schott, 2019.

[[Category:Persons|Tunder, Franz]]
[[Category:Composers|Tunder, Franz]]
[[Category:Baroque Composers|Tunder, Franz]]
[[Category:Organists|Tunder, Franz]]
[[Category:Baroque|Tunder, Franz]]
[[Category:Norddeutsche Orgelschule|Tunder, Franz]]

Lynar Tablatures

2026-06-05T01:15:59Z

Fiskfan1999: /* Lynar B 5 */ expand 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>
|-
! Pages !! Title !! Incipit !! Notes !! Ref.
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|-
| || || || ||
|}

==== 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 a unique ''Echo'' style in which the right hand plays the Cantus Firmus with echos on the ''Rückpositiv'' and ''Brustwerk'' manuals while accompanied by the left hand on ''Organum'' manual and pedals (Even though the letters "R", "B", and "O" are not present, the title stating "auff 3 clavier" suggests the use of three manuals). This piece provides evidence that Jakob Praetorius was the inventor of the ''Echo-Choralfantasia'' on 3 manuals; [[Nicolaus Hasse]] also wrote in this style.

==== 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]]

Lindemann Tablatures

2026-06-04T13:08:18Z

Fiskfan1999: Move thumbnail images to the top

[[File:Lindemann b flat major.jpg|thumb|right|The first page of Wenster N:1b]][[File:Alvin-record 443261-ATTACHMENT-0002.jpg|thumb|The beginning of the Canzon in G Major by [[Dietrich Buxtehude]] in [[S-L Wenster N:8]]]]
The '''Lindemann Tablatures''' are a collection of 9 manuscripts copied by [[Gottfried Lindemann]] which contain organ music from [[Dietrich Buxtehude]] and currently held in the ''Universitetsbibliotek'', Lund. They are dated 1713-1714.

These manuscripts are highly important for musicologists studying Buxtehude's organ music. Written in [[New German Tablature Notation]], they are closer to the notation that Buxtehude likely used. They transmitted many important readings, such as "G B-flat C" in the pedal during the Prelude in G Minor (BuxWV 149). It is theorized that these manuscripts may be the most direct descendent from autographs of organ music written by Buxtehude.

== Description ==
"Lindemann Tab" refers to a bundle of individual manuscripts, each containing one piece.

Two hands can be identified, one of Lindemann and another from a certain "J. C. H." (the initials are left on one of the fascicles) which has added a few notes in '''S-L Wenster N:5''' and '''N:9'''<ref name="belotti">[[Michael Belotti|Belotti, Michael]] (editor), ''Dietrich Buxtehude: The Collected works.'' Vol.15, "Preludes, Toccatas, and Ciacconas for Organ (pedaliter) (Section B: Commentary)." New York: The Broude Trust, 1998. 6-7. 161.</ref>.

=== Proximity to Buxtehude ===
Lindemann was a student of [[Friedrich Gottlieb Klingenberg]] and [[Michael Rohde]] (another pupil of Klingenberg), and copied the fascicles which can be traced to his hand during these times. Since Klingenberg had claimed to be a pupil of Buxtehude, theoretically we could be dealing with manuscripts extremely close to the autographs of Buxtehude, only a "third or fourth generation" copy in fact<ref name="belotti"></ref>.

The different pieces by Buxtehude that were copied by Lindemann have different amounts of errors in them, which suggests that these fascicles were copied exactly from their sources (without a critical eye) and were based on a variety of different sources (some with more or fewer errors)<ref>[[Christoph Wolff|Wolff, Christoph]] (editor), ''Dietrich Buxtehude: The Collected works.'' Vol.17, "Preludes, Toccatas, Fugues, and Canzonas for Organ (manualiter), Harpsichord, or Clavichord." New York: The Broude Trust, 2016. 120.</ref>.

=== Date ===
The manuscripts are dated between 1713-1714. However, Lindemann may have been copying from manuscripts held by his teacher [[Friedrich Gottlieb Klingenberg]], who lived in Lübeck near Buxtehude until 1689. Given this information, it can be assumed that Lindemann was copying from sources that dated to 1689 or before and that the Buxtehude compositions dated from before that date as well.<ref>{{NdS2 2009}} 312.</ref>

=== N:1b ===
'''Wenster N:1b''' transmits a fragmented prelude in B-flat major. The notation stops in the middle of the second to last system on the first page, and no indication to turn the page ("verte", etc.) is given.<ref name="belotti"></ref>

== Contents ==
''Note: according to www.alvin-portal.org, the shelfmark for manuscripts donated by Wenster is'' '''Wenster N:8''' etc.

{| class="wikitable"
|+ Selected manuscripts from Lindemann Tab
|-
! RISM/Signature !! Title !! BuxWV number
|-
| [[S-L Wenster N:1]] || Cantzon / ex: G: b. / G: Lindemann. / Anno 1713. / d[ie]: 6 April: || BuxWV 173
|-
| [[S-L Wenster N:1b]] || Praeludium. / di. / Dieter. Buxtehude. || BuxWV 154
|-
| [[S-L Wenster N:2]] || Praeludium. manualit: / ex: G: h. / di. / Diet: Buxtehude. / G: Lindemann. [page 2:] Ao: 1713 d[ie]: 6 Nove: || BuxWV 162
|-
| [[S-L Wenster N:5]] || Praeludium. ex: E: b. / di / D: B: H: / Pedalieter. / G. Lindemann / Ao: 1714. d[ie]: 17 Maij || BuxWV 142
|-
| [[S-L Wenster N:6]] || Cantzon. / ex: C: h: / di / D: Buxtehude: / G: Lindemann: / Ao: 1713. / d[ie]: 5: Martij: || BuxWV 167
|-
| [[S-L Wenster N:8]] || Cantzon. ex. G: h / di. / Diet: Buxtehude / G: Lindemann. || BuxWV 170
|-
| [[S-L Wenster N:9]] || Cantzon. ex: E. b. / di: / Diet: Buxtehude. / G: Lindemann. || BuxWV 169
|-
| [[S-L Wenster U:5]] || Praeludium. ex. G: b: / di. / Diete: Buxtehude. / G: Lindemann / Ao: 1714: / d[ie] 15 Maij. [page 2:] J: N: J: 1714. / 5 April. [end:] Soli Deo / Gloria. / d[ie] 15 Maij. / Soli DEO / Gloria: || BuxWV 149
|-
| [[S-L Wenster U:6]] || Praeludium. ex: D: h: / di. / Diet: Buxtehude. / G: Lindemann: [page 2:] J: N: J: 1714. d[ie] 3 Janu: || BuxWV 139
|}

== See Also ==
[[S-L Engelhart 216]], a manuscript containing BuxWV 147.

== Links ==
{{OnlFac|sig=S-L Wenster N:8|url=http://urn.kb.se/resolve?urn=urn:nbn:se:alvin:portal:record-443261|urlc=www.alvin-portal.org|date=20 July, 2023}}

== References ==
[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''Dietrich Buxtehude: Sämtliche Orgelwerke, Band I-II''. Wiesbaden, Breitkopf & Härtel, 1997. 104.

[[Category:Manuscripts|Lindemann]]
[[Category:Tablatures|Lindemann]]
[[Category:Swedish Manuscripts|Lindemann]]

S-L Engelhart 216

2026-06-03T22:25:47Z

Fiskfan1999:

[[File:Alvin-record 321077-ATTACHMENT-0001.jpg|thumb|right|The opening of BuxWV 147 in S-L Engelhart 216]]
'''S-L Engelhart 216''' is a manuscript which contains the Preludium in G Major by [[Dietrich Buxtehude]] and is held in the ''Universitetsbiblioteket'', Lund.

<score>\relative g { \clef bass \time 2/2 \key g \major r8 g fis16 g e fis d e b d b g' a, fis' g, }</score>

== Description ==
The manuscript is written in [[New German Tablature Notation]]. It adheres to the older tradition in notating organ music in which the final note of each voice is written with a fermata (meaning to hold it to the end) instead of supplying the necessary number of ties and supplementary notes. It includes some ornaments (all are placed under the note it affects), one resembling a diagonal pound symbol, and another resembling a type of ''tremblement''. One unique feature that is found in this manuscript is that some small notes (pitch names) are written in-between other notes, some with and others without corresponding rhythmic symbols.

The hand is unidentified, but perhaps the manuscript was copied around 1710-1720 by [[Heinrich Christopher Engelhardt]].

=== Proximity to Buxtehude ===
It has been theorized that this is a copy of an autograph by Buxtehude (a "first-generation" copy, so to say). The features that support this theory include
* The inclusion of "I.N.I." on the title page,
* The writing of the name "Buxtehude" appearing to be in ''manu propria'' style,
* The similarity with some of the letters of tablature to those in known Buxtehude autographs.

=== Date ===
Based on the only known transmission of this piece being from the Scandinavian realm, this can be connected with Buxtehude's time in this realm (1657-1668 in Helsingborg and Helsingor).<ref>{{NdS2 2009}} 312.</ref>

== References ==
{{OnlFac|url=http://urn.kb.se/resolve?urn=urn:nbn:se:alvin:portal:record-321077|urlc=www.alvin-portal.org|date=20 July, 2023|sig=S-L Engelhart 216|imslp=854290}}

[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''Dietrich Buxtehude: Sämtliche Orgelwerke, Band I-II''. Wiesbaden, Breitkopf & Härtel, 1997. 106.

[[Michael Belotti|Belotti, Michael]] (editor), ''Dietrich Buxtehude: The Collected works.'' Vol.15, "Orekydesm Toccatas, and Ciacconas for Organ (pedaliter) (Section B: Commentary)." New York: The Broude Trust, 1998. 6-7.

[[Category:Manuscripts|Engelhart 216]]
[[Category:Tablatures|Engelhart 216]]
[[Category:Swedish Manuscripts|Engelhart 216]]

Gottfried Lindemann

2026-06-03T22:21:05Z

Fiskfan1999: Created page with "{{Stub}} ''See'' Lindemann Tablatures"

{{Stub}}

''See'' [[Lindemann Tablatures]]

Friedrich Gottlieb Klingenberg

2026-06-03T22:20:14Z

Fiskfan1999: wrong facts

'''Friedrich Gottlieb Klingenberg''' stated that he lived in Lübeck near [[Dietrich Buxtehude]] until 1689. He then taught [[Gottfried Lindemann]], who wrote the [[Lindemann Tablatures]].

== References ==
{{NdS2 2009}} 312.

Gottfried Klingenberg

2026-06-03T22:19:16Z

Fiskfan1999: Fiskfan1999 moved page Gottfried Klingenberg to Friedrich Gottlieb Klingenberg: wrong name

#REDIRECT [[Friedrich Gottlieb Klingenberg]]

Friedrich Gottlieb Klingenberg

2026-06-03T22:19:16Z

Fiskfan1999: Fiskfan1999 moved page Gottfried Klingenberg to Friedrich Gottlieb Klingenberg: wrong name

'''Friedrich Gottlieb Klingenberg''' stated that he was a student of [[Dietrich Buxtehude]] in 1689. He then taught [[Gottfried Lindemann]], who wrote the [[Lindemann Tablatures]].

== References ==
{{NdS2 2009}} 312.

Friedrich Gottlieb Klingenberg

2026-06-03T22:19:06Z

Fiskfan1999: Fix name

Lindemann Tablatures

2026-06-03T22:18:46Z

Fiskfan1999: Fix Klingenberg's name

The '''Lindemann Tablatures''' are a collection of 9 manuscripts copied by [[Gottfried Lindemann]] which contain organ music from [[Dietrich Buxtehude]] and currently held in the ''Universitetsbibliotek'', Lund. They are dated 1713-1714.

These manuscripts are highly important for musicologists studying Buxtehude's organ music. Written in [[New German Tablature Notation]], they are closer to the notation that Buxtehude likely used. They transmitted many important readings, such as "G B-flat C" in the pedal during the Prelude in G Minor (BuxWV 149). It is theorized that these manuscripts may be the most direct descendent from autographs of organ music written by Buxtehude.

== Description ==
[[File:Alvin-record 443261-ATTACHMENT-0002.jpg|thumb|The beginning of the Canzon in G Major by [[Dietrich Buxtehude]] in [[S-L Wenster N:8]]]]
"Lindemann Tab" refers to a bundle of individual manuscripts, each containing one piece.

Two hands can be identified, one of Lindemann and another from a certain "J. C. H." (the initials are left on one of the fascicles) which has added a few notes in '''S-L Wenster N:5''' and '''N:9'''<ref name="belotti">[[Michael Belotti|Belotti, Michael]] (editor), ''Dietrich Buxtehude: The Collected works.'' Vol.15, "Preludes, Toccatas, and Ciacconas for Organ (pedaliter) (Section B: Commentary)." New York: The Broude Trust, 1998. 6-7. 161.</ref>.

=== Proximity to Buxtehude ===
Lindemann was a student of [[Friedrich Gottlieb Klingenberg]] and [[Michael Rohde]] (another pupil of Klingenberg), and copied the fascicles which can be traced to his hand during these times. Since Klingenberg had claimed to be a pupil of Buxtehude, theoretically we could be dealing with manuscripts extremely close to the autographs of Buxtehude, only a "third or fourth generation" copy in fact<ref name="belotti"></ref>.

The different pieces by Buxtehude that were copied by Lindemann have different amounts of errors in them, which suggests that these fascicles were copied exactly from their sources (without a critical eye) and were based on a variety of different sources (some with more or fewer errors)<ref>[[Christoph Wolff|Wolff, Christoph]] (editor), ''Dietrich Buxtehude: The Collected works.'' Vol.17, "Preludes, Toccatas, Fugues, and Canzonas for Organ (manualiter), Harpsichord, or Clavichord." New York: The Broude Trust, 2016. 120.</ref>.

=== Date ===
The manuscripts are dated between 1713-1714. However, Lindemann may have been copying from manuscripts held by his teacher [[Friedrich Gottlieb Klingenberg]], who lived in Lübeck near Buxtehude until 1689. Given this information, it can be assumed that Lindemann was copying from sources that dated to 1689 or before and that the Buxtehude compositions dated from before that date as well.<ref>{{NdS2 2009}} 312.</ref>

=== N:1b ===
[[File:Lindemann b flat major.jpg|thumb|right|The first page of Wenster N:1b]]
'''Wenster N:1b''' transmits a fragmented prelude in B-flat major. The notation stops in the middle of the second to last system on the first page, and no indication to turn the page ("verte", etc.) is given.<ref name="belotti"></ref>

== Contents ==
''Note: according to www.alvin-portal.org, the shelfmark for manuscripts donated by Wenster is'' '''Wenster N:8''' etc.

{| class="wikitable"
|+ Selected manuscripts from Lindemann Tab
|-
! RISM/Signature !! Title !! BuxWV number
|-
| [[S-L Wenster N:1]] || Cantzon / ex: G: b. / G: Lindemann. / Anno 1713. / d[ie]: 6 April: || BuxWV 173
|-
| [[S-L Wenster N:1b]] || Praeludium. / di. / Dieter. Buxtehude. || BuxWV 154
|-
| [[S-L Wenster N:2]] || Praeludium. manualit: / ex: G: h. / di. / Diet: Buxtehude. / G: Lindemann. [page 2:] Ao: 1713 d[ie]: 6 Nove: || BuxWV 162
|-
| [[S-L Wenster N:5]] || Praeludium. ex: E: b. / di / D: B: H: / Pedalieter. / G. Lindemann / Ao: 1714. d[ie]: 17 Maij || BuxWV 142
|-
| [[S-L Wenster N:6]] || Cantzon. / ex: C: h: / di / D: Buxtehude: / G: Lindemann: / Ao: 1713. / d[ie]: 5: Martij: || BuxWV 167
|-
| [[S-L Wenster N:8]] || Cantzon. ex. G: h / di. / Diet: Buxtehude / G: Lindemann. || BuxWV 170
|-
| [[S-L Wenster N:9]] || Cantzon. ex: E. b. / di: / Diet: Buxtehude. / G: Lindemann. || BuxWV 169
|-
| [[S-L Wenster U:5]] || Praeludium. ex. G: b: / di. / Diete: Buxtehude. / G: Lindemann / Ao: 1714: / d[ie] 15 Maij. [page 2:] J: N: J: 1714. / 5 April. [end:] Soli Deo / Gloria. / d[ie] 15 Maij. / Soli DEO / Gloria: || BuxWV 149
|-
| [[S-L Wenster U:6]] || Praeludium. ex: D: h: / di. / Diet: Buxtehude. / G: Lindemann: [page 2:] J: N: J: 1714. d[ie] 3 Janu: || BuxWV 139
|}

== See Also ==
[[S-L Engelhart 216]], a manuscript containing BuxWV 147.

== Links ==
{{OnlFac|sig=S-L Wenster N:8|url=http://urn.kb.se/resolve?urn=urn:nbn:se:alvin:portal:record-443261|urlc=www.alvin-portal.org|date=20 July, 2023}}

== References ==
[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''Dietrich Buxtehude: Sämtliche Orgelwerke, Band I-II''. Wiesbaden, Breitkopf & Härtel, 1997. 104.

[[Category:Manuscripts|Lindemann]]
[[Category:Tablatures|Lindemann]]
[[Category:Swedish Manuscripts|Lindemann]]