pipe-organ.wiki - User contributions [en]

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]]

Lindemann Tablatures

2026-06-03T22:17:15Z

Fiskfan1999: date

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 [[Gottfried 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]]

Friedrich Gottlieb Klingenberg

2026-06-03T22:08:34Z

Fiskfan1999: Created page with "'''Gottfried 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."

'''Gottfried 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.

Lindemann Tablatures

2026-06-03T21:58:06Z

Fiskfan1999: fix link

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>.

=== 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]]

Lindemann Tablatures

2026-06-03T21:57:21Z

Fiskfan1999: Enhance introduction

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 Organ Tablature]], 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>.

=== 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]]

File:Lindemann b flat major.jpg

2026-06-03T21:54:16Z

Fiskfan1999:

[[S-L Wenster N:1b]]

Scanned from [[Josef Hedar]], ''Dietrich Buxtehude's Orgelwerke''. Stockholm: Nordiska Musikförlaget, 1951. Appendix.

Lindemann Tablatures

2026-06-03T21:52:22Z

Fiskfan1999: Combine description blocks

The '''Lindemann Tablatures''' are a collection of manuscripts copied by [[Gottfried Lindemann]] which contain organ music from [[Dietrich Buxtehude]] and currently held in the ''Universitetsbibliotek'', Lund. They are dated 1713-1714. It is theorized that these manuscripts may be the most direct descendent from autographs of organ music written by Buxtehude{{Citation needed}}.

== 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>.

=== 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]]

Lindemann Tablatures

2026-06-03T21:51:31Z

Fiskfan1999: /* Description */ remove stub from description

The '''Lindemann Tablatures''' are a collection of manuscripts copied by [[Gottfried Lindemann]] which contain organ music from [[Dietrich Buxtehude]] and currently held in the ''Universitetsbibliotek'', Lund. They are dated 1713-1714. It is theorized that these manuscripts may be the most direct descendent from autographs of organ music written by Buxtehude{{Citation needed}}.

== 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>.

== 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
|}

== Description ==
=== 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>

== 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 Wenster U:6

2026-06-03T21:50:32Z

Fiskfan1999: Redirected page to Lindemann Tablatures

#REDIRECT [[Lindemann Tablatures]]

S-L Wenster U:5

2026-06-03T21:50:23Z

Fiskfan1999: Redirected page to Lindemann Tablatures

#REDIRECT [[Lindemann Tablatures]]

S-L Wenster N:9

2026-06-03T21:50:14Z

Fiskfan1999: Redirected page to Lindemann Tablatures

#REDIRECT [[Lindemann Tablatures]]

S-L Wenster N:6

2026-06-03T21:50:00Z

Fiskfan1999: Redirected page to Lindemann Tablatures

#REDIRECT [[Lindemann Tablatures]]

S-L Wenster N:5

2026-06-03T21:49:53Z

Fiskfan1999: Redirected page to Lindemann Tablatures

#REDIRECT [[Lindemann Tablatures]]

S-L Wenster N:2

2026-06-03T21:49:46Z

Fiskfan1999: Redirected page to Lindemann Tablatures

#REDIRECT [[Lindemann Tablatures]]

S-L Wenster N:1b

2026-06-03T21:49:39Z

Fiskfan1999: Redirected page to Lindemann Tablatures

#REDIRECT [[Lindemann Tablatures]]

S-L Wenster N:1

2026-06-03T21:49:31Z

Fiskfan1999: Redirected page to Lindemann Tablatures

#REDIRECT [[Lindemann Tablatures]]

Lindemann Tablatures

2026-06-03T14:29:36Z

Fiskfan1999: Links to individual manuscript shelfmarks

The '''Lindemann Tablatures''' are a collection of manuscripts copied by [[Gottfried Lindemann]] which contain organ music from [[Dietrich Buxtehude]] and currently held in the ''Universitetsbibliotek'', Lund. They are dated 1713-1714. It is theorized that these manuscripts may be the most direct descendent from autographs of organ music written by Buxtehude{{Citation needed}}.

== 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>.

== 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
|}

== Description ==
{{Stub}}
=== N:1b<ref name="belotti"></ref> ===
[[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.

== 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 Wenster N:8

2026-06-03T14:27:54Z

Fiskfan1999: Redirected page to Lindemann Tablatures

#REDIRECT [[Lindemann Tablatures]]

D-B Mus.ms. 30245

2026-06-03T14:25:34Z

Fiskfan1999: Created page with "{{Stub}} == References == {{RISM|455033334}} Category:German ManuscriptsCategory:Baroque ManuscriptsCategory:Manuscripts"

{{Stub}}

== References ==
{{RISM|455033334}}

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

Peter Heydorn

2026-06-03T14:05:13Z

Fiskfan1999: /* Works */ work on incipits and works table

'''Peter Heydorn the Elder''' was probably born between 1650 and 1660 in Uetersen and died in 1715. The first-born son of his brother Johann Peter Heydorn (1674-1702) also bore the name Peter Heydorn and was organist at St. Martin’s Church in London.<ref name="Küster" /> Various spellings of the name have survived; including '''Peter Heidorn''' ([[Lowell Mason Codex|Codex E. B. 1688]]), '''Peter Heÿdorn''' ([[Johann Gottfried Walther]]) und '''Petrus Heydorn'''.

==Biography==
Peter Heydorn was elected organist of the Pesthofkirche in Hamburg on June 21, 1678. There is no information about Heydorn‘s teachers.<ref name="Küster" /> The church of the Hamburg Pesthof was a new construction of the older church built in 1636, carried out by the building yard inspector Johannes Kopp. The new Pesthofkirche was located on today’s Budapester Straße and was consecrated on November 1, 1769, after the laying of the foundation stone on May 17, 1768. The octagonal building could seat 960 people and had external dimensions of 24 meters. On January 3, 1814, the Pesthofkirche was burned down by French troops.<ref name="Heckmann">Heckmann, H., "Barock und Rokoko in Hamburg: Baukunst des Bürgertums" Berlin: Verlag für Bauwesen, 1990.</ref> The organ at the Pesthof was smaller than that of St. Peter in Krempe. The Pesthofkirche was administered jointly by representatives of all Hamburg main churches. Not only the organists of the main churches, but also various persons from Hamburg’s musical life acted as experts in questions concerning music or the organ. After six years in office at the Pesthofkirche, Peter Heydorn resigned from his position and can be found in Krempe from October 1684. A protocol from June 4, 1684 informs about Heydorn‘s absence. Only three years later his appointed substitute Hinrich Berlin was given the office of organist of the Pesthofkirche.<ref name="Küster" />

In Krempe, Peter Heydorn succeeded [[Peter Ruge]], who is documented as organist at the new [[Arp Schnitger]] organ in Elmshorn since October 1684. A disposition of the Krempe organ from Heydorn‘s time is not available, but there are records from 1830 about the condition of the two-manual instrument. It is possible that the organ in Krempe had only an attached pedal in Heydorn‘s time. The [[Christian Koch]] organ of St. Laurentii in Itzehoe was completed in 1689. The three-manual instrument had several 16' stops in the manual and was the only North German instrument outside of Hamburg and Lübeck that was designed with 32' stops at the beginning. The instrument was highly praised by all four reviewers, including Peter Heydorn. In a subsequent examination of whether the previous organist of the positive [[Johann Rogge]] could also master the new large organ, the experts unanimously came to the conclusion that the organist from Itzehoe could neither sufficiently play an assigned fugue, a four-part movement, nor a basso continuo, or tune reed pipes correctly. Shortly thereafter, Peter Heydorn was appointed organist in Itzehoe on September 14, 1689. His high salary of 20 Reichstaler was justified by his outstanding qualities. However, there were irregular and insufficient salary payments in Itzehoe. In the Krempe town account, however, Peter Heydorn can be found as payee until February 16, 1692. This is probably a mistake; in the baptism entry of Johann Heydorn‘s son Jochim of February 28, 1691, Peter Heydorn is listed as the organist in Itzehoe. A baptismal register entry from Uetersen lists Peter Heydorn four days after his appointment in Itzehoe as father of an illegitimate child and as organist in Krempe.<ref name="Küster" />

Eggert Fehrs, a brother-in-law of Peter Heydorn, states towards the end of 1718 that the organist had become engaged to Fehrs‘ sister Dorothea in 1692, but an illegitimate son was born. The mother sued the father for marriage and won the case on October 27, 1693. Heydorn
appealed unsuccessfully. A judgment of May 24, 1694, ordered the jurats of the Itzehoe church under threat of punishment to pay the remaining “410 Mk. Salarien und Hauß Häuer-Gelder” to “Dorothea Heydorns” - the jurats, however, obtained a withdrawal of the judgment already on July 11, 1694. Thus, it can be assumed that Peter Heydorn left his wife, his son and his organist post in Itzehoe after his lost trial. However, already 14 days before the first court decision, [[Johann Pachelbel]]‘s pupil [[Johann Conrad Rosenbusch]] was appointed as Peter Heydorn‘s successor by the Itzehoe monastery via a patronage right without any agreement. A lawsuit of the city against the monastery because of the patronage right shows that Heydorn was no longer acceptable for the monastery because of his life situation. Peter Heydorn‘s brother Johann Heydorn lent the organist money to secretly build a new existence in London. This seemed to have succeeded, but the repayments did not come until Peter Heydorn‘s death in 1715. In 1711 Heydorn stayed again in the region around Itzehoe. Further life data cannot be found. For example, the proposal of 1698 to consider Peter Heydorn as successor of [[Christian Flor]] in Lüneburg besides [[Georg Böhm]] and [[Martin Wilhelm Hochgesang]] - beyond them there was a multitude of applicants - refers to Peter Heydorn the younger.<ref name="Küster" />

== Works ==
{| class="wikitable"
|+ Organ works by Peter Heydorn<ref name="Küster">[[Konrad Küster|Küster, Konrad]], "Peter Heydorn. Zwei Biographien." ''Acta Organologica'' vol.32. Kassel: Merseburger, 2011.</ref>
|-
! Source !! Title !! Incipit !! Notes !! Ref.
|-
| [[Lowell Mason Codex]] p.151-159 || Toccata in C || <score>\relative g' { r8 r16 g16 c4 r16 b c d e g, a b | c d, e f e8. d16 }</score> || "Ortsangabe Krempe" || <ref>{{RISM|103780}}</ref>
|-
| [[Lowell Mason Codex]] p.147-151 || Fuga ex g || <score> \relative d'' { \key f \major d8 d16 d d8 d g d bes^"//" g | g'8 g a8. g32 a << \relative bes'' { bes4 g } \\ \relative g' { g8 16 16 8 8 } >> } </score> || "Ortsangabe Krempe" || <ref>{{RISM|103779}}</ref>
|-
| [[D-B Mus.ms. 40644]] f.33v-35r || Fuge d || <score>\relative d' { \key f \major d8 d e e f f d d | bes'16 c bes c a bes a bes g a g a f g f g | e f e f d e f g }</score> || "Theme Reinkianum" || <ref>[http://resolver.staatsbibliothek-berlin.de/SBB00022DD600000070 resolver.staatsbibliothek-berlin.de], accessed 3 June, 2026.</ref>
|-
| [[D-Mbs Mus.ms. 5368]] || Fuge G || || ||
|-
| [[D-B Mus.ms. 40644]] f.35v-38r [[D-Mbs Mus.ms. 5368]] || Fuge g || <score>\relative d'' { \key f \major d2 ees4 d8 c | d4 fis, g8 a bes c | << \relative d'' { d2. g4 | } \\ \relative g' { r4 g bes a8 g } >> }</score> || || <ref>[http://resolver.staatsbibliothek-berlin.de/SBB00022DD600000074 resolver.staatsbibliothek-berlin.de], accessed 3 June, 2026.</ref>
|}

==Links==
*[https://imslp.org/wiki/Category:Heydorn,_Petrus Peter Heydorn] on IMSLP.

==References==
<references />

[[Category:Composers|Heydorn, Peter]][[Category:German Composers|Heydorn, Peter]][[Category:Baroque Composers|Heydorn, Peter]][[Category:Baroque|Heydorn, Peter]]

D-Mbs Mus.ms. 5368

2026-06-03T13:59:29Z

Fiskfan1999:

'''D-Mbs Mus.ms. 5368''' is a manuscript in the ''Bayerische Staatsbibliothek,'' München.

{{Stub}}

== Links ==
{{OnlFac|sig=D-Mbs Mus.ms. 5368|url=https://www.digitale-sammlungen.de/view/bsb00047087?page=26,27|urlc=www.digitale-sammlungen.de|date=24 August, 2023}}

== References ==
{{RISM|1001146019}}

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

Möller Manuscript

2026-06-03T13:55:23Z

Fiskfan1999:

[[File:Bruhns great em.jpg|thumb|right|The first page of the Prelude in E Minor by [[Nicolaus Bruhns]]]]
'''D-B Mus.ms. 40644''', also known as the '''Möller Manuscript''' (de: ''Möllersche Handschrift''), is a manuscript held at the Staatsbibliothek, Berlin. It is written by [[Johann Sebastian Bach]], [[Johann Christian Bach]] and other unidentified scribes{{Citation needed}}. Among other things, it contains the only copy of the Great Prelude in E-minor by [[Nicolaus Bruhns]].

== Links ==
{{OnlFac|sig=D-B Mus.ms. 40644|url=http://resolver.staatsbibliothek-berlin.de/SBB00022DD600000000|urlc=digital.staatsbibliothek-berlin.de|imslp=579060|date=12 August, 2023.}}

== References ==
{{RISM|989000144}}

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

Dietrich Buxtehude

2026-06-03T03:40:43Z

Fiskfan1999: /* Sonata in D Minor */

[[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 ==
[[Kerala Snyder|Snyder, Kerala J.]]. ''Dietrich Buxtehude: organist in Lübeck.'' Revised edition. Rochester: University of Rochester Press, 2007. ("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]]

Johann Adam Reincken

2026-06-03T03:31:42Z

Fiskfan1999: /* List */ remove harpsichord works

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

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

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

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

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

=== List ===
{| class="wikitable"
|+ Keyboard works by Jan Adams Reincken
|-
! Source(s) !! Title !! Incipit !! Notes !! Ref.
|-
!colspan="5"|Chorale Fantasias
|-
| [[D-B Mus.ms. Bach P 802]] p.38-56 || Was kan uns kommen an für noth. á 2 Clav: et Pedal. J. Adam Reincke || <score><< \relative d' { r8 \clef treble d e fis g a b c | d2 } \\ \relative d { r4 r8 d e fis g a | b c d4 } \\ \relative g, { \clef bass g1 } >></score> || || <ref>[http://resolver.staatsbibliothek-berlin.de/SBB000159C400000000 digital.staatsbibliothek-berlin.de]</ref> <ref name="ap">Apel, Willi</ref><ref name="beckmannmdno">Beckmann, MdNO</ref>
|-
| [[D-WRz Fol 49/11 (2)]] [[D-Bhm RH 1152]] p.1-19 || An Waßer flüßen Babylon. Sampt 2. Clavier et pedal. Joh. Adam Reincke || <score><< \relative c'' { \key f \major r2 c4~c16 bes a g | f4 f' e8 f16 e d8 e16 d } \\ \relative c' { c1 d2 c } >></score> || || <ref name="beckmannmdno"></ref><ref>{{RISM|1001097128}}</ref>
|-
!colspan="5"|Toccatas
|-
| [[Andreas-Bach Book]] f.45-48 || Toccata || <score><< \relative d'' { \key g \major r16 d e fis g32 fis g fis g fis e fis g16 } \\ <g d' g'>1*1/2\laissezVibrer >></score> || || <ref name="ap"></ref>
|-
| || "Toccate" || <score>\relative g' { <g d bes>1 <bes g d> }</score> || Original source lost. Based on edition by Fétis. || <ref name="beckmannmdno"></ref>
|-
!colspan="5"|Fugues
|-
| [[D-DS Ms. Nr. 4061]] || Fuga || <score>\relative g' { \key f \major g4 r16 a bes c d a bes c d a bes c | bes8 g }</score> || This source is lost. Based on earlier editions || <ref name="beckmannbreit">Beckmann, Breitkopf</ref>
|}

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

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

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

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

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

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

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

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

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

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

{{NdS2 2009}} 224-237.

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

Talk:Johann Adam Reincken

2026-06-03T03:31:04Z

Fiskfan1999: Created page with "== Removing Harpsichord Words == I have decided to remove the keyboard/harpsichord works from the table of works. The reason for this is not only is this beyond the scope of this wiki, but also that there are far more harpsichord suites and other works by Reincken now (this was based on Willi Apel's edition) and it is not worth taking the time to write all of them down considering the scope. For archival sake, the current harpsichord works mentioned can be found in the p..."

== Removing Harpsichord Words ==
I have decided to remove the keyboard/harpsichord works from the table of works. The reason for this is not only is this beyond the scope of this wiki, but also that there are far more harpsichord suites and other works by Reincken now (this was based on Willi Apel's edition) and it is not worth taking the time to write all of them down considering the scope. For archival sake, the current harpsichord works mentioned can be found in the page history and pasted here.

=== List ===
{| class="wikitable"
|+ Keyboard works by Jan Adams Reincken
|-
! Source(s) !! Title !! Incipit !! Notes !! Ref.
|-
!colspan="5"|Partitas
|-
| [[Andreas-Bach Book]] || Partite diverse spora l'Aria: Schweiget mir von Weiber nahmem, altrimente chamata La Meyerin || <score><< \relative b' { \key g \major \clef alto b4. d8 a4 b | g4*1/2 } \\ \relative g { g4. g8~g8 fis g d | e4.*1/3 } \\ \relative fis' { s2 s4 r8 fis | r8 } \\ \relative d' { r8 d e b c d8~ d4 | r8 } >></score> || 18 partitas || <ref name="ap">Apel, Willi</ref>
|-
| [[Andreas-Bach Book]] || Ballet ex E.g. || <score>\relative b' { \key g \major b8. e,16 b'8. 16 b4.~ b16 b | e8. }</score> || Theme, 10 variations || <ref name="ap"></ref>
|-
!colspan="5"|Suites"
|-
| [[Möller Manuscript]] f.15v-17r || Suite ex G{{Natural}} || <score>\relative d' { \set tieWaitForNote = ##t \key g \major \partial 4 r16 d e fis | g4~ g16 b,~ d~ g~ <g~ d b>4 g16 g fis e }</score> || Alamande, Courande, Sarabance, Gugue || <ref name="ap"></ref><ref name="mol">[http://resolver.staatsbibliothek-berlin.de/SBB00022DD600000000 digital.staatsbibliothek-berlin.de], accessed 17 August, 2023.</ref>
|-
| [[Möller Manuscript]] f.29r-31r || Suitte ex C{{Natural}} di Joh. Ad. Reincke || <score>\relative c'' { \partial 4 r16 c b a g f e d c4 }</score> || Allemand, Courante, Sarabande, Gigue || <ref name="ap"></ref><ref name="mol"></ref>
|-
| [[S-Uu Ms. Ihre 285]] || Suite in E minor || <score><< \relative b' { \key g \major \partial 4 b4 b4. dis8 e4 a, b2*1/4 } \\ \relative e' { r4 <e g>2 s2 | r8 } >></score> || Allemand, Courant, Sarabanda, Gigue ''Only the Allemande and Sarabande carry the inscription: "J.A. Reinke", but there can be no doubt that the entire suite is by Reincken, especially since the Courante is a variation of the Allemande.'' || <ref name="ap"></ref>
|}

--[[User:Fiskfan1999|Fiskfan1999]] ([[User talk:Fiskfan1999|talk]]) 23:31, 2 June 2026 (EDT)

Hieronymus Praetorius III

2026-06-02T22:22:57Z

Fiskfan1999: /* Work */ finish work section for now

'''Hieronymus Praetorius III''' (1614-1629) was a German organist and composer. He was born to [[Jacob Praetorius]] and Margaretha von Kampen, and the grandson of [[Hieronymus Praetorius|Hieronymus Praetorius Sr.]].

<blockquote>The early death of the highly talented first-born son was particularly tragic. Hieronymus Praetorius III was already considered a fully qualified organist and composer when he died on the 25th of November 1629, only three days after his fifteenth birthday.<ref>Beckmann, ''Jacob Praetorius'', 7.</ref></blockquote>

Hieronymus Praetorius III was described as the ''magnae spei'' (great hope) to continue the legacy of his grandfather, and the sadness of his sudden death was exemplified by the writing of an epitaph by Johann Adolph Fabricus to remember him.

A few pieces by him are known. In addition to a 6-part marriage motet ''Caecilia virgo gloriosa...''<ref "footnote8">Beckmann, ''Jacob Praetorius'', 9 footnote 8</ref>, a setting of the ''Magnificat Primi Toni'' ([[Zellerfeld Organ Tablatures]] vol.1 p.36-43: ''Magnificat / 1 Toni / Hieronymi / Praetorij.'') has been found by [[Klaus Beckmann]] to have been composed by him<ref>Beckmann, ''Hieronymus Praetorius'', 6.</ref>.

== History ==
<ref>Beckmann, 2005.</ref>When the [[Zellerfeld Organ Tablatures]] were discovered in 1955, a ''Magnificat Primi Toni'' by a certain ''Hieronymi Praetorij.'' was found, and this piece was connected with [[Hieronymus Praetorius|Hieronymus Praetorius I]] by [[Gustav Fock]] and [[Werner Breig]] with minimal objections. However, even a cursory glance at the ''Magnificat Primi Toni'' in the ''Zellerfeld'' and ''Visby'' tablatures shows that not only are they not the same piece, but they are quite different from each other in style.

At first, musicologists attempted to reconcile this difference by ascribing it for a different purpose and being written in a different period in Hieronymus Praetorius's life.

<blockquote>To judge from its bravura the Clausthal-Zellerfeld Magnificat was probably intended for festive occasions rather than for the normal church service. Its highly developed style–the use of extended runs in parallel thirds or sixths, the frequent leaps of an octave or more, the fast repetition of the same tone and the climactic passage of triplets in parallel thirds concluding the final verse–suggests that it may have been one of his later compositions.<ref>Kite-Powell, 61.</ref></blockquote>

However, [[Klaus Beckmann]] appears to be the first musicologist to have raised more serious questions about the authorship of this piece in his article ''Echtheitsprobleme im Repertoire des hanseatischen Orgelbarocks''. Actually, it seemed even more unlikely that this piece could have been composed by the same Hieronymus Praetorius that had composed the Magnificat settings in the [[Visby Tablature]]. There were unreconcilable stylistic differences between the two pieces that could not be the result of one piece being written during a later stage in the composer's career; most notably, the ''Zellerfeld Tablature'' Magnificat was written in four voices, while the Magnificats in the ''Visby Tablature'' (the supposedly earlier compositions) were written in a more advanced 5-part writing style. For this reason, it seemed unlikely that this could be a later work by the same composer.

At this time, the existence of Hieronymus Praetorius III was not known to musicologists. However, around 1990, a quite fortunate discovery was made in the ''Commerzbibliothek'' in Hamburg. While looking for the epitaph for Hieronymus Praetorius (sr.), three further epitaphs were discovered, and musicologists discovered Hieronymus Praetorius I, II, III and IV, across multiple generations. H. Praetorius II and IV were theologians, but Hieronymus Praetorious III was an organist and composer.

Clearly, Hieronymus III was recognized as an extremely gifted organist and composer during his lifetime, and his talents were dearly missed by his friends and other residents of Hamburg, as the epitaph<ref>Klaus Beckmann (2005), 197.</ref> written by Johann Adolph Fabricus, shows:

<blockquote>Epitaph for a great hope, the youngling HIERONYMUS PRAETORIUS, the grandson of the passed-away ancestor Hieronymus, the son of Jakob, died on November 25 at 10am in the year of our Lord 1629, in the 16th year of his life. ... If the great God had preserved him with his GIFT of music and the organ, then we would have restored that which we had lost with our ancestor Praetorius. But all this is now gone. May he rest in peace, and may he play the music which is hidden from our unknowing time and place for 100 years in Heaven!<ref>Based on the translation into German by Beckmann (2009).</ref></blockquote>

Besides references in the text itself (gift, references to his grandfather, etc.), the mere fact that a 16 year old was deserving of such an epitaph (and such a touching one, at that) speaks to the high amount of respect held for the teenager and his organ and compositional abilities. It shows, that Hieronymus III was viewed as the hope to continue the legacy of his grandfather, who was outstanding in composition and the organ.

With this evidence in mind, it appears that the much more satisfactory solution is that the ''Magnificat'' in the ''Zellerfeld Organ Tablatures'' was the work of Hieronymus Praetorius III instead of a later work by his grandfather.

== Work ==
The '''Magnificat Primi Toni''' is found in the [[Zellerfeld Organ Tablatures]] volume 1 pages 36-43. It is set in three verses with four (occasionally 5) voices. The first verse has the cactus firmus in the tenor, similarly to traditional [[Magnificat]] settings by [[Hieronymus Praetorius]]. The second and third verses are written for ''auff 2 clavier Pedaliter''.

=== Verse 1 ===
<score><< \new Staff << \relative f' { \time 4/2 f2. g4 a4. g8 a4 b | c1~ c8 d b c a4 b c8 a b c d2~ d8 cis16 d e8 d cis b d cis } \\ \relative c' { <c a>1 f2 f2~ f4 e8 d e f d e f1 | e2 f4 g8 f e4 d e2 } >> \new Staff << \relative f { \clef bass f1~f g a a a } \\ \relative f { f2. e4 d2 d c1 f,2 f'4 g a2 d, a' a, } >> >></score>

=== Verse 2 ===
<score><< \new Staff << \relative c' { \time 4/2 \clef alto c1 d2. d4 e1 f8 g e f d e c d b4 a8 b c8 b16 c d8 c8 b2~ b8 d cis b cis4 d2 cis4 } \\ \relative f { r2 f2~ f4 f g2~ g4 a8 b c4 b a2 b4 a gis fis8 gis a2 a8 a gis fis gis2 a4 g8 f e d e4 } >> \new Staff \relative c { \clef bass R\breve c1 d e1~e a, } >></score>

=== Verse 3 ===
<score><< \new Staff \relative f' { \time 4/2 f1 g a1~a r8 a g f e d e4 d1 } \new Staff << \relative a { \clef alto r8 a bes c d c d c b b c d e d e d cis cis d e f e f e f4 e8 d e4 f cis4 d4. d8 cis4 d1 } \\ \relative f { r8 f g a bes a bes a g g a b c b c b a a b cis d cis d cis d4 cis8 b cis4 d a2 a d,1 } >> >></score>

== References ==
[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''Hieronymus Praetorius: Sämtliche Orgelwerke.'' Vol. 1 [[Meister der Norddeutschen Orgelschule]] 1. Mainz: Schott, 2002.

[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''Jakob Praetorius: Sämtliche Orgelwerke.'' [[Meister der Norddeutschen Orgelschule]] 6. Mainz: Schott, 2004.

{{NdS1 2005}} 195-201.

[[Jeffery Kite-Powell|Kite-Powell, Jeffery]]. ''The Visby (Petri) Organ Tablature: Investigation and Critical Edition.'' Volume 1. Wilhelmshaven: Heinrichshofen's Verlag, [1976?].

[[Category:Organists|Praetorius, Hieronymus III]][[Category:German Organists|Praetorius, Hieronymus III]][[Category:Baroque Organists|Praetorius, Hieronymus III]][[Category:Composers|Praetorius, Hieronymus III]][[Category:Baroque Composers|Praetorius, Hieronymus III]][[Category:German|Praetorius, Hieronymus III]][[Category:Baroque|Praetorius, Hieronymus III]]

Hieronymus Praetorius III

2026-06-02T22:14:11Z

Fiskfan1999: Start work incipits

'''Hieronymus Praetorius III''' (1614-1629) was a German organist and composer. He was born to [[Jacob Praetorius]] and Margaretha von Kampen, and the grandson of [[Hieronymus Praetorius|Hieronymus Praetorius Sr.]].

<blockquote>The early death of the highly talented first-born son was particularly tragic. Hieronymus Praetorius III was already considered a fully qualified organist and composer when he died on the 25th of November 1629, only three days after his fifteenth birthday.<ref>Beckmann, ''Jacob Praetorius'', 7.</ref></blockquote>

Hieronymus Praetorius III was described as the ''magnae spei'' (great hope) to continue the legacy of his grandfather, and the sadness of his sudden death was exemplified by the writing of an epitaph by Johann Adolph Fabricus to remember him.

A few pieces by him are known. In addition to a 6-part marriage motet ''Caecilia virgo gloriosa...''<ref "footnote8">Beckmann, ''Jacob Praetorius'', 9 footnote 8</ref>, a setting of the ''Magnificat Primi Toni'' ([[Zellerfeld Organ Tablatures]] vol.1 p.36-43: ''Magnificat / 1 Toni / Hieronymi / Praetorij.'') has been found by [[Klaus Beckmann]] to have been composed by him<ref>Beckmann, ''Hieronymus Praetorius'', 6.</ref>.

== History ==
<ref>Beckmann, 2005.</ref>When the [[Zellerfeld Organ Tablatures]] were discovered in 1955, a ''Magnificat Primi Toni'' by a certain ''Hieronymi Praetorij.'' was found, and this piece was connected with [[Hieronymus Praetorius|Hieronymus Praetorius I]] by [[Gustav Fock]] and [[Werner Breig]] with minimal objections. However, even a cursory glance at the ''Magnificat Primi Toni'' in the ''Zellerfeld'' and ''Visby'' tablatures shows that not only are they not the same piece, but they are quite different from each other in style.

At first, musicologists attempted to reconcile this difference by ascribing it for a different purpose and being written in a different period in Hieronymus Praetorius's life.

<blockquote>To judge from its bravura the Clausthal-Zellerfeld Magnificat was probably intended for festive occasions rather than for the normal church service. Its highly developed style–the use of extended runs in parallel thirds or sixths, the frequent leaps of an octave or more, the fast repetition of the same tone and the climactic passage of triplets in parallel thirds concluding the final verse–suggests that it may have been one of his later compositions.<ref>Kite-Powell, 61.</ref></blockquote>

However, [[Klaus Beckmann]] appears to be the first musicologist to have raised more serious questions about the authorship of this piece in his article ''Echtheitsprobleme im Repertoire des hanseatischen Orgelbarocks''. Actually, it seemed even more unlikely that this piece could have been composed by the same Hieronymus Praetorius that had composed the Magnificat settings in the [[Visby Tablature]]. There were unreconcilable stylistic differences between the two pieces that could not be the result of one piece being written during a later stage in the composer's career; most notably, the ''Zellerfeld Tablature'' Magnificat was written in four voices, while the Magnificats in the ''Visby Tablature'' (the supposedly earlier compositions) were written in a more advanced 5-part writing style. For this reason, it seemed unlikely that this could be a later work by the same composer.

At this time, the existence of Hieronymus Praetorius III was not known to musicologists. However, around 1990, a quite fortunate discovery was made in the ''Commerzbibliothek'' in Hamburg. While looking for the epitaph for Hieronymus Praetorius (sr.), three further epitaphs were discovered, and musicologists discovered Hieronymus Praetorius I, II, III and IV, across multiple generations. H. Praetorius II and IV were theologians, but Hieronymus Praetorious III was an organist and composer.

Clearly, Hieronymus III was recognized as an extremely gifted organist and composer during his lifetime, and his talents were dearly missed by his friends and other residents of Hamburg, as the epitaph<ref>Klaus Beckmann (2005), 197.</ref> written by Johann Adolph Fabricus, shows:

<blockquote>Epitaph for a great hope, the youngling HIERONYMUS PRAETORIUS, the grandson of the passed-away ancestor Hieronymus, the son of Jakob, died on November 25 at 10am in the year of our Lord 1629, in the 16th year of his life. ... If the great God had preserved him with his GIFT of music and the organ, then we would have restored that which we had lost with our ancestor Praetorius. But all this is now gone. May he rest in peace, and may he play the music which is hidden from our unknowing time and place for 100 years in Heaven!<ref>Based on the translation into German by Beckmann (2009).</ref></blockquote>

Besides references in the text itself (gift, references to his grandfather, etc.), the mere fact that a 16 year old was deserving of such an epitaph (and such a touching one, at that) speaks to the high amount of respect held for the teenager and his organ and compositional abilities. It shows, that Hieronymus III was viewed as the hope to continue the legacy of his grandfather, who was outstanding in composition and the organ.

With this evidence in mind, it appears that the much more satisfactory solution is that the ''Magnificat'' in the ''Zellerfeld Organ Tablatures'' was the work of Hieronymus Praetorius III instead of a later work by his grandfather.

== Work ==
The '''Magnificat Primi Toni''' is found in the [[Zellerfeld Organ Tablatures]] volume 1 pages 36-43. It is set in three verses with four (occasionally 5) voices.

=== Verse 1 ===
<score><< \new Staff << \relative f' { \time 4/2 f2. g4 a4. g8 a4 b | c1~ c8 d b c a4 b c8 a b c d2~ d8 cis16 d e8 d cis b d cis } \\ \relative c' { <c a>1 f2 f2~ f4 e8 d e f d e f1 | e2 f4 g8 f e4 d e2 } >> \new Staff << \relative f { \clef bass f1~f g a a a } \\ \relative f { f2. e4 d2 d c1 f,2 f'4 g a2 d, a' a, } >> >></score>

== References ==
[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''Hieronymus Praetorius: Sämtliche Orgelwerke.'' Vol. 1 [[Meister der Norddeutschen Orgelschule]] 1. Mainz: Schott, 2002.

[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''Jakob Praetorius: Sämtliche Orgelwerke.'' [[Meister der Norddeutschen Orgelschule]] 6. Mainz: Schott, 2004.

{{NdS1 2005}} 195-201.

[[Jeffery Kite-Powell|Kite-Powell, Jeffery]]. ''The Visby (Petri) Organ Tablature: Investigation and Critical Edition.'' Volume 1. Wilhelmshaven: Heinrichshofen's Verlag, [1976?].

[[Category:Organists|Praetorius, Hieronymus III]][[Category:German Organists|Praetorius, Hieronymus III]][[Category:Baroque Organists|Praetorius, Hieronymus III]][[Category:Composers|Praetorius, Hieronymus III]][[Category:Baroque Composers|Praetorius, Hieronymus III]][[Category:German|Praetorius, Hieronymus III]][[Category:Baroque|Praetorius, Hieronymus III]]

M. W. C. B. M.

2026-06-02T18:18:57Z

Fiskfan1999: /* Attribution */ re-write

[[File:Signature-M. W. C. B. M..png|thumb|The composer's initials]]
Two pieces in [[D-B Ms. Lynar B 3]] are headed by the unsolved initials '''M. W. C. B. M.'''

== Attribution ==
These works have been connected with the composer [[Wilhelm Karges]]. It appears that either [[Max Seiffert]] (who inspected the [[Lynar Tablatures|Lynar B]] tablatures) or [[Hans Joachim Moser]] (who published the ''editio princeps'' of these works) was the first musicologist to suggest the connection to [[Wilhelm Karges]]. They speculated that the initials stood for ''Magister Wilhelm Carges Berolinensis Marchicus''. Karges would have been only 15 years old according to the year 1628 found in the manuscript.

Moser stated that Karges was one of the scribes of this manuscript, which would explain the appearance of one of his pieces. However, [[Klaus Beckmann]] said that this assertion is false due to the comparison of the handwriting with a known Karges manuscript, [[D-B Am.B 340]].<ref>''20 Freie Orgelwerke der Norddeutschen Schule.'' [[Meister der Norddeutschen Orgelschule]] 29. Mainz: Schott, 2013. p.81.</ref>.

Around 1958, an opposing view to that of Moser was developed by [[Margarete Riemann]], who stated that the works by M. W. C. B. M. appeared to be composed by a greater master than Karges at that age, and that the pieces marked ''W. K.'' in [[D-B Am.B 340]] are much more like a "small master"<ref>''Kleinmeister''</ref> from the middle of the century, based on Scheidt-like counterpoint and Froberger relaxation, without substance or supporting coloratura.

=== References ===
{{NdS2 2009}} 507-508.

== Works<ref>Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023</ref><ref name="b">{{RO2001|Karges, Wilhelm}}</ref> ==
[[File:Mwcbm o mensch end.jpg|thumb|The end of ''O Mensch, bewein dein Sünde groß'']]

{| class="wikitable"
|+Works by M. W. C. B. M.
!Manuscript
!Title
!Incipit
!Notes
|-
|D-B Mus. Ms. Lynar B 3 No. 6
|Vater unser / in Himmell / reich. / MW.C.B.M.
|<score><< \relative a' { \clef alto a1 a4 g f e8 f g4 } \\ \relative a { a1 a2 d, e4 } \\ \relative e' { e1 e2 d4 c | b2*1/2 } \\ \relative cis' { cis1 cis2 a } >></score>
|3 verses. Third verse ends with "verte"
|-
|D-B Mus. Ms. Lynar B 3 No. 24
|O Mensch Be / weine deine / sünde gros auf. / 2 Clavier der Co / rahll gecollorirett / M. W. C. B. M.
|<score><<\relative f { \clef bass f4 f8 g a f a bes c4 r16 } \\ \relative f, { r2 f4 f8 g a f a8*1/2 } \\ \relative c { s1 c4 c8*1/2 } >></score>
|
|}

==References==
<references />

[[Category:Persons|M. W. C. B. M.]]
[[Category:Composers|M. W. C. B. M.]]
[[Category:Baroque Composers|M. W. C. B. M.]]
[[Category:Organists|M. W. C. B. M.]]
[[Category:Baroque|M. W. C. B. M.]]
[[Category:Norddeutsche Orgelschule|M. W. C. B. M.]]
[[Category:Composers only known by initials]]

Main Page

2026-06-02T18:11:56Z

Fiskfan1999: /* Getting started */ remove

__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.

== 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]]

D-B Mus.ms. Bach P 271

2026-06-02T16:40:45Z

Fiskfan1999:

'''D-B Mus.ms. Bach P 271''' is an autograph manuscript by [[Johann Sebastian Bach]].

The first part contains the six organ trio sonatas, the next includes the so-called ''Leipzig'' or ''Great 18'' chorales, and the final contains another copy of ''Nun komm der Heiden Heiland'', BWV 660a.

== Facsimile ==
{{OnlFac|sig=D-B Mus.ms. Bach P 271|url=http://resolver.staatsbibliothek-berlin.de/SBB000188DC00000000|urlc=digital.staatsbibliothek-berlin.de|date=2 June, 2026}}

== References ==
{{RISM|467300867}}

Part 1: {{Bach-digital|BachDigitalSource_source_00001202}}

Part 2: {{Bach-digital|BachDigitalSource_source_00001203}}

Part 3: {{Bach-digital|BachDigitalSource_source_00001204}}

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

D-B Mus.ms. Bach P 272

2026-06-02T16:39:31Z

Fiskfan1999: Created page with "'''D-B Mus.ms. Bach P 272''' is a manuscript containing the six organ trio sonatas by Johann Sebastian Bach. It was copied from the autograph manuscript D-B Mus.ms. Bach P 271 by Anna Magalena and Wilhelm Friedemann Bach. == Facsimile== {{OnlFac|sig=D-B Mus.ms. Bach P 272|url=http://resolver.staatsbibliothek-berlin.de/SBB0001DAD800000000|urlc=digital.staatsbibliothek-berlin.de|date=2 June, 2026}} == References == {{RISM|467027200}}..."

'''D-B Mus.ms. Bach P 272''' is a manuscript containing the six organ trio sonatas by [[Johann Sebastian Bach]]. It was copied from the autograph manuscript [[D-B Mus.ms. Bach P 271]] by [[Anna Magdalena Bach|Anna Magalena]] and [[Wilhelm Friedemann Bach]].

== Facsimile==
{{OnlFac|sig=D-B Mus.ms. Bach P 272|url=http://resolver.staatsbibliothek-berlin.de/SBB0001DAD800000000|urlc=digital.staatsbibliothek-berlin.de|date=2 June, 2026}}

== References ==
{{RISM|467027200}}

{{Bach-digital|BachDigitalSource_source_00001205}}

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

Johann Sebastian Bach

2026-06-02T16:34:11Z

Fiskfan1999: fix bach-digital link

[[File:Johann Sebastian Bach.png|thumb|Johann Sebastian Bach]]
'''Johann Sebastian Bach''' (1685-1750).

{{Stub}}

== Links ==
* [https://en.wikipedia.org/wiki/Johann_Sebastian_Bach Johann Sebastian Bach] on English Wikipedia (also see [https://en.wikipedia.org/wiki/List_of_compositions_by_Johann_Sebastian_Bach List of Compositions]).
* [https://imslp.org/wiki/Category:Bach,_Johann_Sebastian Johann Sebastian Bach] on IMSLP.
* [https://www.bach-digital.de Bach Digital]

== Works ==
{{Help wanted|Can you help complete this list of organ compositions?}}

=== Trio Sonatas, BWV 525-530 ===
Bach wrote a collection of six organ trio sonatas, some based on other instrumental works, for his oldest son [[Wilhelm Friedemann Bach]] around 1727-1731.

The autograph manuscript is [[D-B Mus.ms. Bach P 271]] part 1, succeeded by [[D-B Mus.ms. Bach P 272]]

==== References ====
{{Bach-digital|BachDigitalSource_source_00001202}}

=== Preludes and Fugues ===

[[Category:German Composers]][[Category:Composers]][[Category:Baroque Composers]][[Category:Organists]][[Category:German Organists]][[Category:Baroque Organists]]

D-B Mus.ms. Bach P 271

2026-06-02T16:33:10Z

Fiskfan1999: Created page with "'''D-B Mus.ms. Bach P 271''' is an autograph manuscript by Johann Sebastian Bach. The first part contains the six organ trio sonatas, the next includes the so-called ''Leipzig'' or ''Great 18'' chorales, and the final contains another copy of ''Nun komm der Heiden Heiland'', BWV 660a. == References == {{RISM|467300867}} Part 1: {{Bach-digital|BachDigitalSource_source_00001202}} Part 2: {{Bach-digital|BachDigitalSource_source_00001203}} Part 3: {{Bach-digital|Bac..."

'''D-B Mus.ms. Bach P 271''' is an autograph manuscript by [[Johann Sebastian Bach]].

The first part contains the six organ trio sonatas, the next includes the so-called ''Leipzig'' or ''Great 18'' chorales, and the final contains another copy of ''Nun komm der Heiden Heiland'', BWV 660a.

== References ==
{{RISM|467300867}}

Part 1: {{Bach-digital|BachDigitalSource_source_00001202}}

Part 2: {{Bach-digital|BachDigitalSource_source_00001203}}

Part 3: {{Bach-digital|BachDigitalSource_source_00001204}}

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