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D-B Am.B 340

2026-10-14T17:33:30Z

Fiskfan1999:

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

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

This manuscript is closely and uniquely tied to the known sources of music that it stems from. Many of the ''capricios'' in this manuscript are derived from one or more pieces titled ''Intonatio'' or ''Fugue'' published in Germany and France. Many of the pieces by more well-known composers are found to have major deviations from other sources.

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

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

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

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

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

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

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

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

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

Furthermore, the ending of the piece is different.

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

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

</score>

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

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

* [[François Roberday]] - ''Fugues et Caprices'' (Paris, 1660; see {{IMSLP|285849}})
* [[Sebastian Anton Scherer]] - ''Operum musicorum secundum'' (Ulm, 1664; see {{RISM|990057920}})

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

=== List of Works ===

''Key:''

* Froberger 1649:
* Froberger 1656:
* Scherer 1/2: ''Operum musicorum secundum'' (Ulm, 1664), Intonatio 2.da Primi Toni ''etc.''
* Roberday: ''Fugues et Caprices'' (Paris, 1660)

{| class="wikitable"
|+ List of Works in D-B Am.B 340
|-
! No. !! Fol. !! Title !! Incipit !! Notes !! Ref.
|-
| 13a || 13v || Capricio / Mons. Froberg. / G h || || Froberger 1649: Fantasia 4 (first section of this piece only) ||
|-
| 13b|| 14v|| Capricio / G. h / [[Wilhelm Karges|W.K.]] || || Parody of the previous piece. Followed by remainder of Froberger piece. ||
|-
| 23|| 25v|| Ricercar / Primi Toni / D. || || Scherer 1/2 ||
|-
| 25|| 27v || Capricio / J. Frob. / F. || || Froberger 1649: Canzon 3, first two sections only ||
|-
|26 ||28v || Capricio / Sexti Toni / F. || || Scherer 6/2 and 6/4 ||
|-
| 27 || 29v || Capricio / C. || || Contains fragments of Scherer 5/2 ||
|-
| 28 || || Ricercar / G.b || || Contains Scherer 2/4 ||
|-
| 29 || || Capricio / Quarti Toni. / E. || || Scherer 4/3 and 4/4 ||
|-
| 30 || || Capricio / sexti Toni. / A. || || Scherer 3/3 and 3/4 ||
|-
| 31 || || Capricio / Secundi toni. / G. b. || || Scherer 8/3 and 8/2 ||
|-
| 32 || || Capricio / G. h. || || Scherer 8/3 and 8/2 ||
|-
| 33 || || Capricio || || Scherer 7/3 and 7/2 ||
|-
| 34 || || Capricio / E. vel A. || || Roberday Fugue 8: ''Caprice sur le mesme sujet'' ||
|-
| 35 || || Capricio / G. b. || || Roberday Fugue 1: ''Caprice sur le mesme sujet'' ||
|-
| 36 || || Capricio / D. || || Roberday Fugue 5.me (See also Froberger 1656: Ricercar 7) ||
|-
| 37 || || Capricio / D. || || Roberday Fugue 6: ''Caprice sur le mesme sujet'' ||
|}

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

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

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

{{Schierning}}

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

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

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

D-B Am.B 340

2026-10-14T17:26:12Z

Fiskfan1999: /* Contents */

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

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

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

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

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

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

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

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

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

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

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

Furthermore, the ending of the piece is different.

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

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

</score>

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

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

* [[François Roberday]] - ''Fugues et Caprices'' (Paris, 1660; see {{IMSLP|285849}})
* [[Sebastian Anton Scherer]] - ''Operum musicorum secundum'' (Ulm, 1664; see {{RISM|990057920}})

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

=== List of Works ===

''Key:''

* Froberger 1649:
* Froberger 1656:
* Scherer 1/2: ''Operum musicorum secundum'' (Ulm, 1664), Intonatio 2.da Primi Toni ''etc.''
* Roberday: ''Fugues et Caprices'' (Paris, 1660)

{| class="wikitable"
|+ List of Works in D-B Am.B 340
|-
! No. !! Fol. !! Title !! Incipit !! Notes !! Ref.
|-
| 13a || 13v || Capricio / Mons. Froberg. / G h || || Froberger 1649: Fantasia 4 (first section of this piece only) ||
|-
| 13b|| 14v|| Capricio / G. h / [[Wilhelm Karges|W.K.]] || || Parody of the previous piece. Followed by remainder of Froberger piece. ||
|-
| 23|| 25v|| Ricercar / Primi Toni / D. || || Scherer 1/2 ||
|-
| 25|| 27v || Capricio / J. Frob. / F. || || Froberger 1649: Canzon 3, first two sections only ||
|-
|26 ||28v || Capricio / Sexti Toni / F. || || Scherer 6/2 and 6/4 ||
|-
| 27 || 29v || Capricio / C. || || Contains fragments of Scherer 5/2 ||
|-
| 28 || || Ricercar / G.b || || Contains Scherer 2/4 ||
|-
| 29 || || Capricio / Quarti Toni. / E. || || Scherer 4/3 and 4/4 ||
|-
| 30 || || Capricio / sexti Toni. / A. || || Scherer 3/3 and 3/4 ||
|-
| 31 || || Capricio / Secundi toni. / G. b. || || Scherer 8/3 and 8/2 ||
|-
| 32 || || Capricio / G. h. || || Scherer 8/3 and 8/2 ||
|-
| 33 || || Capricio || || Scherer 7/3 and 7/2 ||
|-
| 34 || || Capricio / E. vel A. || || Roberday Fugue 8: ''Caprice sur le mesme sujet'' ||
|-
| 35 || || Capricio / G. b. || || Roberday Fugue 1: ''Caprice sur le mesme sujet'' ||
|-
| 36 || || Capricio / D. || || Roberday Fugue 5.me (See also Froberger 1656: Ricercar 7) ||
|-
| 37 || || Capricio / D. || || Roberday Fugue 6: ''Caprice sur le mesme sujet'' ||
|}

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

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

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

{{Schierning}}

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

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

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

Jeanne Demessieux

2026-10-14T16:34:10Z

Fiskfan1999: Grove dictionary

[[File:Jeanne Demessieux.jpg|thumb|Jeanne Demessieux]]
'''Jeanne Demessieux''' (1921-1968) was a French composer and organist.

She is remembered as exceptionally virtuosic in both fields. During her life she was particularly well-known internationally as a concert organist. She was the first female organist to play at [[Westminster Cathedral]] and [[Westminster Abbey]].

<blockquote>Demessieux's prodigious technique was apparent at the outset of her career. In the years before her untimely death she revealed greater involvement with the music she played, suggesting that she had barely reached the zenith of her powers as an interpreter.<ref>Aprahamian and Hale</ref></blockquote>

{{Stub}}

== Life ==
Jeanne Demessieux was born on February 13, 1921, and grew up in Montpellier.

Her family moved to Paris and she entered the National Conservatory in 1921 as a piano student. She won first prizes in harmony, piano, and fugue from the ages of 16-18.

She began playing the [[Harmonium]] for services at St. Esperit, and started playing the organ around 1935.

Her first organ teacher was [[Marcel Dupre]], who was astounded at her playing of the ''Hammerklavier'' piano sonata by [[Beethoven]] and [[Liszt]] Transcendental Studies. From 1935 to 1946, Dupre was Demessieux's teacher and he continued to advance her career while enlisting her help in preparing Dupre's editions of organ music. Their relationship ended abruptly in 1947 due to reasons that are not fully known even in the present day.

Even after losing contact with Dupre, Jeanne Demessieux continued to flourish, and she continued recording and composing organ music. She eventually resigned from her post from St. Esperit and was appointed as the ''titulare'' organist at St. Madeline in 1958.

Demessieux was appointed organ professor at the Conservatory in Liege in 1952.

Jeanne Demessieux passed away at 47 years old due to cancer on December 11, 1968.

== Works ==
{| class="wikitable"
|+ Organ Works by Jeanne Demessieux
|-
! Title !! Incipit !! Published !! Ref.
|-
| 6 Etudes || || Bornemann, 1946||
|-
| 7 Meditations sur le Saint-Espirit || || Durand, 1947 ||
|-
| Triptyque, Op. 7|| || Durand, 1949 ||
|-
| 12 Chorale Preludes on Gregorian Chant Themes, Op. 8 || || McLaughlin, 1950 ||
|-
| Te Deum pour Orgue, Op. 11 || || Durand #13877, 1959 ||
|-
| Prelude et Fugue dans le mode lydien, Op. 13 || || Durand, 1965 ||
|-
| Repons pour le Temps de Paques || || Durand #14043, 1970 ||
|}

{{Errors}}

== References ==
Fabrikant, Harold. "The Saga of Jeanne Demessieux..." ''The Organ''. London: Musical Opinion Limited, No. 409 (Autumn 2024). 20, 23. [https://login.proxy.libraries.rutgers.edu/login?qurl=https%3A%2F%2Fwww.proquest.com%2Fmagazines%2Fsaga-jeanne-demessieux-13-february-1921-11%2Fdocview%2F3155411054%2Fse-2 www.proquest.com]

{{NewGrove2|Felix Aprahamian|Aprahamian, Felix and Hale, Paul|Demessieux, Jeanne|7|194-195}}

{{RO2001|Demessieux, Jeanne|501}}

[[Category:Organists|Demessieux]][[Category:French organists|Demessieux]][[Category:Modern organists|Demessieux]][[Category:Female organists|Demessieux]][[Category:Composers|Demessieux]][[Category:French composers|Demessieux]][[Category:Modern composers|Demessieux]][[Category:Female composers|Demessieux]]

Hieronymus Praetorius III

2026-10-13T02:30:29Z

Fiskfan1999: /* Verse 1 */

'''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>

The first verse has been interpreted as a parody of the first verse of the organ setting by [[Hieronymus Praetorius]] in the same way as the settings of the Magnificat by [[Jacob Praetorius]] found in the [[Clausholm Fragments]] based on its unique style and more frequent use of 5-voice counterpoint.<ref>Beckmann, ''Hieronymus Praetorius'', 120.</ref>

=== 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]]

Errors:Jeanne Demessieux

2026-10-09T13:37:10Z

Fiskfan1999: Created blank page

Jeanne Demessieux

2026-10-09T13:35:14Z

Fiskfan1999: errata

[[File:Jeanne Demessieux.jpg|thumb|Jeanne Demessieux]]
'''Jeanne Demessieux''' (1921-1968) was a French composer and organist. She is remembered as exceptionally virtuosic in both fields.

{{Stub}}

== Life ==
Jeanne Demessieux was born on February 13, 1921, and grew up in Montpellier.

Her family moved to Paris and she entered the National Conservatory in 1921 as a piano student. She won first prizes in harmony, piano, and fugue from the ages of 16-18.

She began playing the [[Harmonium]] for services at St. Esperit, and started playing the organ around 1935.

Her first organ teacher was [[Marcel Dupre]], who was astounded at her playing of the ''Hammerklavier'' piano sonata by [[Beethoven]] and [[Liszt]] Transcendental Studies. From 1935 to 1946, Dupre was Demessieux's teacher and he continued to advance her career while enlisting her help in preparing Dupre's editions of organ music. Their relationship ended abruptly in 1947 due to reasons that are not fully known even in the present day.

Even after losing contact with Dupre, Jeanne Demessieux continued to flourish, and she continued recording and composing organ music. She eventually resigned from her post from St. Esperit and was appointed as the ''titulare'' organist at St. Madeline in 1958.

Jeanne Demessieux passed away at 47 years old due to cancer on December 11, 1968.

== Works ==
{| class="wikitable"
|+ Organ Works by Jeanne Demessieux
|-
! Title !! Incipit !! Published !! Ref.
|-
| 6 Etudes || || Bornemann, 1946||
|-
| 7 Meditations sur le Saint-Espirit || || Durand, 1947 ||
|-
| Triptyque, Op. 7|| || Durand, 1949 ||
|-
| 12 Chorale Preludes on Gregorian Chant Themes, Op. 8 || || McLaughlin, 1950 ||
|-
| Te Deum pour Orgue, Op. 11 || || Durand #13877, 1959 ||
|-
| Prelude et Fugue dans le mode lydien, Op. 13 || || Durand, 1965 ||
|-
| Repons pour le Temps de Paques || || Durand #14043, 1970 ||
|}

{{Errors}}

== References ==
Fabrikant, Harold. "The Saga of Jeanne Demessieux..." ''The Organ''. London: Musical Opinion Limited, No. 409 (Autumn 2024). 20, 23. [https://login.proxy.libraries.rutgers.edu/login?qurl=https%3A%2F%2Fwww.proquest.com%2Fmagazines%2Fsaga-jeanne-demessieux-13-february-1921-11%2Fdocview%2F3155411054%2Fse-2 www.proquest.com]

{{RO2001|Demessieux, Jeanne|501}}

[[Category:Organists|Demessieux]][[Category:French organists|Demessieux]][[Category:Modern organists|Demessieux]][[Category:Female organists|Demessieux]][[Category:Composers|Demessieux]][[Category:French composers|Demessieux]][[Category:Modern composers|Demessieux]][[Category:Female composers|Demessieux]]

Marcel Dupre

2026-10-06T21:49:36Z

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#REDIRECT [[Marcel Dupré]]

Liszt

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#REDIRECT [[Franz Liszt]]

Beethoven

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Fiskfan1999: Redirected page to Ludwig van Beethoven

#REDIRECT [[Ludwig van Beethoven]]

Template:RO2001

2026-10-06T21:44:22Z

Fiskfan1999: Rework to more Chicago-looking citation style

"{{{1}}}" in [[Klaus Beckmann|Beckmann, Klaus]] (editor), ''[[Repertorium Orgelmusik]]: Komponisten-Werke-Editionen 1150-2000, 57 Länder, Eine Auswahl.'' Third Edition. Mainz: Schott, 2001.{{#if:{{{2|}}}|<nowiki> </nowiki>Page {{{2|}}}|}}[[Category:Repertorium Orgelmusik citations]]<noinclude>

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

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

{{RO2001|Tunder, Franz}}

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

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

Jeanne Demessieux

2026-10-06T21:39:22Z

Fiskfan1999: works list

[[File:Jeanne Demessieux.jpg|thumb|Jeanne Demessieux]]
'''Jeanne Demessieux''' (1921-1968) was a French composer and organist. She is remembered as exceptionally virtuosic in both fields.

{{Stub}}

== Life ==
Jeanne Demessieux was born on February 13, 1921, and grew up in Montpellier.

Her family moved to Paris and she entered the National Conservatory in 1921 as a piano student. She won first prizes in harmony, piano, and fugue from the ages of 16-18.

She began playing the [[Harmonium]] for services at St. Esperit, and started playing the organ around 1935.

Her first organ teacher was [[Marcel Dupre]], who was astounded at her playing of the ''Hammerklavier'' piano sonata by [[Beethoven]] and [[Liszt]] Transcendental Studies. From 1935 to 1946, Dupre was Demessieux's teacher and he continued to advance her career while enlisting her help in preparing Dupre's editions of organ music. Their relationship ended abruptly in 1947 due to reasons that are not fully known even in the present day.

Even after losing contact with Dupre, Jeanne Demessieux continued to flourish, and she continued recording and composing organ music. She eventually resigned from her post from St. Esperit and was appointed as the ''titulare'' organist at St. Madeline in 1958.

Jeanne Demessieux passed away at 47 years old due to cancer on December 11, 1968.

== Works ==
{| class="wikitable"
|+ Organ Works by Jeanne Demessieux
|-
! Title !! Incipit !! Published !! Ref.
|-
| 6 Etudes || || Bornemann, 1946||
|-
| 7 Meditations sur le Saint-Espirit || || Durand, 1947 ||
|-
| Triptyque, Op. 7|| || Durand, 1949 ||
|-
| 12 Chorale Preludes on Gregorian Chant Themes, Op. 8 || || McLaughlin, 1950 ||
|-
| Te Deum pour Orgue, Op. 11 || || Durand #13877, 1959 ||
|-
| Prelude et Fugue dans le mode lydien, Op. 13 || || Durand, 1965 ||
|-
| Repons pour le Temps de Paques || || Durand #14043, 1970 ||
|}

== References ==
Fabrikant, Harold. "The Saga of Jeanne Demessieux..." ''The Organ''. London: Musical Opinion Limited, No. 409 (Autumn 2024). 20, 23. [https://login.proxy.libraries.rutgers.edu/login?qurl=https%3A%2F%2Fwww.proquest.com%2Fmagazines%2Fsaga-jeanne-demessieux-13-february-1921-11%2Fdocview%2F3155411054%2Fse-2 www.proquest.com]

{{RO2001|Demessieux, Jeanne|501}}

[[Category:Organists|Demessieux]][[Category:French organists|Demessieux]][[Category:Modern organists|Demessieux]][[Category:Female organists|Demessieux]][[Category:Composers|Demessieux]][[Category:French composers|Demessieux]][[Category:Modern composers|Demessieux]][[Category:Female composers|Demessieux]]

Jeanne Demessieux

2026-10-06T21:30:14Z

Fiskfan1999: Created page with "Jeanne Demessieux '''Jeanne Demessieux''' (1921-1968) was a French composer and organist. She is remembered as exceptionally virtuosic in both fields. {{Stub}} == Life == Jeanne Demessieux was born on February 13, 1921, and grew up in Montpellier. Her family moved to Paris and she entered the National Conservatory in 1921 as a piano student. She won first prizes in harmony, piano, and fugue from the ages of 16-18. She began playin..."

[[File:Jeanne Demessieux.jpg|thumb|Jeanne Demessieux]]
'''Jeanne Demessieux''' (1921-1968) was a French composer and organist. She is remembered as exceptionally virtuosic in both fields.

{{Stub}}

== Life ==
Jeanne Demessieux was born on February 13, 1921, and grew up in Montpellier.

Her family moved to Paris and she entered the National Conservatory in 1921 as a piano student. She won first prizes in harmony, piano, and fugue from the ages of 16-18.

She began playing the [[Harmonium]] for services at St. Esperit, and started playing the organ around 1935.

Her first organ teacher was [[Marcel Dupre]], who was astounded at her playing of the ''Hammerklavier'' piano sonata by [[Beethoven]] and [[Liszt]] Transcendental Studies. From 1935 to 1946, Dupre was Demessieux's teacher and he continued to advance her career while enlisting her help in preparing Dupre's editions of organ music. Their relationship ended abruptly in 1947 due to reasons that are not fully known even in the present day.

Even after losing contact with Dupre, Jeanne Demessieux continued to flourish, and she continued recording and composing organ music. She eventually resigned from her post from St. Esperit and was appointed as the ''titulare'' organist at St. Madeline in 1958.

Jeanne Demessieux passed away at 47 years old due to cancer on December 11, 1968.

== References ==
Fabrikant, Harold. "The Saga of Jeanne Demessieux..." ''The Organ''. London: Musical Opinion Limited, No. 409 (Autumn 2024). 20, 23. [https://login.proxy.libraries.rutgers.edu/login?qurl=https%3A%2F%2Fwww.proquest.com%2Fmagazines%2Fsaga-jeanne-demessieux-13-february-1921-11%2Fdocview%2F3155411054%2Fse-2 www.proquest.com]

[[Category:Organists|Demessieux]][[Category:French organists|Demessieux]][[Category:Modern organists|Demessieux]][[Category:Female organists|Demessieux]][[Category:Composers|Demessieux]][[Category:French composers|Demessieux]][[Category:Modern composers|Demessieux]][[Category:Female composers|Demessieux]]

Marcus Olter

2026-10-05T12:46:56Z

Fiskfan1999:

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

== Life ==
Olter was born in Wilster on February 20, 1625. Before 1653 he was the organist at ''St. Stephan-Kirche'' in Tangermünde, playing the three-manual organ built by [[Hans Scherer d.J.]] in 1624.

On April 19, 1653, he was appointed as the organist at ''St. Johannes-Kirche'' in Meldorf, playing a two-manual renaissance organ built by [[Hans Scherer d.A.]] in 1596 or 1597. He retained this organist position until his death on May 4, 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.

The ''Canzon'' was published for the first time in the [[Max Seiffert]] series [[Organum IV]] in 1925. At that time, nothing was known about Marcus Olter other than his name appearing in this manuscript.

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

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

[[Andreas Vollstedt|Vollstedt, Andreas]]. "Ein Meldorfer Orgelmeister: Marcus Olter (1625-1684)". ''Dithmarschen Landeskunde, Kultur, Natur'' 3, 2017. 2-3.

Peder Munk-Bahr

2026-09-15T22:15:13Z

Fiskfan1999: add additional citation

'''Peder Munk-Bahr''' (1642-1724)<ref>[https://www.genvagar.nu/show.asp?PersonId=381159 www.genvagar.nu], accessed 15 September, 2026.</ref> was an organist in Visby and the son of [[Johann Bahr]]. After Johann Bahr's death, Peder took over as the organist of the Visby Cathedral.

== References ==
{{MGG2p|Britta Schilling-Wang|Schilling-Wang, Britta|Bahr, Bähr, Johan, Johann|2|12}}

[[Category:Organists|Munk-Bahr]][[Category:Baroque Organists|Munk-Bahr]][[Category:Swedish Organists|Munk-Bahr]]

Template:MGG2p

2026-09-15T19:25:17Z

Fiskfan1999: Personenteil

[[{{{1}}}|{{{2}}}]], "{{{3}}}" in ''Die Musik in Geschichte und Gegenwart: Zweite, neubearbeitete Ausgabe'', ed. [[Ludwig Finscher]] (Kassel: Bärenreiter), Personenteil Vol. {{{4}}} Col. {{{5}}}.[[Category:MGG Volume {{{4}}} Citations]]<noinclude>
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Category:MGG Citations

2026-09-15T17:56:56Z

Fiskfan1999: Created blank page

Category:MGG Personenteil Citations

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Fiskfan1999: Created page with "Category:MGG Citations"

[[Category:MGG Citations]]

Category:MGG Volume 2 Citations

2026-09-15T17:56:32Z

Fiskfan1999:

[[Category:MGG Personenteil Citations]]

Category:MGG Volume 2 Citations

2026-09-15T17:56:09Z

Fiskfan1999: Created page with "Category:MGG Citations"

[[Category:MGG Citations]]

Peder Munk-Bahr

2026-09-15T17:55:33Z

Fiskfan1999: Created page with "'''Peder Munk-Bahr''' was an organist in Visby and the son of Johann Bahr. After Johann Bahr's death, Peder took over as the organist of the Visby Cathedral. == References == {{MGG2p|Britta Schilling-Wang|Schilling-Wang, Britta|Bahr, Bähr, Johan, Johann|2|12}} Munk-BahrMunk-BahrMunk-Bahr"

'''Peder Munk-Bahr''' was an organist in Visby and the son of [[Johann Bahr]]. After Johann Bahr's death, Peder took over as the organist of the Visby Cathedral.

== References ==
{{MGG2p|Britta Schilling-Wang|Schilling-Wang, Britta|Bahr, Bähr, Johan, Johann|2|12}}

[[Category:Organists|Munk-Bahr]][[Category:Baroque Organists|Munk-Bahr]][[Category:Swedish Organists|Munk-Bahr]]

Johann Bahr

2026-09-15T17:53:39Z

Fiskfan1999: /* Life */

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

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

== Life ==
Bahr was probably born in Schleswig around 1610-1615. He was likely a student of [[Perendt Petri]], or even [[Jacob Praetorius]] himself, based on his acquisition of the [[Visby Tablature]].

He traveled to Visby in 1630. He became the substitute organist at [[Visby Cathedral]] sometime in the 1630s, and in 1638 he was promoted to organist and registrar of the church after the death of [[David Herlicius]].

Bahr had become the owner of the [[Visby Tablature]] before 1638; Jeffery T. Kite-Powell theorized that he may have been responsible for bringing the manuscript from Germany to Visby.

Johann Bahr passed away on June 3, 1670. His son [[Peder Munk-Bahr]] became the organist at the Visby Cathedral.

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

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

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

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

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

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

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

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

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

== References ==
{{Apel1972}} 350, 380-381.

{{NdS2 2009}} 499-501.

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

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

{{NewGrove2|Jeffery T. Kite-Powell|Kite-Powell, Jeffery T.|Bahr, Johann|2|486}}

{{MGG2p|Britta Schilling-Wang|Schilling-Wang, Britta|Bahr, Bähr, Johan, Johann|2|12-13}}

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

Die Norddeutsche Schule (book)

2026-09-15T17:47:56Z

Fiskfan1999: minor rework, use worldcat links instead

[[File:DieNorddeutscheSchule1.jpg|thumb|Cover for the first volume]]
'''Die Norddeutsche Schule''' is a two-volume book written by [[Klaus Beckmann]] and published by ''Schott''.
[[File:DieNorddeutscheShule2.jpg|thumb|Cover for the second volume]]
The first volume, ''Die Zeit der Gründerväter: 1517 - 1629,'' was published in 2005, and the second volume, ''Blütezeit und Verfall: 1620 - 1755'', in 2009.

== Links ==
First volume: [https://search.worldcat.org/title/69983660 View on worldcat.org]

Second volume: [https://search.worldcat.org/title/699264442 View on worldcat.org]

[[:Category:Die Norddeutsche Schule Citations]]

[[Category:Books|Norddeutsche Schule]]

Willi Apel

2026-09-15T17:44:19Z

Fiskfan1999: Created page with "{{Stub}} == See Also == The History of Keyboard Music to 1700 (Apel)"

{{Stub}}

== See Also ==
[[The History of Keyboard Music to 1700 (Apel)]]

The History of Keyboard Music to 1700 (Apel)

2026-09-15T17:43:41Z

Fiskfan1999: Created page with "== Links == * [https://search.worldcat.org/title/412121 View on worldcat.org] * [https://search.worldcat.org/title/1087386894 Another entry on worldcat.org] * [https://search.worldcat.org/title/761172 Original edition in German] * Willi Apel Category:Books"

== Links ==
* [https://search.worldcat.org/title/412121 View on worldcat.org]
* [https://search.worldcat.org/title/1087386894 Another entry on worldcat.org]
* [https://search.worldcat.org/title/761172 Original edition in German]
* [[Willi Apel]]

[[Category:Books]]

Template:Apel1972

2026-09-15T17:41:17Z

Fiskfan1999: link to page about book

[[Willi Apel|Apel, Willi]], [[The History of Keyboard Music to 1700 (Apel)|''The History of Keyboard Music to 1700,'']] translated by Hans Tischler. Bloomington: Indiana University Press, 1972.[[Category:Willi Apel The History of Keyboard Music to 1700 Citations]]

Johann Bahr

2026-09-15T17:39:47Z

Fiskfan1999: Add MGG citation and use new Grove citation template

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

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

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

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

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

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

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

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

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

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

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

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

== References ==
{{Apel1972}} 350, 380-381.

{{NdS2 2009}} 499-501.

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

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

{{NewGrove2|Jeffery T. Kite-Powell|Kite-Powell, Jeffery T.|Bahr, Johann|2|486}}

{{MGG2p|Britta Schilling-Wang|Schilling-Wang, Britta|Bahr, Bähr, Johan, Johann|2|12-13}}

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

Template:MGG2p

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Lynar Tablatures

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Fiskfan1999: /* Lynar C 1 */ stabikat

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")

{{Schierning}}

<references />

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

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

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

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

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

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

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

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

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

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

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

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

Schierning, 66-81

DirksenSweelinck, 20-22, 656-658

<references />

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

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

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

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

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 2
|-
! p. !! Title !! Incipit !! Notes !! Ref.
|-
| 2-4 || Toccata. 2. toni / Christ: Erbach || || ||
|-
| 5 || Toccata. 3 tij / Toni || || ||
|-
| 6 || Toccata. 4. tij / toni / Christian Erbach || || ||
|-
| 7-8 || Fuga j.mj / toni / Christian Erbach || || ||
|-
| 8-9 || fantasia / 2. dj / Tonij || || ||
|-
| 9 || Ricercar. 3. tij. / toni / Christian Erbach || || ||
|-
| 10 || Canzon 4stij Toni Chr. Er. || || ||
|-
| 11-12 || Ricercar / coall / Quinti toni / C. E. || || ||
|-
| 12-13 || Canzon / sexti Toni / C. E. || || ||
|-
| 13-14 || Ricercar / 7.mi. Toni / C. E. || || ||
|-
| 15-16 || Canzon / Octavi Toni / C. E || || ||
|-
| 16-18 || Ricercar.g. / Tonj / Johan. Gabriell || || ||
|-
| 19-20 || Canzon || || ||
|-
| 21-23 || Tacato / Secundi Tonj / Dell / Segnor Torquino / merula || || ||
|-
| 23-24 || Canzon || || ||
|-
| 25-26 || Un Cromatico / ouero Capricio / dell Signor / Torquino merula / primo Tuono per / Le semituoni || || ||
|-
| 27-28 || Intonatione / Cromatica / dell 3 / Tono || || ||
|-
| 29-30 || Intonaglio Cromatica / dell / Quarto Tono || || ||
|-
| 29-30 || Praeludium / primj Tonj || || ||
|-
| 31-32 || Intonatio / Crommatica / dell / Nonj Tonj || || ||
|-
| 33-34 || Canzon || || ||
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| 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}}

[https://stabikat.de/Record/1966047916 StaBiKat.de], accessed 14 September, 2026.

Schierning, 106-109.

<references />

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

H. M. T.

2026-09-14T18:45:07Z

Fiskfan1999:

[[File:Signature-H. M. T..png|thumb|Initials in K.N. 209]]
One piece in [[D-Lr Mus.ant.pract. K.N. 209]] is headed by the currently unsolved initials '''"H.M.T."'''.

== Attributions ==
Several theories as to the identity of "H.M.T." have been made, but none have gained widespread approval. It was theorized to be the south German composer [[Michael Tonsor]]<ref>Junghans, Wilhelm. ''Lüneburg eine Pflegstätte kirchlicher Musik''. Aus dem Ostern 1870 herausgegebenen Programm des Johanneums zu Lun̈eburg abgedruckt. 33.</ref> (an [[Intabulation]] of a piece by Tonsor does appear in [[D-Lr Mus.ant.pract. K.N. 210]]<ref>{{Schierning}} 106.</ref><ref>{{RISM|450101516}}</ref>). The musicologist [[Fritz Dietrich]] wrote that it may be a distortion of "F.T." (=[[Franz Tunder]]) and "H.S.M." (=[[Heinrich Scheidemann]]), two initials which appear in this manuscript<ref name="Brieg">Brieg, Werner. ''Die Orgelwerke von Heinrich Scheidemann''. Archiv für Musikwissenschaft. Wiesbaden: Franz Steiner Verlag, 1967. 56.</ref>.

Despite these, the initials remain unsolved; in ''Repertorium Orgelmusik'' the initials are left unattributed<ref>Beckmann, Klaus. ''Repertorium Orgelmusik''. New York: Schott, 2001.</ref>.

== Works<ref>Rehwinkel, William (editor). "Ich ruf zu dir, Herr Jesu Christ" 22 May, 2023. [https://ftp.williamrehwinkel.net/scores/early/files/hmt%20-%20Ich%20ruf%20zu%20dir%20herr%20Jesu%20Christ.pdf] Accessed 17 July, 2023.</ref><ref>{{RISM|450101450}}</ref> ==
{| class="wikitable"
|+
!Manuscript
!No.
!Pages
!Title
!Incipits
|-
|D-B mus.ant.pract. K.N. 209
|47
|256-261
|
* Ich Rueff Zu / dir Herr Jesu / Christ. / H.M.T.
* 2dus Versus / Auf 2. Clavier
* Tertius Versus. / Auff 2. Clavier.
|
1st <score><< \relative a' { \time 4/2 a1 f2 g f d } \\ \relative d' { r1 r4 d bes4. c8 d4 c8 bes a4. bes8 } \\ \\ \relative a { s\breve r4 a f4. g8 } >></score> 
2nd <score><< \relative a' { \time 4/2 r2 r8 a f4 g2 f2. } \\ \relative d' { d2 bes8 c d4. d8 c bes a4 bes8 c d4 } \\ \relative a' { s1 s2 a4. g8 f2*1/2 } >> </score> 
3rd <score><< \relative e' { \time 4/2 \clef alto e2 c4 d c a' } \\ \relative a { r4 a4. f4 g8 a16 bes g a f g e f } >></score>
|}

This work was covered by [[Werner Brieg]] in his book on [[Heinrich Scheidemann|Scheidemann's]] organ music.<ref name="Brieg">Brieg, Werner. ''Die Orgelwerke von Heinrich Scheidemann''. Archiv für Musikwissenschaft. Wiesbaden: Franz Steiner Verlag, 1967. 56.</ref> He stated that, despite the connection to Scheidemann suggested by Fritz Dietrich, the piece can not be attributed to him on stylistic grounds.

== See also ==
Editions of "Ich ruf zu dir, Herr Jesu Christ":

* [[Partitura Organum]] (2019)[https://partitura.org/index.php/h-m-t-ich-ruf-zu-dir-herr-jesu-christ/]
* [[William Rehwinkel]] (2023)[https://ftp.williamrehwinkel.net/scores/early/files/hmt%20-%20Ich%20ruf%20zu%20dir%20herr%20Jesu%20Christ.pdf]

==References==
<references />

[[Category:Persons|H. M. T.]]
[[Category:Composers|H. M. T.]]
[[Category:Baroque Composers|H. M. T.]]
[[Category:Organists|H. M. T.]]
[[Category:Baroque|H. M. T.]]
[[Category:Norddeutsche Orgelschule|H. M. T.]]
[[Category:Composers only known by initials]]

D-B Am.B 340

2026-09-14T18:43:52Z

Fiskfan1999:

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

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

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

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

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

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

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

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

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

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

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

Furthermore, the ending of the piece is different.

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

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

</score>

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

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

* [[François Roberday]] - ''Fugues et Caprices'' (Paris, 1660; see {{IMSLP|285849}})
* [[Sebastian Anton Scherer]] - ''Operum musicorum secundum'' (Ulm, 1664; see {{RISM|990057920}})

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

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

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

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

{{Schierning}}

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

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

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

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

2026-09-14T18:43:09Z

Fiskfan1999:

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

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

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

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

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

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

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

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

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

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

{{RISM|450101376}}

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

Andreas Neunhaber

2026-09-14T18:42:30Z

Fiskfan1999: template

'''Andreas Neunhaber''' (or '''Neunaber''', 1603-1663) was a Polish organist and composer from Gdanśk. One piece by him survives in [[D-B Ms. Lynar B 8]].

== Life ==
Andreas was born to Hans Neunaber in Gdanśk in 1603. He was a student of [[Mathias Läder]], [[Paul Siefert]], and [[Tarquinio Merula]].

In Gdanśk he was appointed the organist at the small organ at St. Mary's, and in 1640 he became the organist at St. Katherine's.

He died in 1663 and was buried on 11 July.

== Work ==
''See also: [[D-B Ms. Lynar B 8]]''

The only surviving work by Andreas Neunhaber is found in manuscript '''B 8''' from the [[Lynar Tablatures]]. This manuscript contains two settings of ''Ich ruf zu die, Herr Jesu Christ'', and Andreas's name (actually "Anton Neunhaber") is found in the title for the second piece. Opinions differ on if Neunhaber is the composer of both pieces or only the second, or if they are two separate pieces or two verses.<ref>{{Schierning}} 39.</ref>

The first piece is a three-voice manualiter setting in which the soprano voice plays the cantus firmus with coloration. The second piece is a [[Chorale Fantasia]] with manual-change indications telling the player to play the piece on three manuals and pedals.

== References ==
[[Klaus Beckmann|Beckmann, K.]] (editor). ''3 Choralbearbeitunten von Anton Neunhaber und Ewald Hintz''. Wiesbaden: Breitkopf & Härtel, 1974.

{{NdS2 2009}} 396-398.

[[Category:Polish organists|Neunhaber]][[Category:Polish Composers|Neunhaber]][[Category:Organists|Neunhaber]][[Category:Composers|Neunhaber]][[Category:Baroque Organists|Neunhaber]][[Category:Baroque Composers|Neunhaber]][[Category:Polish|Neunhaber]][[Category:Baroque|Neunhaber]]

Lynar Tablatures

2026-09-14T18:41:42Z

Fiskfan1999: /* References */

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")

{{Schierning}}

<references />

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

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

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

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

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

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

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

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

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

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

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

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

Schierning, 66-81

DirksenSweelinck, 20-22, 656-658

<references />

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

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

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

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

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

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

Schierning, 81-84.

<references />

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

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

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

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

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

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

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

Beckmann (2009)

{{RISM|1001048774}}

Schierning, 32-34

<references />

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Schierning, 32-34

{{RISM|466000013}}

<references />

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

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

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

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

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

<references />

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

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

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

==== Contents ====

This manuscript contains four pieces:

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

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

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

Schierning, 31.

<references />

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

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

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

The piece is neatly written in five voices, suggesting that the top voice is to be played on ''Rückpositiv'', the second on ''Brustwerk'', the third and fourth on ''Organum'', and the bottom in ''Pedal''. It is written in 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]]

Template:Schierning

2026-09-14T18:41:27Z

Fiskfan1999: Created page with "Schierning, Lydia. ''Die Überlieferung der deutschen Orgel- und Klaviermusik aus der esten Hälfte des 17. Jahrhunderts: Eine quellenkundliche Studie.'' Kassel: Bärenreiter, 1961.Category:Lydia Schierning Die Überlieferung Citations"

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

Johann Bahr

2026-09-14T18:18:09Z

Fiskfan1999: /* References */

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

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

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

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

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

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

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

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

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

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

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

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

== References ==
{{Apel1972}} 350, 380-381.

{{NdS2 2009}} 499-501.

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

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

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

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

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[[Willi Apel|Apel, Willi]], ''The History of Keyboard Music to 1700,'' translated by Hans Tischler. Bloomington: Indiana University Press, 1972.[[Category:Willi Apel The History of Keyboard Music to 1700 Citations]]

David Herlitz

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{{Stub}}

== References ==
[[Matthias Schneider|Schneider, Matthias]]. “Die Visbyer Orgeltabulatur: Ein ‘Musterbuch’ Der Liturgischen Orgelkunst.” ''Acta Organologica'' 34 (January 2015): 357–68.

[[Category:German Organists|Herlitz]][[Category:Organists|Herlitz]][[Category:Baroque Organists|Herlitz]]

Visby Tablature

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Fiskfan1999: Include speculation about David Herlitz and modify some language relating to the number of scribes to be more neutral.

S-VIl SE/ViLA/20021/H/3 (also known as the '''Visby Tablature''' or ''Orgeltabulatur Petri-Bahr'') is an organ manuscript held in the Riksarkivet Landsarkivet i Visby, containing organ works by [[Hieronymus Praetorius|Hieronymus]] and [[Jacob Praetorius]], [[Johann Bahr]], and several anonymous pieces.

== Description ==
[[File:Praetorius Magnificat Primi Toni.jpg|thumb|The first and second verse of ''Magnificat Primi Toni'' by [[Hieronymus Praetorius]]]]
Almost all of the pieces in the tablature were written by [[Berendt Petri]] while he was studying under Jakob Praetorius. The copies were likely made from assorted loose leaves, which may have been mixed up (some evidence for this is that part of a [[Chorale Fantasia]] ''Ach Gott vom Himmel siehe darein'' which appears in the middle of a verse of the ''Magnificat septimi toni'')<ref name=":0">Beckmann, Klaus (editor). ''Hieronymus Praetorius: Sämtliche Orgelwerke'', vol. 1. Meister der norddeutschen Orgelschule 1. Mainz: Schott, 2003.</ref>.

The manuscript is written in [[New German Tablature Notation]]. Some pieces have a stylized ''f'' at the end of a multi-verse work signyfing "finis" (for an unknown reason, this symbol also appears at the end of the third verse of the five-verse setting of the ''Magnificat septimi toni'').

The manuscript was first owned by its original scribe, [[Berendt Petri]], and the writing on the title page was dated 1611. Since two pieces are dated 1609 and 1603, this suggests that the pieces within were written between these years (additionally, since some of the Magnificats by Hieronymus Praetorius use motives found in his vocal Magnificats, it is possible that the organ Magnificats were composed after they were published in 1602). After this, the manuscript was owned by Johann Bahr. Bahr only copied the four pieces composed by himself. Two dates found in pieces written in the manuscript by him are 1655 and 1666.

[[Matthias Schneider]] speculated that another scribe (possibly [[David Herlitz]]) may be responsible for copying some of the pieces into the manuscript, and some of the anonymous compositions may be by him.<ref>[[Matthias Schneider|Schneider, Matthias]]. “Die Visbyer Orgeltabulatur: Ein ‘Musterbuch’ Der Liturgischen Orgelkunst.” ''Acta Organologica'' 34 (January 2015): 357–68.</ref>

The first time that the manuscript became known to modern musicologists is in 1891 by [[Adolf Lindgren]]. After this, the next research on this manuscript was undertaken in 1914 by Anrep-Nordin, who published a series of articles on [[Johann Bahr]] and his works in the manuscript, as well as the ''Magnificat germanice'' by [[Jacob Praetorius]]. For the 9th German Bach Festical in Hamburg on 1921, the Visby Tablature was assigned number 460 in the catalogue of manuscripts. Between 1921-1934 more research was published on this manuscript.

The first musical edition of music from the Visby Tablature was the inclusion of both pieces by Jacob Praetorius in 1957<ref>[[Giesela Gerdes|Gerdes, Giesela]] (editor), ''46 Choräle für Orgel von J. P. Sweelinck und seinen Schülern.'' Mainz: Schott, 1957.</ref>. In 1963, the first edition of the Magnificats was published as the 4th volume of [[Corpus of Early Keyboard Music]] by [[Clare Rayner]].

== Johann Bahr ==
[[File:BahrOLux.jpg|thumb|right|The autograph manuscript of ''O Lux beata Trinitas'' by Johann Bahr]]
At a later point, [[Johann Bahr]] became the owner of the manuscript. During this time he wrote four of his own compositions (including the only two vocal cantatas in the manuscript) in some (but not all) of the remaining blank pages. These pieces are in a lighter hand, and two of them are dated 1655 and 1666. These are the only four pieces by Bahr which survive to the modern day.

== Anonymous Pieces ==
The tablature contains many pieces with no composer attribution, all multi-verse chorale settings which were likely meant for [[Alternatum]] use. Professor Kite-Powell attributed all of these pieces to Hieronymus Praetorius on stylistic grounds, such as similarities in motivic fragments and diminutions to the attributed Magnificats. These attributions are generally accepted now and these pieces are included in the complete organ works edited by [[Klaus Beckmann]]<ref name=":0" />.

== Contents ==
The Kite-Powell edition contains a complete transcription of the tablature into stave notation (including the vocal cantatas by Bahr).

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

[https://sok.riksarkivet.se/arkiv/gyqHzRbuYnDirmntWnHU45 sok.riksarkivet.se], accessed 15 August, 2023.

A complete scan of the tablature is available at [https://sok.riksarkivet.se/bildvisning/J0000003_00001 sok.riksarkivet.se], mirrored {{IMSLP|839399}}

[[Category:Manuscripts|Visby Tablature]]
[[Category:Tablatures|Visby Tablature]]
[[Category:Swedish Manuscripts|Visby Tablature]]

Giovanni Battista Leonetti

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{{Stub}}

== References ==
{{NewGrove2|Jerome Roche|Roche, Jerome|Leonetti, Giovanni Battista|14|563}}

Category:New Grove Dictionary of Music and Musicians Second Edition Citations

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[[Category:New Grove Dictionary of Music and Musicians Second Edition Citations|14]]

Gaston Litaize

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== References ==
{{NewGrove2|Gilles Cantagrel|Cantagrel, Gilles|Litaize, Gaston (Gilbert)|14|878}}

Launay: "Les oeuvres pour orgue de Gaston Litaize". ''L'Orgue: Cahiers et memoires'' xxxiv (1985), 9-21.

[[Category: Organists|Litaize]][[Category: French Organists|Litaize]][[Category: Modern Organists|Litaize]][[Category: Composers|Litaize]][[Category: French Composers|Litaize]][[Category: Modern Composers|Litaize]]

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Talk:List of Historical Registrations Used in Chorale Fantasias

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#REDIRECT [[Talk:List of historical registrations used in the chorale fantasia]]

Talk:List of historical registrations used in the chorale fantasia

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== Order ==

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

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

List of Historical Registrations Used in Chorale Fantasias

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#REDIRECT [[List of historical registrations used in the chorale fantasia]]

List of historical registrations used in the chorale fantasia

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

{{Stub}}

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

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

Jehan Alain

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Fiskfan1999: list of catalogues

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

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

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

{{Stub}}

== Performance Practice ==
<blockquote>Jehan Alain abhorred barlines and tempo indications. The only thing that mattered to him was the living pulse of his musical thought. That is why the first drafts of his pieces are often more revealing than later copies. The addition of carlines after the fact often distorted the basis of his rhythm and led him to forget some ties and accidentals. He composed with rare facility; his rough drafts were tossed off with a single stroke of the pen. But then in the course of making the different fair copies, he took pleasure in refining, in seeking delectable contrasts, which often give us contradictory indications for similar passages.

-[[Marie-Claire Alain]]<ref>Alain, Marie-Claire (2003), 11.</ref></blockquote>

== Works ==
Alain's music has been catalogued numerous times, including:

* A [[Jehan Alain: JA Catalogue|catalogue by the composer himself]], stylized "JA"
* A catalogue by Bernard Gavotte in 1945, cataloguing all works known at that time chronologically, stylized using Op. numbers.<ref>Gavoty (1945), 195</ref>
* A catalogue by [[Helga Schauerte]] in 1983, stylized "AWV".<ref>Schauerte (1983), 106-114.</ref>

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

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

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

On performance practice, Alain wrote in one of his manuscripts, ''This piece must be played as the Preludes of which Couperin spoke...with freshness and tenderness.''<ref name="Marie-Claire 59">Alain, Marie-Claire (2003), 59.</ref>

==== Jehan Alain and Early Music ====
Alain's music has been interpreted as closely analogous to early music that he heard growing up. In several manuscripts, he wrote about how closely the styles of his own compositions and those from the past were connected.

<blockquote>It should be possible for a musician of the 20th century to preserve the soul of this old music. The language matters little; only the spirit speaks.<ref name="Marie-Claire 59">Alain, Marie-Claire (2003), 59.</ref></blockquote>

<blockquote>Modern music, or at least that which it is convenient to call modern music in 1937, allies itself more directly with old music than with Romantic or Classical music. By the simple game of musical spelling, one ought to be able to pass imperceptibly from one to the other and preserve the freshness and tenderness of music of the 16th century.<ref name="Marie-Claire 59">Alain, Marie-Claire (2003), 59.</ref></blockquote>

=== 1er Prélude Profane ===
The first ''Prélude Profane'' by Alain–also called ''Adagio'' or ''Wieder an''–was also written for string quintet (1 violin, 2 violas, 2 cellos).

The manuscript copies of this piece written for the organ survives with many variant readings, especially with regards to registrations and what notes are to be played in the pedal. The 1943 edition of the Alain organ works was realized from one autograph copy that was owned by Madeleine Alain which was considered to be the most similar to how Alain played his own work according to the memory of the Alain family. Since then, more manuscripts have been rediscovered by the Alain family. These manuscripts contained different readings, likely based on performing the piece on specific organs.<ref>Alain, Marie-Claire (2003), 91.</ref>

Marie-Claire Alain's book on the critical notes of Alain's organ works contains a new edition of this piece based on combining readings from multiple manuscripts to arrive at the most musical solution.<ref>Alain, Marie-Claire (2003), 95-96.</ref>

=== Smaller Works ===
In addition to grand works like the ''Suite pour orgue'' and ''Trois dances'', or smaller works that were widely circulated and published, such as ''Variations sur un thème de Clément Jannequin'', Alain wrote many small pieces. These pieces are generally short explorations of a distinct musical idea. Many of them were written for specific occasions or due to specific circumstances. They show the way that Alain was constantly improvising and writing down musical ideas and expanding his musical world.

==== Berceuse sur deux notes qui cornent ====
Alain's earliest known organ work was written in 1929, a ''Berceuse'' based on the held notes c# and d#. This was inspired by an incident in which these notes ciphered on the [[Alain House Organ]].<ref>Hafner, 25-33.</ref><ref>Schauerte, 17.</ref>

<score><< \new Staff << \relative fis'' { \key fis \major <fis ais>2 <e gis> | <dis fisis> <e gis> } \\ \relative cis'' { <cis dis>1~ | 1 } >> \new Staff \relative dis '' { \key fis \major dis4 ais8 ais cis4 ais | b! ais8 ais cis2 | } >></score>

This piece was interpreted by [[Helga Schauerte]] as an example of Alain's ''Humor und Einfallsreichtum'' (=resourcefulness) as a reaction to the circumstances of his life (such as the cipher in the organ), how he managed to translate these life experiences into the atmosphere of his music, and how his composed music was closely tied to improvisation.<ref>Schauerte, 18.</ref>

==== Christe eleison/Amen ====
Two improvisatory fragments titled ''Christe eleison'' and ''Amen'', found in a manuscript in the Alain family collection, were included in the afterword of the Leduc organ works in 1943 but omitted from later editions.<ref>Hafner, 287-291.</ref>

'''Christe eleison'''

<score><< \relative g'' { \time 5/4 <g d'>2.->\fff <fis cis'>4-> <g d'>-> | <gis e'>2-> <g d'>4-> <f! b>2->-\fermata } \\ \relative b' { b2. b4 b | b2 b4 <gis b>2 } >></score>

'''Amen'''

<score>\relative cis' { \time 7/8 <cis gis'>8(\pp <d fis>4) <cis a'>8( <bis gis'>8 <d fis>4) | <bis gis'>8( <bes d f!>2.) | 8( <cis ees>4 8 <ais fis'>8 <cis eis>4) | <ais fis'>8( <a cis e>4. <fis ais cis>4.)\fermata }</score>

==== Complainte a la mode ancienne ====
In 1932, Jehan Alain composed a 16-measure organ piece titled ''Complainte a la mode ancienne, pour que Poucette joue l'orgue de Valloires'' (on two staves, including fingering indications) for his sister Marie-Claire, who was six years old at the time.

The piece is written in the style of a Renaissance song in two voices. It is not known wether the melody is original or if it is based on an older piece, such as in ''Variations sur un thème de Clément Jannequin''; parallels have been drawn between the construction of the melody in both pieces. The piece was published in ''Cinq Pieces Faciles pour Orgue ou Piano'' by Leduc in 1987.<ref>Schauerte, 115.</ref><ref>Hafner, 83-87.</ref>

<score>\relative d' { \omit Staff.TimeSignature \time 4/2 \partial 2 d2 | f g a f | bes1 a2 g | f a a g | a2 }</score>

==== Chorale Cistercien pour une Élévation ====
Alain's work titled ''Chorale Cistercien pour une Élévation'' was originally titled simply ''Élévation'', named for the [[Elevation]] during the Mass. The name ''Chorale Cistercien'' was created by [[Albert Alain]] to combine the piece with the ''Chorale dorien'' and ''phrygien''.

This piece survived in one manuscript which was kept at the Cistercian Abbey of Valloires and was only rediscovered in 1951. It was written by Jehan Alain in April, 1934, but it was not included in his own "JA" musical catalogue.<ref>Alain, Marie-Claire (2003), 121.</ref>

== Editions ==
The only publications that were published and reviewed by Jehan Alain during his life were the ''Chorale dorien'' and ''phrygien'', published in [[Le Grand Orgue]] no.57{{Citation needed}}<ref>{{IMSLP|758747}}</ref> and the ''Trois pieces'' (''Variations Sur un theme de Clément Jannequin'', ''Le Jardin suspendu'', and ''Litanies''), published by Alphonse Leduc in 1939<ref>Alain, Marie-Claire (2003), 10.</ref>.

After Alain's death, the three-volume edition of complete organ works was compiled by the Alain family, working from manuscripts known to them aided by their own memories of how Jehan Alain played his own works. This edition was republished with corrections and additions based on newly-discovered sources in 1951-52 and 1971. Marie-Claire Alain admitted that the 1971 contained some simplifications in registrations that do not correspond to the sources. These simplifications were intended to make registration changes easier for organists, but by the turn of the 21st century, they were deemed not necessary thanks to modern combination actions.<ref>Alain, Marie-Claire (2003), 10-11.</ref>.

Later on, a new edition of Alain's complete organ works was compiled by [[Helga Schauerte]] and published by Barenreiter.{{Citation needed}}

== Sources ==
=== Manuscripts in F-Pn ===
The following manuscripts of Alain's works are found in the ''Bibliotheque Nationale de Paris''.<ref>Schauerte, 118.</ref>

{| class="wikitable"
|-
! F-Pn Ms- !! Title !! Notes !! Ref.
|-
| 8650 || Grave || || <ref>[http://ark.bnf.fr/ark:/12148/cb428099432 catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|-
| 8651 || Berceuse || || <ref>[http://ark.bnf.fr/ark:/12148/cb428099401 catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|-
| 8652 || Suite pour orgue || Fragment of first movement || <ref>[http://ark.bnf.fr/ark:/12148/cb428099552 catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|-
| 8653 || Tarass Boulba || || <ref>[http://ark.bnf.fr/ark:/12148/cb42809956d catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|-
| 8654 || Piece d'orgue || Also called ''Petite Piece'' || <ref>[http://ark.bnf.fr/ark:/12148/cb42809951p catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|-
| 8655 || Prelude et Fugue || || <ref>[http://ark.bnf.fr/ark:/12148/cb42809953c catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|-
| 8657 || Lamento || || <ref>[http://ark.bnf.fr/ark:/12148/cb42809944d catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|}

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

== Bibliography ==
[[Marie-Claire Alain|Alain, Marie-Claire]], ''Critical notes on the Organ Works of Jehan Alain.'' English translation by Dr. Normal Stevlingson. Paris: Alphonse Leduc 29422, 2003.

[[Bernard Gavoty|Gavoty, Bernard]], ''Jehan Alain: musicien français (1911–1940) Avec un choix de lettres et de dessins inédits''. Paris: Éditions Albin Michel, 1945.

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

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

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

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

Jehan Alain: JA Catalogue

2026-08-26T15:54:41Z

Fiskfan1999:

''See'' [[Jehan Alain]]

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

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

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

== References ==
[[Marie-Claire Alain|Alain, Marie-Claire]], ''Critical notes on the Organ Works of Jehan Alain.'' English translation by Dr. Normal Stevlingson. Paris: Alphonse Leduc 29422, 2003.

Jehan Alain

2026-08-26T15:54:06Z

Fiskfan1999: performance practice quote

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

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

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

{{Stub}}

== Performance Practice ==
<blockquote>Jehan Alain abhorred barlines and tempo indications. The only thing that mattered to him was the living pulse of his musical thought. That is why the first drafts of his pieces are often more revealing than later copies. The addition of carlines after the fact often distorted the basis of his rhythm and led him to forget some ties and accidentals. He composed with rare facility; his rough drafts were tossed off with a single stroke of the pen. But then in the course of making the different fair copies, he took pleasure in refining, in seeking delectable contrasts, which often give us contradictory indications for similar passages.

-[[Marie-Claire Alain]]<ref>Alain, Marie-Claire (2003), 11.</ref></blockquote>

== Works ==
Two catalogues of Jehan Alain's works are used: the [[Jehan Alain: JA Catalogue|JA Catalogue]] compiled by the composer himself, and the [[Jehan Alain: AWV Catalogue|AWV Catalogue]].

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

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

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

On performance practice, Alain wrote in one of his manuscripts, ''This piece must be played as the Preludes of which Couperin spoke...with freshness and tenderness.''<ref name="Marie-Claire 59">Alain, Marie-Claire (2003), 59.</ref>

==== Jehan Alain and Early Music ====
Alain's music has been interpreted as closely analogous to early music that he heard growing up. In several manuscripts, he wrote about how closely the styles of his own compositions and those from the past were connected.

<blockquote>It should be possible for a musician of the 20th century to preserve the soul of this old music. The language matters little; only the spirit speaks.<ref name="Marie-Claire 59">Alain, Marie-Claire (2003), 59.</ref></blockquote>

<blockquote>Modern music, or at least that which it is convenient to call modern music in 1937, allies itself more directly with old music than with Romantic or Classical music. By the simple game of musical spelling, one ought to be able to pass imperceptibly from one to the other and preserve the freshness and tenderness of music of the 16th century.<ref name="Marie-Claire 59">Alain, Marie-Claire (2003), 59.</ref></blockquote>

=== 1er Prélude Profane ===
The first ''Prélude Profane'' by Alain–also called ''Adagio'' or ''Wieder an''–was also written for string quintet (1 violin, 2 violas, 2 cellos).

The manuscript copies of this piece written for the organ survives with many variant readings, especially with regards to registrations and what notes are to be played in the pedal. The 1943 edition of the Alain organ works was realized from one autograph copy that was owned by Madeleine Alain which was considered to be the most similar to how Alain played his own work according to the memory of the Alain family. Since then, more manuscripts have been rediscovered by the Alain family. These manuscripts contained different readings, likely based on performing the piece on specific organs.<ref>Alain, Marie-Claire (2003), 91.</ref>

Marie-Claire Alain's book on the critical notes of Alain's organ works contains a new edition of this piece based on combining readings from multiple manuscripts to arrive at the most musical solution.<ref>Alain, Marie-Claire (2003), 95-96.</ref>

=== Smaller Works ===
In addition to grand works like the ''Suite pour orgue'' and ''Trois dances'', or smaller works that were widely circulated and published, such as ''Variations sur un thème de Clément Jannequin'', Alain wrote many small pieces. These pieces are generally short explorations of a distinct musical idea. Many of them were written for specific occasions or due to specific circumstances. They show the way that Alain was constantly improvising and writing down musical ideas and expanding his musical world.

==== Berceuse sur deux notes qui cornent ====
Alain's earliest known organ work was written in 1929, a ''Berceuse'' based on the held notes c# and d#. This was inspired by an incident in which these notes ciphered on the [[Alain House Organ]].<ref>Hafner, 25-33.</ref><ref>Schauerte, 17.</ref>

<score><< \new Staff << \relative fis'' { \key fis \major <fis ais>2 <e gis> | <dis fisis> <e gis> } \\ \relative cis'' { <cis dis>1~ | 1 } >> \new Staff \relative dis '' { \key fis \major dis4 ais8 ais cis4 ais | b! ais8 ais cis2 | } >></score>

This piece was interpreted by [[Helga Schauerte]] as an example of Alain's ''Humor und Einfallsreichtum'' (=resourcefulness) as a reaction to the circumstances of his life (such as the cipher in the organ), how he managed to translate these life experiences into the atmosphere of his music, and how his composed music was closely tied to improvisation.<ref>Schauerte, 18.</ref>

==== Christe eleison/Amen ====
Two improvisatory fragments titled ''Christe eleison'' and ''Amen'', found in a manuscript in the Alain family collection, were included in the afterword of the Leduc organ works in 1943 but omitted from later editions.<ref>Hafner, 287-291.</ref>

'''Christe eleison'''

<score><< \relative g'' { \time 5/4 <g d'>2.->\fff <fis cis'>4-> <g d'>-> | <gis e'>2-> <g d'>4-> <f! b>2->-\fermata } \\ \relative b' { b2. b4 b | b2 b4 <gis b>2 } >></score>

'''Amen'''

<score>\relative cis' { \time 7/8 <cis gis'>8(\pp <d fis>4) <cis a'>8( <bis gis'>8 <d fis>4) | <bis gis'>8( <bes d f!>2.) | 8( <cis ees>4 8 <ais fis'>8 <cis eis>4) | <ais fis'>8( <a cis e>4. <fis ais cis>4.)\fermata }</score>

==== Complainte a la mode ancienne ====
In 1932, Jehan Alain composed a 16-measure organ piece titled ''Complainte a la mode ancienne, pour que Poucette joue l'orgue de Valloires'' (on two staves, including fingering indications) for his sister Marie-Claire, who was six years old at the time.

The piece is written in the style of a Renaissance song in two voices. It is not known wether the melody is original or if it is based on an older piece, such as in ''Variations sur un thème de Clément Jannequin''; parallels have been drawn between the construction of the melody in both pieces. The piece was published in ''Cinq Pieces Faciles pour Orgue ou Piano'' by Leduc in 1987.<ref>Schauerte, 115.</ref><ref>Hafner, 83-87.</ref>

<score>\relative d' { \omit Staff.TimeSignature \time 4/2 \partial 2 d2 | f g a f | bes1 a2 g | f a a g | a2 }</score>

==== Chorale Cistercien pour une Élévation ====
Alain's work titled ''Chorale Cistercien pour une Élévation'' was originally titled simply ''Élévation'', named for the [[Elevation]] during the Mass. The name ''Chorale Cistercien'' was created by [[Albert Alain]] to combine the piece with the ''Chorale dorien'' and ''phrygien''.

This piece survived in one manuscript which was kept at the Cistercian Abbey of Valloires and was only rediscovered in 1951. It was written by Jehan Alain in April, 1934, but it was not included in his own "JA" musical catalogue.<ref>Alain, Marie-Claire (2003), 121.</ref>

== Editions ==
The only publications that were published and reviewed by Jehan Alain during his life were the ''Chorale dorien'' and ''phrygien'', published in [[Le Grand Orgue]] no.57{{Citation needed}}<ref>{{IMSLP|758747}}</ref> and the ''Trois pieces'' (''Variations Sur un theme de Clément Jannequin'', ''Le Jardin suspendu'', and ''Litanies''), published by Alphonse Leduc in 1939<ref>Alain, Marie-Claire (2003), 10.</ref>.

After Alain's death, the three-volume edition of complete organ works was compiled by the Alain family, working from manuscripts known to them aided by their own memories of how Jehan Alain played his own works. This edition was republished with corrections and additions based on newly-discovered sources in 1951-52 and 1971. Marie-Claire Alain admitted that the 1971 contained some simplifications in registrations that do not correspond to the sources. These simplifications were intended to make registration changes easier for organists, but by the turn of the 21st century, they were deemed not necessary thanks to modern combination actions.<ref>Alain, Marie-Claire (2003), 10-11.</ref>.

Later on, a new edition of Alain's complete organ works was compiled by [[Helga Schauerte]] and published by Barenreiter.{{Citation needed}}

== Sources ==
=== Manuscripts in F-Pn ===
The following manuscripts of Alain's works are found in the ''Bibliotheque Nationale de Paris''.<ref>Schauerte, 118.</ref>

{| class="wikitable"
|-
! F-Pn Ms- !! Title !! Notes !! Ref.
|-
| 8650 || Grave || || <ref>[http://ark.bnf.fr/ark:/12148/cb428099432 catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|-
| 8651 || Berceuse || || <ref>[http://ark.bnf.fr/ark:/12148/cb428099401 catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|-
| 8652 || Suite pour orgue || Fragment of first movement || <ref>[http://ark.bnf.fr/ark:/12148/cb428099552 catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|-
| 8653 || Tarass Boulba || || <ref>[http://ark.bnf.fr/ark:/12148/cb42809956d catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|-
| 8654 || Piece d'orgue || Also called ''Petite Piece'' || <ref>[http://ark.bnf.fr/ark:/12148/cb42809951p catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|-
| 8655 || Prelude et Fugue || || <ref>[http://ark.bnf.fr/ark:/12148/cb42809953c catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|-
| 8657 || Lamento || || <ref>[http://ark.bnf.fr/ark:/12148/cb42809944d catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|}

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

== Bibliography ==
[[Marie-Claire Alain|Alain, Marie-Claire]], ''Critical notes on the Organ Works of Jehan Alain.'' English translation by Dr. Normal Stevlingson. Paris: Alphonse Leduc 29422, 2003.

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

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

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

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