pipe-organ.wiki - User contributions [en]

Johann Rudolph Radeck sen.

2025-03-08T14:30:55Z

Irahs:

'''Johann Rudolph Radeck Sr.''' (1610-1663) was a Danish organist and composer. Some of his works were discovered in the [[Clausholm Music Fragments]].

Even in fragmented form, the existence of these compositions is proof of the standardization of the form of the ''Magnificat'' composition in the [[North German Organ School]].<ref>Beckmann (2009), 490.</ref>

== Life ==
Johann Rudolph was born in 1610. He was taught by his father [[Martin Radecker]]. In 1633-1634 he worked as the organist in the church ''Divi Blasii'' in Mühlhausen, then in 1635 at ''St. Marien'' in Flensburg. From 1645 until his death he worked at ''Heiliggeistkirche'' in Copenhagen.

== Works ==
{| class="wikitable"
|-
! Source !! Title !! Incipit !! Notes !! Ref.
|-
|[[Clausholm Music Fragments]]
|Magnificat Dorii
|
| Fragment
|
|-
|[[Clausholm Music Fragments]]
|Magnificat Septimi Toni
|
| Fragment
|
|-
|[[Clausholm Music Fragments]]
|Herr Christ, der einig Gottes Sohn
|
| Fragment
|
|-
|[[Clausholm Music Fragments]]
|Zweistimmiges Tabulaturfragment
|
| Fragment
|
|-
|[[Voigtländer tablature]]
|Courant. Saraband Ex. a.
|
|
|
|-
|[[Voigtländer tablature]]
|Engelischer Mascharada
|
|
|
|}

The works are dated 1638 and 1639 and the located of Flensburch is given. As noted by [[Klaus Beckmann]], the fragment of the magnificat was surely part of a complete set of Magnificat settings in 8 or 9 tones, in the style of [[Hieronymus Praetorious]].

Concerning the setting of the Magnificat, the setting of the tone in the tenor is written completely in whole notes, suggesting it can be played in the pedal.

<score><< \new Staff \with { \omit TimeSignature } << \relative a' { \accidentalStyle forget \cadenzaOn s4 a bes2 r4 b! c2 r4 c d2 r4 d e8[ d c bes] } \\ \relative c' { s4 c d d e2 r4 e f2 r4 f g4 g8[ a] g[ f e d] } >> \new Staff \with { \clef bass \omit TimeSignature } << \relative f { f1 g a g } \\ \relative f { s4 f8[ e] d[ c bes a] g4 g'8[ f] e[ d c b!] a4 a'8[ g] f[ e d c] bes4 bes c2 } >> >></score>

The second verse is a setting of fragments of the tone in the form of a [[Chorale Fantasia]].

== References ==
{{NdS2 2009}} 489-490.

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

Lynar Tablatures

2024-09-15T09:00:05Z

Irahs: typo

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.

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

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

=== Lynar B Tablatures ===

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

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

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

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

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

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

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

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

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

<references />

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

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

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

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

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

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

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

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

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

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

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

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

Schierning, 66-81

DirksenSweelinck, 20-22, 656-658

<references />

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

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

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

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

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

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

Schierning, 81-84.

<references />

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

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

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

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

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

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

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

Beckmann (2009)

{{RISM|1001048774}}

Schierning, 32-34

<references />

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Schierning, 32-34

{{RISM|466000013}}

<references />

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

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

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

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

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

<references />

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

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

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

==== Contents ====

This manuscript contains four pieces:

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

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

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

Schierning, 31.

<references />

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

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

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

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

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

Beckmann (2009), 151-152.

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

Schierning, 37-38.

<references />

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

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

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

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

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

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

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

DirksenScheidemann xvii, 3-5.

<references />

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

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

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

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

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

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

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

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

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

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

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

<references />

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

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

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

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

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

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

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

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

Schierning, 39.

<references />

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

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

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

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

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

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

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

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

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

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

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

Schierning, 39.

<references />

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

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

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

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

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

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

The title is from Psalm 116, verse 7.

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

Schierning, 106

<references />

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

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

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

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

Schierning, 106-109.

<references />

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

Lynar Tablatures

2024-07-18T12:07:18Z

Irahs: /* Analysis */

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|C]]).

The composers who are represented the most within the Lynar tablatures are [[Jan Pieterszoon Sweelinck]], [[Christian Erbach]], and [[Heinrich Scheidemann]]. Overtime, 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 are available online (except for the elusive '''C''' tablature).

== 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.

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

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

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

<references />

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

{{OnlFac|sig=D-B Ms. Lynar A 1|url=http://resolver.staatsbibliothek-berlin.de/SBB0002914D00000000|urlc=digital.staatsbibliothek-berlin.de|date=15 December, 2023}}
----
[[File:PPN1671389506 00000031.jpg|thumb|Toccata by Sweelinck in Lynar A 1]]
'''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>{{NdS2 2009}} p.166-172.</ref>

==== Contents ====
{| class="wikitable"
|+ Contents of D-B Ms. Lynar A 1<ref>DirksenSweelinck 656-658.</ref>
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|}

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

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

Schierning, 66-81

DirksenSweelinck, 20-22, 656-658

<references />

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

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

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

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

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

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

Schierning, 81-84.

<references />

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

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

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

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

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

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

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

{{NdS2 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 ====
{{NdS2 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}}
----

The numbers are penciled in by a librarian (on the bottom right).

{| class="wikitable"
|+ Works in Lynar B 3<ref><nowiki>digital.staatsbibliothek-berlin.de</nowiki>, online scan.</ref>
|-
! fol. !! Title !! Incipit !! Notes !! Ref.
|-
| 1r || [missing] || || Title is on missing verso side ||
|-
| 1r || Praeludium || || Piece continues on missing verso side. ||
|-
| 1v-2r || Praludium || || ||
|-
| 2v-3r || Praludium || || ||
|-
| 3v-4r || Praludium || || ||
|-
| 4v-5r || Praludium / [[Heinrich Scheidemann|H S M]] || || ||
|-
| 5v-6r || Vater unser in Himmell / reich. / [[M. W. C. B. M.|MW. C. B. M.]] || [1] 2 Variation 3 || ||
|-
| 6v-9r || Fantasia / J. P. || || ||
|-
| 9v-10r || Fantasia. / 6 toni. || || ||
|-
| 10v-11r || Praludium / pedaliter || || ||
|-
| 11v-12r || Herr Christ / der einige Got / tes Sohn. || || ||
|-
| 12v-12ar || Praludium || || ||
|-
| 12av-13v || Praludium || || ||
|-
| 13v-14r || Praludium || || ||
|-
| 14v-15r || Praludium / secundi Toni / Auf 2 Clavir / und pedale. || || ||
|-
| 15v-18r || Fantasia || || ||
|-
| 18v-20r || Vater unser in himmell / reich Corahll / in Bas. || [1] 2 Vers auf / zwei Clavier / und Pedahll. || Actually by [[Heinrich Scheidemann]] ||
|-
| 20v-21r || O Mensch Be,, / weine deine / sünde gros auf. / 2 Clavier der Co,, / rahll gecolorirett / [[M. W. C. B. M.]] || || ||
|-
| [23]v-24r || Praeludium / pedaliter / [[David Abel]]. || || ||
|-
| 24v-25r || Praludium / [[David Abel]]s. || || ||
|-
| 25v-26r || Fuga || || ||
|-
| 26v-27r || Ricercar / primi Toni || || ||
|-
| 27v-30r || Ricercar / primi Toni / ex G.B.moll || || ||
|-
| 30v-31r || Praludium / Ex E. Vel/ a. pedaliter / A. D. O. || || ||
|-
| 31v-32r || Praambulum / pedaliter / M. D. O. || || ||
|-
| 32v-33r || Praambulum / pedaliter || || ||
|-
| 33v-34r || Praambulum / pedaliter || || ||
|-
| 34v-35r || Praambulum / pedaliter / P. H. || || ||
|-
| 35v-36r || Praludium / pedaliter / M. F. P. S. W. || || ||
|-
| 36v-37r || Praludium / Pedaliter || || ||
|-
| 37v-38r || Praludium / M. D. O || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 38v-39r || Praludium || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 38v-39r || Praludium / pedaliter || || ||
|-
| 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''<ref>[[Werner Brieg|Brieg, Werner]] (editor). ''Jacob Praetorius: Choralbearbeitunen für Orgel.'' Kassel: Bärenreiter, 1974.</ref>.

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

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.

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}}

Scierning, 106

<references />

=== Lynar C ===
'''Lynar C''' (also called C 1 or B 11{{Citation needed}})contains anonymous polyphonic 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).

''The current status of '''Ms. Lynar C''' is not clear. It is not found in the [https://stabikat.de] database under the shelfmark "Ms. Lynar C" or "Lynar B 11"<ref>See [https://stabikat.de/Search/Results?lookfor=ms.+lynar*&type=ShelfMark&limit=20], accessed 31 October, 2023.</ref>.''

==== References ====
Schierning, 106-109.

<references />

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

D-LEm Becker II.6.19

2024-06-12T14:07:14Z

Irahs: correction

'''D-LEm Becker II.6.19'''

{{Stub}}

== Links ==
{{OnlFac|sig=D-LEm Becker II.6.19|url=http://digital.slub-dresden.de/id454415850|urlc=sachsen.digital|date=11 June, 2024}}

== References ==
{{RISM|225006528}}

New German Tablature Notation

2024-06-12T14:06:45Z

Irahs: correction

[[File:H praetorius magnificat 1 opening.jpg|thumb|An example of a piece written in New German Tablature Notation]]
"'''New German Tablature"''' (de: ''die Buchstabentabulatur'' or ''Neue deutsche Orgeltabulatur'') is a notation style used by north-German organists from around the late 16th-mid 18th centuries.

New German Tablature Notation is basically identical to the letter notation of [[Old German Tablature Notation]].

{{Stub}}

== Notation ==
[[File:GermanTab7.jpg|thumb|An excerpt from [[D-W Cod. Guelf. 1055 Helmst.]] showing the correlation of the rhythmic values. From left to right: The note and rest symbols in staff notation, and the rhythmic value and rest symbol in tablature notation.]]
[[File:S-L Handskr. Ekonomi Hook 1.jpeg|thumb|A section of another guide in [[S-L Handskr. Ekonomi Höök]], this one showing the correlation of rhythmic values and how different rhythmic values are combined]]
[[File:Becker II.6.19 rhythms.jpg|thumb|A guide in [[D-Mbs Mus. ms. 262]] showing the different rhythmic signs in New German Tablature Notation, including the breve. On the right is a table correlating rest symbols in Score and Tablature notation, from left to right is the note symbol in staff notation, the rest symbol in tablature notation, and the rest symbol in staff notation.]]
Music written in New German Tablature Notation is written in an "open-score" format in which the voices is written above and below each other with no concept of combining voices on separate staves. Virtually all manuscripts in New German Tablature Notation write each system across both pages, unlike modern staff notation where each system goes across one page only.

[[File:NewGermanTab3.jpg|frameless]]

The letters are written in what is now called [[Helmholtz Pitch Notation]] using B and H for (in english) B-Flat and B-Natural. The bass octave is written in capital letters, the tenor in lowercase, and subsequent octaves written with different number of horizontal lines above the letter.

<score>\new Staff \with { \omit TimeSignature \omit Stem } \relative c, { \clef bass \cadenzaOn c2_\markup{ C } \glissando b'_\markup H c_\markup{ c } \glissando b'_\markup{ h } \clef treble
c_\markup{ \override #'(baseline-skip . 0.5) \column { \draw-line #'(1 . 0) c } } \glissando b'_\markup{ \override #'(baseline-skip . 0.5) \column { \draw-line #'(1 . 0) h } }
c_\markup{ \override #'(baseline-skip . 0.5) \column { \draw-line #'(1 . 0) \draw-line #'(1 . 0) c } } \glissando b'_\markup{ \override #'(baseline-skip . 0.5) \column { \draw-line #'(1 . 0) \draw-line #'(1 . 0) h } }
c_\markup{ \override #'(baseline-skip . 0.5) \column { \draw-line #'(1 . 0) \draw-line #'(1 . 0) \draw-line #'(1 . 0) c } }
}</score>

Some manuscripts wrote notes in the soprano range (<nowiki>c''-h''</nowiki>) with one wavy or dotted line instead of two solid lines.

[[File:NewGermanTab6.jpg|thumb|none|An example of a wavy line in the top voice, in an autograph manuscript by [[Hieronymus Praetorius]]]]

The note at which the octave changes does vary. In almost all manuscripts, the octave starts at C. However, the octave sometimes starts at H (notably, [[Johann Sebastian Bach|Bach's]] copy of the Prelude in E Minor by [[Nicolaus Bruhns]] does this). This cutoff point is almost never explicitly stated and must be determined by examining the music itself.

<score>\new Staff \with { \omit TimeSignature \omit Stem } \relative g' { \cadenzaOn g2_\markup{ \override #'(baseline-skip . 0.5) \column { \draw-line #'(1 . 0) g } } a_\markup{ \override #'(baseline-skip . 0.5) \column { \draw-line #'(1 . 0) a } } b'_\markup{ \override #'(baseline-skip . 0.5) \column { \draw-line #'(1 . 0) \draw-line #'(1 . 0) h } }^"??" c,_\markup{ \override #'(baseline-skip . 0.5) \column { \draw-line #'(1 . 0) \draw-line #'(1 . 0) c } } }</score>

For accidentals, the sharp is virtually always used instead of the flat equivalent (even when it is enharmonically incorrect) except for B-Flat which is written B. Note that tablature notation has no notion of accidentals carrying through to the end of the measure, like staff notation; each note is written just as a sharp or natural.

<score>\new Staff \with { \clef bass \omit TimeSignature \omit Stem \textLengthOn } \relative c { \cadenzaOn cis2_"cis" dis_"dis" fis_"fis" gis_"gis" bes_"b" }</score>

A down-right stroke (representing ''-is'') is appended to the letter.

An overview of the letters and how they appear in various manuscripts appears below.

Rhythms are written in the following way: a dot for a ''breve'', a vertical line for a whole note, and then adding one horizontal flag to the top of the vertical line for shorter note values.

[[File:NewGermanTab1.png|frameless]]

Notes of the ''same rhythmic value'' are frequently beamed together (similar to modern notation). When this happens, a grid of horizontal and vertical lines is drawn, in which the number of vertical lines shows the number of notes and the number of horizontal lines shows the rhythmic value.

[[File:NewGermanTab2.png|frameless]]

For a rest, the rhythmic symbol is written in place of the note name. The same rhythmic sign is used, except for whole-note rests, which are drawn by a symbol that looks like a half rest in modern notation, and a breve rest by a symbol looking like a whole rest.

[[File:NewGermanTab4.png|frameless]]

=== Handwriting Table ===
{| class="wikitable"
|+ Overview of letters in various hands
|-
! !! C !! CIS !! D !! DIS !! E !! F !! FIS !! G !! GIS !! A !! B !! H
|-
| [[D-B Ms. Lynar B 3]] || || || || || || [[File:Lynarb3 ff.png|frameless|none]] || [[File:Lynarb3 fisfis.png|frameless|none]] || [[File:Lynarb3 gg.png|frameless|none]] || || [[File:Lynarb3 aa.png|frameless|none]] || [[File:Lynarb3 bb.png|frameless|none]] || [[File:Lynarb3 hh.png|frameless|none]]
|-
! !! c !! cis !! d !! dis !! e !! f !! fis !! g !! gis !! a !! b !! h
|-
| [[D-B Ms. Lynar B 3]] || [[File:Lynarb3 c.png|frameless|none]] || [[File:Lynarb3 cis.png|frameless|none]] || [[File:Lynarb3 d.png|frameless|none]] || [[File:Lynarb3 dis.png|frameless|none]] || [[File:Lynarb3 e.png|frameless|none]] || [[File:Lynarb3 f.png|frameless|none]] || [[File:Lynarb3 fis.png|frameless|none]] || [[File:Lynarb3 g.png|frameless|none]] || [[File:Lynarb3 gis.png|frameless|none]] || [[File:Lynarb3 a.png|frameless|none]] || [[File:Lynarb3 b.png|frameless|none]] || [[File:Lynarb3 h.png|frameless|none]]
|}

== Notes ==
Sometimes, the scribe uses a shorthand to show rhythmic values, writing a number instead of the cross of horizontal and vertical lines. In this case, the number means the number of horizontal lines (meaning the rhythmic value), and the number of notes must be determined by surrounding context.

[[File:NewGermanTab5.png|frameless]]

In [[D-LEm Becker II.6.19]], the octave cutoff is h, but bass H is written as H instead of h (that letter does not exist in this writing).

== References ==
[[Willi Apel]]. ''The Notation of Polyphonic Music.'' Fifth Edition. Cambridge, MA: The Mediaeval Academy of America, 1953. Reprinted 1961. 21-37.

[[Jeffery T. Kite-Powell]]. ''The Visby (Petri) Organ Tablature: Investigation and Critical Edition.'' Volume 1. Wilhelmshaven: Heinrichshofen. p.37-41.

[[Category:Theory|Tablature, New German]]

Johann Praetorius

2024-05-17T21:22:58Z

Irahs: fix

'''Johann Praetorius''' (1595-1660) was an organist and composer.

{{Stub}}

No organ compositions by Johann Praetorius survive. However, he has been at the center of a decades-long controversy surrounding the attribution of some pieces (some anonymous, some with initials such as ''J. P.''), mainly by [[Klaus Beckmann]].

== Life ==
<ref name="nds2">{{NdS2 2009}}</ref>Johann Praetorius was born on November 25, 1595, the son of [[Hieronymus Praetorius|Hieronymus]] and Anna Praetorius. He initially studied with his father, and he became so talented that he studied with [Jan Pieterszoon Sweelinck]] starting in 1608 or 1609.

He returned to Hamburg in 1612 and became the organist at St. Nikolai, a position he held until his death on July 25, 1660.

== Compositions ==
Johann Praetorius is known to have composed and published several wedding cantatas from 1615-1635.<ref name="nds2"></ref>

No organ music securely attributed to him has survived.

== Attributions ==
{{Help wanted|This section needs a lot of help, bringing in more arguments from more of the articles in the bibliography}}

Starting around 1990, a few pieces from the North-German Organ School have become associated with the Hamburg organist. This resulted in a debate between [[Klaus Beckmann]] and other related musicologists, and the pieces were mainly either anonymous or attributed to [[Jan Pieterszoon Sweelinck]] found in [[D-B Ms. Lynar A 1]], [[D-B Ms. Lynar B 2|B 2]], and other similar manuscripts.

=== Klaus Beckmann ===
When the [[Zellerfeld Organ Tablatures]] were discovered by [[Gustav Fock]], the name ''Johan. P.'' was connected with Sweelinck. However, Beckmann noted that it was likely derived from a different (perhaps Hamburg-ish) name.

The provenance of the manuscript has been a topic of debate, opinions have varied. [[Werner Breig]] stated it may have been a student of [[Delphin Strunck]], [[Pieter Dirksen]], first that it was written in Hamburg by a Sweelinck student and later that it was written by [[Hieronymus Jordan]] (a Strunck student), and [[Ibo Ortgies]], by [[Matthias Weckmann]].

With the proposed years that the manuscript was written and the birth years of the other composers that are included in mind (Heinrich Schütz, Jakob Praetorius, Heinrich Scheidemann), it seems more likely that a piece by Johann Praetorius would be included than one by Sweelinck.

However, Beckmann states that before the question of the provenance of this manuscript can be conclusively identified, the stylistic analysis is more important. On this topic, Beckmann pointed to evidence that this piece was more likely to be composed by a Sweelinck student, such as repeating cadential figures (the possibility of the composer being a Sweelinck-student, was also mentioned by Dirksen and Vogel in the introduction to their Sweelinck Edition).

Moving on to the pieces found in [[D-B Ms. Lynar B 2]], Beckmann pointed out three pieces labeled "auf 2 Clavieren" (one of which is labeled J.P.). Here, it was found that the ''Cantus firmus'' was actually based on a German setting in the Lobwasser psalter. Another German characteristic of these pieces are their titles, and the label "auf 2 Clavieren" is a characteristic of a North-German composer, not of the Dutch composer Sweelinck.

Perhaps the most controversial part of the Johann Praetorius argument is the the question of the composer ''Johann Peters'' in [[D-B Ms. Lynar A 1]]. This manuscript is written in Dutch-style 6- and 7-line staffs. However, it has been theorized that it was written by the German organist and Sweelinck-student [[Andreas Düben]] Jr. With this in mind, Beckmann said that it would be unlikely for a direct student of the composer to badly misspell his name (Jan Pieterszoon Sweelinck -> Johann Peters?).

=== Pieter Dirksen ===
On the topic of [[D-B Ms. Lynar A 1]], Dirksen and [[Harald Vogel]] wrote in the introduction of the Breitkopf & Härtel edition of the complete keyboard works by Sweelinck:

<blockquote>On the other hand, it is also impossible to ascribe to another composer works from Sweelinck's substantiated output through a listing of correspondences with compositions from the Sweelinck School. Klaus Beckmann undertook this endeavor, and in two editions he attributed well-known Sweelinck works to the Hamburg organist Johann (Johannes) Praetorius, who had studied in Amsterdam, just as his brother Jacob Praetorius. Unfortunately, he misjuddged the provenance of the main source LyA1, which invalidates one of the major grounds for his argumentation. This source has no transmission link to Hamburg.<ref>[[Herald Vogel]] and [[Pieter Dirksen]]. ''Jan Pieterszoon Sweelinck: Sämtliche Werke für Tanteninstrumente.'' Vol. 3: Choral- und Psalmvariationen. Wiesbaden: Edition Breitkopf. 2004. p.19.</ref></blockquote>

They continued: "Without sufficient research into their respective provenance, the various forms of the name in the sources do not justify changing the attribution from the teacher to a pupil who has yet to emerge with an independent profile."

== Works ==
In 2004, Klaus Beckmann published the 7th volume of the [[Meister der Norddeutschen Orgelschule]] series, of the organ works attributed to Johann Praetorius, containing the following works.

{| class="wikitable"
|+ Works attributed to Johann Praetorius
|-
! Source !! Title !! Incipit !! Notes !! Ref.
|-
| [[Zellerfeld Organ Tablatures]] I p.133-138 || Allein zu / dir Herr / Jesu Christ / Johan. P. / Manual: || || ||
|-
| [[D-B Ms. Lynar A 1]] p.201-204 [[I-Tn Collezione Foa, Ms. 8]] f.133v-137r [[A-Wm Ms. VIX/714]] f.223v-224r || [A 1:] Christe quj lux / es et dies / Johann Peters. || || ||
|-
| [[D-B Ms. Lynar A 1]] p.133-139 [[D-B Mus.ms. 40316]] f.26v-28r || [A 1:] Da pacem Domine / in dieb nostris. / Joann. Pieters. || || ||
|-
| [[D-B Ms. Lynar A 1]] p.117-120 [[Zellerfeld Organ Tablatures]] II p.36-37 [[Zellerfeld Organ Tablatures]] II p.38-41 [[I-Tn Collezione Giordano, Ms. 5]] f.130v-136r || [A 1:] Erbarm dich mein / o Herre Gott. / Joann Pieters. || || ||
|-
| [[I-Tn Collezione Giordano, Ms. 5]] f.125v-131r || Versus / J. P. S. || || ''Es sind doch selig alle'' ||
|-
| [[D-B Ms. Lynar B 2]] f.23v-25r [[Eckelt Tablature]] f.45v-46r [[Zellerfeld Organ Tablatuers]] I p.236-239 [[Zellerfeld Organ Tablatures]] II p.54-57 || [B 2:] Es spricht der / unweisen Mundt / woll || || ||
|-
| [[Zellerfeld Organ Tablatures]] I p.20-25/179-184 || Herr Christ / d einige Got= / tessohn || || ||
|-
| [[D-B Ms. Lynar A 1]] p.205-210 [[H-Bmnm Bartfai gyüjtemeny Ms. 27]] f.25v-27r || [A 1:] Ich ruff zu dir / Herr Jesu Christ / Johann Peters. || || ||
|-
| [[Zellerfeld Organ Tablatures]] I p.14-17 || Jesuß Christus / unser Heiland || || ||
|-
| [[D-B Ms. Lynar A 1]] p.120-123 [[A-Wm Ms. XIV-714]] f.223v-224r || [A 1:] Nu freut euch lieben / Christen gemein, / Joann: Pieters. || || ||
|-
| [[D-B Ms. Lynar A 1]] p.211-213 || Puer nobis / nascitur / Johann Peters. || || ||
|-
| [[H-Bmnm Bartfai gyüjtemeny Ms. 27]] f.15r-16r [[Zellerfeld Organ Tablatures]] II p.58-61 || [H-Bmnm:] Cantic: Sacr: Vater unser im Himmelreich / Joan Pet. Sch: Amb. Org. || || ||
|-
| [[Zellerfeld Organ Tablatures]] I p.149-152 [[D-Lr Mus.ant.pract. K.N. 208/2]] f.47v-48r || [Ze:] Vom himmel / hoch da kim / ich her. p. || || ||
|-
| [[D-B Ms. Lynar A 1]] p.140-149 [[I-Tn Collezione Giordano, Ms. 5]] f.135v-140r ||[A 1:] Wir glauben all / an einen Gott. / Joann Pieters. || || ||
|-
| [[D-B Ms. Lynar B 2]] f.19v-21r || P 23 / Main hütter vnndt / mein hirtt / auf 2 Clauiren || || ||
|-
| [[D-B Ms. Lynar B 2]] f.15v-17r || Psalm ii6 / J. P. || || ||
|-
| [[D-B Ms. Lynar A 1]] p.166-172 || Mein Junges Leben / hat ein Endt, / Johann. Pieters. || || ||
|-
| [[D-B Ms. Lynar B 2]] f.18v-19r || O Gott du / unser Vater / bist / Auff 2 Clauiren || || ||
|}

== Chronological Bibliography ==
[[Klaus Beckmann]]. "Echtheitsprobleme im Repertoire des hanseatischen Orgelbarocks". In [[Ars Organi]] 37, 1989. p.150-162.

[[Klaus Beckmann]]. "Der Fall 'Johan. P.'. Die Rehabilitierung des Hamburger Nicolai-Organisten Johann Praetorius (d. 1660) und ihre Folgen für das Orgeloeuvre Jan Pieterszoon Sweelincks". In [[Der Kirchenmusiker]] 41 (1990). p.16-22.

[[Klaus Beckmann]]. "Der Fall 'Johan. P' (II). Die Rehabilitierung des Hamburger Nicolai-Organisten Johann Praetorius (d. 1660) und ihre Folgen für das Orgeloeuvre Heinrich Scheidemanns." in ''Der Kirchenmusiker'' 41 (1990) p.215-222.

[[Pieter Dirksen]]. "Sweelinck versus Praetorius." in [[Het Orgel]] 86 (1990) p.279-286.

[[Klaus Beckmann]]. "Der Fall 'Johan. P' (III). Die Rehabilitierung des Hamburger Nicolai-Organisten Johann Praetorius (d. 1660) und ihre Folgen für das Orgeloeuvre Heinrich Scheidemanns." in ''Der Kirchenmusiker'' 42 (1991) p.51-58.

[[Klaus Beckmann]]. "Johannes redivivus Praetorius." in ''Der Kirchenmusiker'' 42 (1991) p.95-101.

[[Pieter Dirksen]]. "Nogmals: De zaak Johannes Praetorius." in ''Het Orgel'' 87 (1991) p.41-50.

[[Barbara Stirn]]. "Die Orgeltabulaturen der Calvörschen Bibliothek zu Clausthal-Zellerfeld..." Hausarbeit zur Erlangung des Magistergrades (M.A.) Göttingen 1991.

[[Klaus Beckmann]] ''Johann Praetorius: Sämtliche Orgelwerke.'' [[Meister der Norddeutschen Orgelschule]] 7. Mainz: Schott, 2004.

[[Ibo Ortgies]]. "Zur Diskussion um die Zellerfelder Orgeltabulatur in Concerto Nr.207/208." in ''Concerto'' 209. Köln: Concerto 2006. p.22-24.

[[Pieter Dirksen]]. "Der Entstehungshintergrund der Zellerfelder Orgeltabulaturen. Neue Erkenntnisse." in ''Concerto'' 207. Köln: Concerto 2006. p.23-27

[[Herald Vogel]] and [[Pieter Dirksen]]. ''Jan Pieterszoon Sweelinck: Sämtliche Werke für Tasteninstrumente.'' Wiesbaden: Breitkopf & Härtel, 2006.

{{NdS2 2009}} p.166-172.

[[Category:Organist|Praetorius, Johann]][[Category:Composer|Praetorius, Johann]][[Category:German organist|Praetorius, Johann]][[Category:German composer|Praetorius, Johann]][[Category:Baroque organist|Praetorius, Johann]][[Category:Baroque composer|Praetorius, Johann]][[Category:German|Praetorius, Johann]][[Category:Baroque|Praetorius, Johann]]

Johann Christian Schieferdecker

2023-07-30T19:12:21Z

Irahs: Test

'''Johann Christian Schieferdecker''' (1679-1732)

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

{{Stub}}

== Works ==
{| class="wikitable"
|-
|
|
|Meine Seele erhebet den Herren (1710)
|<score>{\time 4/4 \key g \major \relative c' { \autoBeamOff r8 e8 e[ e] g[ g] g fis16[ e] }}</score>
|}

== References ==
''See notes''

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

Johann Christian Schieferdecker

2023-07-30T19:08:40Z

Irahs: Test

'''Johann Christian Schieferdecker''' (1679-1732)

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

{{Stub}}

== Works ==
{| class="wikitable"
|-
|
|
|Meine Seele erhebet den Herren (1710)
|<score>{\time 4/4 \key g \major \relative c' { r8 e8 e e g g g fis16 e }}</score>
|}

== References ==
''See notes''

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

US-NH Ma21 Y11 A29 LM4704

2023-07-26T22:05:04Z

Irahs: Categories

US-NH '''Ma21 Y11 A29 LM4704''' is a manuscript which is held in the ''Lowell Mason collection'' at Yale University.

The manuscript appears to have been written by Johann Ernst Heinrich Reinen ([[Johann Christian Heinrich Rinck|Rinck]]?) and is dated 2 January, 1745. It was purchased by [[Lowell Mason]] in June 1852.

== References ==
This manuscript is described in ''A critical-bibliographical study of the Rinck collection'' by F. C. Hall.

[https://hdl.handle.net/10079/bibid/7116725 orbis.library.yale.edu], accessed 26 July, 2023.

{{RISM|104920}} (includes table of contents)

[[Category:Manuscripts]]
[[Category:Tablatures]]
[[Category:US manuscripts]]

Werner Breig

2023-07-26T22:04:35Z

Irahs: Categories

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

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

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

Rolf Löffler

2023-07-26T22:03:11Z

Irahs: Categories

[[File:Löffler-Rolf-600x801.jpg|thumb|right|Rolf Löffler]]
'''Rolf Löffler''' (1929-2021)

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

{{Stub}}

== WVlist Notes ==
<blockquote><nowiki>Composer, Organist at St. Trudpert, Münstertal. Organ works are from Beckmann, Klaus. Repertorium Orgelmusik (2001)</nowiki> -William Rehwinkel, Nov 19, 2022</blockquote>

== Works ==
{| class="wikitable"
|-
|Breitkopf
|6562
|Meditation über die Kreuzigung unseres Herrn (1968)
|incipit:<ref><nowiki>\relative g { \clef bass g2. r4 r4 a f2 }</nowiki></ref>
|-
|Breitkopf
|6688
|Choralsonate "Nun bitten wir den Heiligen Geist" (1971)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Breitkopf
|6997
|Gethsemane. Betrachtungen in 2 Sätzen (1974)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Coppenrath
|60044
|6 Orgelchoräle (1961): Lasst uns "Heilig, heilig!" singen
|incipit:<ref><nowiki></nowiki></ref>
|-
|Coppenrath
|60044
|6 Orgelchoräle: Jesus Christus, Gotteslamm
|incipit:<ref><nowiki></nowiki></ref>
|-
|Coppenrath
|60044
|6 Orgelchoräle: Gott sei gelobet und gebenedeiet
|incipit:<ref><nowiki></nowiki></ref>
|-
|Coppenrath
|60044
|6 Orgelchoräle: O Herz des Königs aller Welt
|incipit:<ref><nowiki></nowiki></ref>
|-
|Coppenrath
|60044
|6 Orgelchoräle: Tausendmal ich dich begrüße
|incipit:<ref><nowiki></nowiki></ref>
|-
|Coppenrath
|60044
|6 Orgelchoräle: Herz Jesu, Gottes Opferbrand
|incipit:<ref><nowiki></nowiki></ref>
|-
|Böhm
|12764-72
|Orgelmosaik: Introduktion
|incipit:<ref><nowiki></nowiki></ref>
|-
|Böhm
|12764-72
|Orgelmosaik: Contemplation
|incipit:<ref><nowiki></nowiki></ref>
|-
|Böhm
|12764-72
|Orgelmosaik: Meditation
|incipit:<ref><nowiki></nowiki></ref>
|-
|Böhm
|12764-72
|Orgelmosaik: Toccatina
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

[[Category:Persons|Löffler, Rolf]]
[[Category:Composers|Löffler, Rolf]]
[[Category:Organists|Löffler, Rolf]]
[[Category:WVlist pages|Löffler, Rolf]]

Rien Schalkwijk

2023-07-26T22:02:32Z

Irahs: Categories

[[File:Rien Schalkwijk.jpg|thumb|right|Rien Schalkwijk]]
'''Rien Schalkwijk''' is an organist and composer from the Netherlands.

He operates a youtube channel under the same name with [[Hauptwerk]] and some real-life organ content. Rien has composed around 15 compositions, all for the organ.

== Description ==
Rien describes himself as an "organist with a passion for forgotten and mostly unknown organ music"<ref>Youtube channel description, accessed 24 July, 2023.</ref>. Some examples of lesser-known areas of repertoire performed by Rien are the ''Cantabiles'' by [[Enciro Pasini]], and compositions by various composers such as [[Graham Twist]] and [[James Michael Stevens]].

In addition to recording youtube videos, Rien has produced a few albums of organ music that have been released on streaming services<ref>[https://music.apple.com/us/artist/rien-schalkwijk/938198360], accessed 24 July, 2023.</ref>.

Rien owns a Model 105 [[Mason & Hamlin]] reed organ from around 1880-1885<ref>[https://youtu.be/kFPh1d7I4A0 "Du Hirte Israel" | Dmitry Bortniansky (1751-1825) | By Rien], uploaded 4 May, 2023. www.youtube.com, accessed 24 July, 2023.</ref> and produces Youtube videos with performances on this instrument.

{{stub}}

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

[http://gatorworks.nl/ gatorworks.nl], accessed 25 July, 2023.

[[Category:Persons|Schalkwijk, Rien]]
[[Category:Organists|Schalkwijk, Rien]]
[[Category:Hauptwerk Youtubers|Schalkwijk, Rien]]

Richard McVeigh

2023-07-26T22:01:53Z

Irahs: Categories

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

{{stub}}

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

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

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

Category:Organ Bibliographies

2023-07-26T22:01:24Z

Irahs: New category

[[Category:Books]]

Pieter Dirksen

2023-07-26T22:01:09Z

Irahs: Categories

[[File:PieterDirksen.png|thumb|Pieter Dirksen]]
'''Pieter Dirksen''' (1961-) is a harpsichordist and musicologist. In addition to many recordings and live performances, he has published many books and scores about early music, including ''Heinrich Scheidemann's keyboard music : transmission, style and chronology''<ref>[https://obis.oberlin.edu/record=b2585282~S4], accessed 19 July, 2023.</ref> and a new edition of the choral fantasies by [[Heinrich Scheidemann]]<ref>[https://obis.oberlin.edu/record=b9275780~S4], accessed 19 July, 2023.</ref>''.''

== References ==
''[https://d-nb.info/gnd/128889810 Katalog der Deutschen Nationalbibliothek]''. Accessed 19 July, 2023.

[http://www.pieterdirksen.nl/index.htm www.pieterdirksen.nl], Accessed 19 July, 2023.

[[Category:Persons|Dirksen, Pieter]]
[[Category:Organists|Dirksen, Pieter]]
[[Category:Musicologists|Dirksen, Pieter]]
[[Category:Editors|Dirksen, Pieter]]

Paul Fey

2023-07-26T22:00:40Z

Irahs: Categories

[[File:Paul Fey.webp|thumb|right|Paul Fey]]
'''Paul Fey''' (1998-) is a German organist and composer. He operates a Youtube channel under the same name with [[Hauptwerk]] and real-life organ related content.

== Youtube ==
Paul produces a variety of types of videos on his Youtube channel, including performances of works by other composers.

He also records videos at many real-life organs, some notable examples are [[Marcussen Organs, Laurenskerk, Rotterdam]]<ref>[https://youtu.be/HJmyNLwMAYs www.youtube.com], accessed 25 July, 2023.</ref>, [[Wender organ, Bachkirche, Arnstatt]]<ref>[https://youtu.be/ZpNaouE6KZo www.youtube.com], accessed 25 July, 2023.</ref>, and [[Bosch organ, Santanyi, Mallorca]]<ref>[https://youtu.be/9BQJ4WVAfck www.youtube.com], accessed 25 July, 2023.</ref>. At these locations Fey records videos containing repertoire and also stop demonstrations.

Fey also records videos using the [[Hauptwerk]] digital software. One notable type of video that he records are his ''Tour of Stops'' videos similar to real-life stop demonstrations<ref>[https://youtu.be/Di2hMkMjVug?list=PLYF_1BRlz19MHvtLPwkFrkV3dAaeczaGu www.youtube.com], accessed 25 July, 2023.</ref>.

== Compositions ==

Since late 2020, Paul has written almost 150['''as of July, 2023''']<ref>[https://www.youtube.com/playlist?list=PLYF_1BRlz19Pg5qoCqRsrcsVw1SSTobjC www.youtube.com], accessed 25 July, 2023.</ref> compositions (a staggering rate of approximately one per week), all for the organ. These were initially published seperately online only. However, Paul also publishes compilations of his compositions which are available in print form.

== History ==
* Paul's first composition was published in December 2020<ref>[https://youtu.be/4QwvpzSBsPM www.youtube.com], accessed 25 July, 2023.</ref>.
* The first ''Collected Works'' print edition was published by Fey in September, 2022<ref>[https://youtu.be/Mdw-n2A3wPs www.youtube.com], accessed 25 July, 2023.</ref>.
* In Summer 2023, Paul Fey organized a U.S.A. tour, including concerts at venues including [[E. F. Walcker organ, Methuen Memorial Music Hall|Methuen Memorial Music Hal]] and [[Henry Erben organ, Old St. Patrick's Cathedral, New York|Old St. Patrick's Cathedral, New York]]<ref>[https://www.youtube.com/post/UgkxD6vauunX2f5xrM_S8V74rCbrJn7c0Vka www.youtube.com], accessed 25 July, 2023.</ref>.

{{Stub}}

== References ==
[https://www.youtube.com/@PaulFey/about www.youtube.com/@PaulFey], accessed 25 July, 2023.

[https://www.paulfeyorganist.com/en-en www.paulfeyorganist.com], accessed 25 July, 2023.

[[Category:Persons|Fey, Paul]]
[[Category:Composers|Fey, Paul]]
[[Category:Organists|Fey, Paul]]
[[Category:Hauptwerk Youtubers|Fey, Paul]]

Melchior Woltmann

2023-07-26T21:59:48Z

Irahs: Categories

'''Melchior Woltmann''' (1570-1642)

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

{{Stub}}

== Works ==
{| class="wikitable"
|-
|
|
|Von Gott will ich nicht lassen
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

[[Category:Persons|Woltmann, Melchior]]
[[Category:Composers|Woltmann, Melchior]]
[[Category:Baroque Composers|Woltmann, Melchior]]
[[Category:Organists|Woltmann, Melchior]]
[[Category:Baroque|Woltmann, Melchior]]
[[Category:Norddeutsche Orgelschule|Woltmann, Melchior]]
[[Category:WVlist pages|Woltmann, Melchior]]

Martin Radeck Jr.

2023-07-26T21:59:21Z

Irahs: Categories

'''Martin Radeck''' (1640-1684)

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

{{Stub}}

== Works ==
{| class="wikitable"
|-
|
|
|Canzona manualiter
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Fuga tertii toni
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Praeambulum
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Jesus Christus, unser Heiland, der von uns den Gotteszorn wandt – In ordinari contrapuncto
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Jesus Christus, unser Heiland, der von uns den Gotteszorn wandt – Contrapunctus duplex
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

[[Category:Persons|Radeck, Martin]]
[[Category:Composers|Radeck, Martin]]
[[Category:Baroque Composers|Radeck, Martin]]
[[Category:Organists|Radeck, Martin]]
[[Category:Baroque|Radeck, Martin]]
[[Category:Norddeutsche Orgelschule|Radeck, Martin]]
[[Category:WVlist pages|Radeck, Martin]]

Martin Düben

2023-07-26T21:58:53Z

Irahs: Categories

'''Martin Düben''' (1599-1649)

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

{{Stub}}

== Works ==
{| class="wikitable"
|-
|
|
|Præambulum Pedaliter
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Præambulum
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Allein Gott in der Höh sei Ehr
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Erstanden ist der Heilige Christ / Surrexit Christus hodie
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

[[Category:Persons|Düben, Martin]]
[[Category:Composers|Düben, Martin]]
[[Category:Baroque Composers|Düben, Martin]]
[[Category:Organists|Düben, Martin]]
[[Category:Baroque|Düben, Martin]]
[[Category:Norddeutsche Orgelschule|Düben, Martin]]
[[Category:WVlist pages|Düben, Martin]]

Léon Berben

2023-07-26T21:58:22Z

Irahs: Categories

[[File:Leon Berben by Lutz Voigtlaender 300dpi eci2.jpg|thumb|Léon Berben]]
'''Léon Berben''' (1970-) is a harpsichordist and organist. He has recorded many CDs of early organ music, including a new recording of the ''Tabulatuurboeck'' by [[Anthoni van Noordt]].

== References ==
http://leonberben.org/, accessed 19 July, 2023.

[https://d-nb.info/gnd/13534753X Katalog der Deutschen Nationalbibliothek]. accessed 19 July, 2023.

[[Category:Persons|Berben, Léon]]
[[Category:Organists|Berben, Léon]]

Kerala Snyder

2023-07-26T21:57:51Z

Irahs: Categories

[[File:Kerala-Johnson-Snyder-crop.jpg|thumb|Snyder]]
'''Kerala Johnson Snyder''' (1936-) is an organist and musicologist. She is currently Affiliate Faculty of Organ, Sacred Music, & Historical Keyboards and Professor Emerita of Musicology at Eastman School of Music, University of Rochester. She has written and edited many books about [[Dietrich Buxtehude]] and other topics surrounding early music, such as ''Dieterich Buxtehude: organist in Lübeck''<ref>[https://obis.oberlin.edu/record=b2602695~S4], accessed 19 July, 2023.</ref> and ''The Organ as a mirror of its time: north European reflections, 1610-2000''<ref>[https://obis.oberlin.edu/record=b2205543~S4], accessed 19 July, 2023</ref>.

== References ==
Snyder, Kerala J., ''Deutsche Biographie,'' [https://www.deutsche-biographie.de/pnd133197212.html], accessed 19 July, 2023.

"Kerala Johnson Snyder". [https://www.esm.rochester.edu/directory/snyder-kerala/], accessed 19 July, 2023.

[[Category:Persons|Snyder, Kerala]]
[[Category:Organists|Snyder, Kerala]]
[[Category:Musicologists|Snyder, Kerala]]
[[Category:Editors|Snyder, Kerala]]

Johann Steffens

2023-07-26T21:57:04Z

Irahs: Categories

'''Johann Steffens''' (1560-1616)

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

{{Stub}}

== WVlist Notes ==
<blockquote><nowiki>Organist at Johanniskirche, Lüneburg. Organ works are from Sämtliche Orgelwerke, ed. Klaus Beckmann, ED 9584</nowiki> -William Rehwinkel, May 12, 2022</blockquote>

== Works ==
{| class="wikitable"
|-
|Or.
|
|Ach Gott, Vom Himmel Sieh Darein
|incipit:<ref><nowiki>\time 2/1 \clef bass << \relative a { a1 bes2 a g d' d bes a1 } \\ \relative d { R\breve R\breve d1 } >></nowiki></ref>
|-
|Or.
|
|Jesus Christus, unser Heiland, der von uns den Gotteszorn Wandt
|incipit:<ref><nowiki>\time 4/2 << \relative d' { d1 a' a2 gis a1 } \\ \relative a { r1 r2 a2 d b cis4 b8 cis d2 } >></nowiki></ref>
|-
|Or.
|
|Veni Redemptor Gentium (Nun komm, der Heiden Heiland) 3 Versus
|incipit:<ref><nowiki>\clef bass \time 2/1 \key f \major << \relative g' { g\breve g\breve*3/4 } \\ \relative g { g2. a4 b2 c 2. <c a>4 <d b>2 } >></nowiki></ref>
|-
|Or.
|
|Fantasia [quarti toni]
|incipit:<ref><nowiki>\time 2/1 \relative e'' { e1 2 2 f2 e d c b1 }</nowiki></ref>
|}

== References ==
''See notes''

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

Johann Rudolph Radeck sen.

2023-07-26T21:56:35Z

Irahs: Categories

'''Johann Rudolph sen. Radeck''' (1610-1663)

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

{{Stub}}

== Works ==
{| class="wikitable"
|-
|
|
|Magnificat Dorii (Fragment)
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Magnificat Septimi Toni (Fragment)
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Herr Christ, der einig Gottes Sohn (Fragment)
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Zweistimmiges Tabulaturfragment (Fragment)
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

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

Johann Decker

2023-07-26T21:56:02Z

Irahs: Categories

'''Johann Decker''' (1598-1668)

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

{{Stub}}

== Works ==
{| class="wikitable"
|-
|
|
|Praeambulum ex E
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

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

Johann Christian Schieferdecker

2023-07-26T21:55:29Z

Irahs: Categories

'''Johann Christian Schieferdecker''' (1679-1732)

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

{{Stub}}

== Works ==
{| class="wikitable"
|-
|
|
|Meine Seele erhebet den Herren (1710)
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

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

Johann Bahr

2023-07-26T21:54:47Z

Irahs: Categories

[[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]].

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

{{Stub}}

== WVlist Notes ==
<blockquote><nowiki>Born in Schleswig-Holstein, then lived in Visby from 1630. Organist, composer. Only surviving works are from Visby Tablature and fragment from Källunge book (of which only the alto part survives). Pieces from Visby Tablature can be found in Kite-Powell, Jeffery T. "The Visby (Petri) Organ Tablature: Investigation and Critical Edition". Wilhelmshaven: Heinrichshofen's Verlag.</nowiki> -William Rehwinkel, Jan 26, 2023</blockquote>

== Works ==
''Note: works in italics are for the organ.''

{| class="wikitable"
|-
|V
|
|''Magnificat Octavi Toni a 4 voc.''
|incipit:<ref><nowiki>\relative d' { \clef alto d1 e <<{ d2 g2\laissezVibrer } \\ g,1 >> }</nowiki></ref>
|-
|V
|
|''O Lux Beata Trinitas''
|incipit:<ref><nowiki>\relative e' { \clef alto << { e1 d2 c b c } \\ { R1 r2 a g f4 e } >> }</nowiki></ref>
|-
|V
|
|Concert a 4 voce: So Ziehet Hin
|incipit:<ref><nowiki>\relative g { \clef bass g2 g8 fis g a bes2 a } \addlyrics { So zie -- _ _ het hin, so }</nowiki></ref>
|-
|V
|
|Concert a sola voce: Befiehle Dem Herren Deine Wege
|incipit:<ref><nowiki>{\relative a' { \partial 4 a4 e' cis d b a2 e'4 }} \addlyrics { Be -- fieh __ _ -- le dem Her -- rn }</nowiki></ref>
|-
|K
|
|Adore me in die (lost)
|
|-
|K
|
|Die nobis Maria (lost)
|
|}

== References ==
''See notes''

[[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]]

Jehan Titelouze

2023-07-26T21:53:41Z

Irahs: Categories

'''Jehan Titelouze''' (1562-1633)

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

{{Stub}}

== WVlist Notes ==
<blockquote><nowiki>Organist at St. Jean, Rouen. HDE=Hymnes de l'eglise, edited by A. Guilmant Mag=Le Magnificat ou cantique de la vierge</nowiki> -William Rehwinkel, May 12, 2022</blockquote>

== Works ==
{| class="wikitable"
|-
|HDE
|1
|Ad Coenam (4 Verset)
|incipit:<ref><nowiki>\clef bass << \relative d' { r4 d4~8 d8 f4~8 f d e f4.*2/3 } \\ \relative d { d1 d1*6/8 } \\ \\ \relative a { r2 a4. 8 bes4. a8 f4 } >></nowiki></ref>
|-
|HDE
|2
|Veni Creator (4)
|incipit:<ref><nowiki>\clef alto << \relative d' { d4 e2 d4 c d e d8 c d4 } \\ \relative g { g1 a g1*1/4 } >></nowiki></ref>
|-
|HDE
|3
|Pange Lingua (3)
|incipit:<ref><nowiki>\clef alto << \relative e'' { r2 e2~4 d c b8 a g4*1/2 } \\ \relative e { R1 e1 e1*1/8 } \\ \\ \relative e' { e2. d4 c4 b8 a g4 a b8 } >></nowiki></ref>
|-
|HDE
|4
|Ut Queant Laxis (3)
|incipit:<ref><nowiki>\clef bass << \relative d' { d2 c d4 e f e8 d e4.*2/3 } \\ \relative d { R1 d1 c1*1/4 } \\ \\ \relative a { r2 a f a4 b c4 } >></nowiki></ref>
|-
|HDE
|5
|Ave Maris Stella (4)
|incipit:<ref><nowiki>\clef alto << \relative a' { R1 r4 a2 b4 cis4 } \\ \relative d { d1 a' a1*1/4 } \\ \relative d' { d4 e fis g~g f! e2 a2*1/2 } \\ \relative a { a2. b4 cis d c d e } >></nowiki></ref>
|-
|HDE
|6
|Conditor alme Siderum (3)
|incipit:<ref><nowiki>\time 3/1 << \relative b' { r1 b\breve a1 g\breve } \\ \relative e' { e\breve d1 c\breve e1 } >></nowiki></ref>
|-
|HDE
|7
|A Solis Ortus (3)
|incipit:<ref><nowiki>\ottava #1 \clef bass << \relative d' { d2. e8 f g4 f e2 a4 } \\ \relative d { d1 e f1*1/4 } \\ \\ \relative a { a4 b8 c d4 c b2 c4 c~c } >></nowiki></ref>
|-
|HDE
|8
|Exsultet Coelum (3)
|incipit:<ref><nowiki>\ottava #-1 \key f \major \time 3/1 << \relative f' { f1 g a bes1*1/2 } \\ \relative f { r\breve f1 g1*1/2 } \\ \relative c' { r1 c1. d2~2 } >></nowiki></ref>
|-
|HDE
|9
|Annue Christe (2 + Amen)
|incipit:<ref><nowiki>\clef alto << \relative c'' { R1 c2. bes8 a g4 } \\ \relative f { f1 f e1*1/4 } \\ \\ \relative f' { f2. e8 d c4 bes a2 c2*1/2 } >></nowiki></ref>
|-
|HDE
|10
|Sanctorum Meritis (3)
|incipit:<ref><nowiki><< \relative a' { s1 a4 d2 f4 e4*1/2 } \\ \relative d { d1~1 a'1*1/8 } \\ \relative d' { d4 a'2 g4 a4 r8 e8 f g a b c } \\ \relative a { r2 a4 d4~d f d2 c4.*1/3 } >></nowiki></ref>
|-
|HDE
|11
|Iste Confessor (3)
|incipit:<ref><nowiki><< \relative e'' { r2 e8 d e d16 c b4.*2/3 } \\ \relative a { a1 g1*1/4 } \\ \\ \relative a' { a8 g a g16 f e4. fis8 g4 } >></nowiki></ref>
|-
|HDE
|12
|Urbs Jerusalem (3)
|incipit:<ref><nowiki><< \relative a'' { s1 a4 a } \\ \relative a { a1 a1*1/2 } \\ \relative e'' { r2 e4 e~e d } \\ \relative a' { a4 a2 g4 f2 } >></nowiki></ref>
|-
|Mag
|1
|Primi Toni
|incipit:<ref><nowiki>\time 2/1 \clef alto << \relative f' { r1 f1~f\breve*1/8 } \\ \relative d { r\breve d2.*1/3 } \\ \relative d' { d2. c4 bes a bes a2.*1/3 } \\ \relative d { r1 d2. e4 f } >></nowiki></ref>
|-
|Mag
|2
|Secundi Toni
|incipit:<ref><nowiki>\clef alto \key f \major \time 2/1 << \relative f' { r1 f1~\breve*1/8 } \\ \relative f { r\breve f2.*1/3 } \\ \relative bes { bes2. c4 d4 a bes2 c4 } >></nowiki></ref>
|-
|Mag
|3
|Tertii Toni
|incipit:<ref><nowiki>\clef bass \relative g { g2. a4 b2 c\laissezVibrer }</nowiki></ref>
|-
|Mag
|4
|Quarti Toni
|incipit:<ref><nowiki>\time 2/1 \clef alto << \relative a' { a\breve~\breve*1/2 } \\ \relative a { a1. g2 f1.*2/3 } \\ \relative e' { e2 d c1~2 f4 e } >></nowiki></ref>
|-
|Mag
|5
|Quinti Toni
|incipit:<ref><nowiki>\time 2/1 << \relative f' { r1 r2 f2 a2. b4 c2 } \\ \relative c' { c1 d2. e4 f2 d c2.*2/3 } >></nowiki></ref>
|-
|Mag
|6
|Sexti Toni
|incipit:<ref><nowiki>\key f \major \clef bass \time 2/1 << \relative c' { r1 c2. d4 e2 d4 c g' } \\ \relative f, { f2. g4 a2 g4 f c'2 b4 a b2*1/2 } \\ \relative f { f\breve g\breve*5/8 } >></nowiki></ref>
|-
|Mag
|7
|Septimi Toni
|incipit:<ref><nowiki>\time 2/1 \clef alto << \relative a' { s\breve r2 a2 a2*1/2 } \\ \relative d {r1 d1 a'2. g4 f4 } \\ \relative d' { r1 d2. d4 e2 f4 e d } \\ \relative a { a1 a2 b c1 a2*1/2 } >></nowiki></ref>
|-
|Mag
|8
|Octavi Toni
|incipit:<ref><nowiki>\ottava #-1 << \relative g' { R1 g1~g1*3/4 } \\ \relative c { R1 r2 c2 e2. } \\ \relative g { g2 c2~4 d e2~e b2*1/2 } >></nowiki></ref>
|}

== References ==
''See notes''

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

Jehan Alain

2023-07-26T21:52:42Z

Irahs: Categories

'''Jehan Alain''' (1911-1940)

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

{{Stub}}

== WVlist Notes ==
<blockquote><nowiki>War Hero. The JA catalogue (including the order and contents of the incipits) is Alain's own catalogue, a facsimile of which is included in, among other publications, AL 29 253, Marie-Claire Alain, "Notes critiques sur l'oeuvre d'orgue de Jehan Alain". Paris: Alphonse Leduc, 2001. Note that this page reproduces Alain's mistake of skipping from number 102 to 113, which was due the tens digit 0 being mistaken for a 1. AWV is another catalogue of Alain's works. Transcribed spelling corrections are welcome.</nowiki> -William Rehwinkel, Feb 22, 2022</blockquote>

<blockquote><nowiki>JA Catalogue is ordered according to Alain's hand-written JA list of works.</nowiki> -William Rehwinkel, May 10, 2022</blockquote>

<blockquote><nowiki>Alain works catalogued >JA128 are according to website run by Marie-Claire Alain (website is now down) accessed via https://web.archive.org/web/20160213224757/http://www.jehanalain.com/works.jsp?lang=en</nowiki> -William Rehwinkel, Jul 26, 2022</blockquote>

<blockquote><nowiki></nowiki> -Anonymous, Jul 26, 2022</blockquote>

== Works ==
{| class="wikitable"
|-
|JA
|1
|Quarante variations
|incipit:<ref><nowiki>\time 2/4 \relative c'' { c16 d f8 c16 bes c8 g16 aes c8 g16 f g8 }</nowiki></ref>
|-
|JA
|2
|Theme et cinq variations
|incipit:<ref><nowiki>\time 5/8 \relative ees' { <eis b' dis>8 <e gis b>4 <ees g> <f a des>8 <e gis>4 <dis b> }</nowiki></ref>
|-
|JA
|3
|Etude sur un theme de 4 notes
|incipit:<ref><nowiki>\key g \major \time 6/8 << \relative fis' { fis4. e d } \\ \relative fis' { fis16 d eis cis d b_\markup{ \bracket { "etc." } } } >></nowiki></ref>
|-
|JA
|4
|Ecce ancilla Domini
|incipit:<ref><nowiki>\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 } >></nowiki></ref>
|-
|JA
|5
|Seigneur, donne-nous la paix éternelle
|incipit:<ref><nowiki>\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 } >></nowiki></ref>
|-
|JA
|6
|Versel
|incipit:<ref><nowiki>\time 3/4 \clef bass \key d \major \partial 2 \relative cis { cis4 e fis dis fis gis e }</nowiki></ref>
|-
|JA
|7
|Berceuse. Transcrip Piano
|incipit:<ref><nowiki><< \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 } >></nowiki></ref>
|-
|JA
|8
|Chanson triste
|incipit:<ref><nowiki>\time 9/8 \key ees \major \relative g' { g4 8~4. fis4. ees4 8 c2. }</nowiki></ref>
|-
|JA
|9
|Petite Ballade
|incipit:<ref><nowiki>\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 } >></nowiki></ref>
|-
|JA
|10
|Etude sur des doubles notes
|incipit:<ref><nowiki>\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> } >></nowiki></ref>
|-
|JA
|11
|Lumiere qui tombe d'un vasistas
|incipit:<ref><nowiki>\time 13/32 \relative des' { des32[ aes' bes c ees des f, aes' c, ees des f, c'] a,! e'! }</nowiki></ref>
|-
|JA
|12
|Petite Rhapsodie
|incipit:<ref><nowiki>\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}</nowiki></ref>
|-
|JA
|13
|Heurenrement la bonne fee sa marraine
|incipit:<ref><nowiki><< \relative bes' { \tuplet 3/2 { bes4 4 4 } c4 c <ees aes,>2 } \\ \relative des' { <des ees f>2 <c d e g> } >></nowiki></ref>
|-
|JA
|14
|Lamento
|incipit:<ref><nowiki>\time 4/2 \key fis \minor \relative cis'' { cis4 bis e2 cis4 bis a2 cis4 }</nowiki></ref>
|-
|JA
|76bis
|Berceuse pour orgue
|incipit:<ref><nowiki>\relative d'' { d4 a8\noBeam a\noBeam c4 a bes a8\noBeam a\noBeam }</nowiki></ref>
|-
|JA
|15
|Histoire sur des tapis
|incipit:<ref><nowiki>\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 }</nowiki></ref>
|-
|JA
|16
|Melodie Sandwich
|incipit:<ref><nowiki>\key ges \major \partial 2 \relative bes' { bes4 ces des ces bes ges aes }</nowiki></ref>
|-
|JA
|17
|Des nuages gris a 7 voix
|incipit:<ref><nowiki>\relative dis'' { \time 1/4 dis4 \time 2/4 cis4~8 ais gis16 ais fis8 dis4\laissezVibrer }</nowiki></ref>
|-
|JA
|18
|Canons a sept
|incipit:<ref><nowiki>\clef bass \key b \major \time 8/4 \relative fis, { fis4 cis' gis fis e dis e }</nowiki></ref>
|-
|JA
|19
|Nocturne
|incipit:<ref><nowiki>\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 } >></nowiki></ref>
|-
|JA
|20
|Pour le defrichage
|incipit:<ref><nowiki>\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 }</nowiki></ref>
|-
|JA
|21
|Togo
|incipit:<ref><nowiki>\time 8/4 \relative b { r8. b16 e8. b16 fis'8. d16 a8. d16 b8. fis16 \tuplet 3/2 { a8 d gis } }</nowiki></ref>
|-
|JA
|22
|En devissant
|incipit:<ref><nowiki>\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 } >></nowiki></ref>
|-
|JA
|23
|26 September 31
|incipit:<ref><nowiki>\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,>} >></nowiki></ref>
|-
|JA
|24
|Ballade a Fr. Villon
|incipit:<ref><nowiki>\time 8/4 \relative d'' { d8^-[ f f^- a a^- b b^- f d a' f^- b a^- f b b^-] des,[^- f f^-] }</nowiki></ref>
|-
|JA
|25
|Chorale et variations (a ~Doudon~)
|incipit:<ref><nowiki>\key cis \minor \time 9/4 \relative cis' { cis4 gis'2 \breathe gis4 a b2 a4 }</nowiki></ref>
|-
|JA
|26
|Variations chorales sur sacris solemnis
|incipit:<ref><nowiki>\clef soprano \key d \minor \time 9/4 \relative d' { d4 a' bes a2 a4 b c }</nowiki></ref>
|-
|JA
|27
|Variations pour orgue sur Lucis Creator
|incipit:<ref><nowiki>\time 16/4 \relative g' { g4 a c c c8 b a g c4 d b8 a }</nowiki></ref>
|-
|JA
|28
|Fugue du mode de fa
|incipit:<ref><nowiki>\clef bass \time 3/4 \relative f { f8 g f2 f8 g f2 f8 g }</nowiki></ref>
|-
|JA
|29
|Postlude pour l'office de complies
|incipit:<ref><nowiki>\time 13/8 \relative f'' { f8[ f g f ees f g g f ees f f^-] g[ bes] }</nowiki></ref>
|-
|JA
|30
|un cercle d'argent
|incipit:<ref><nowiki>\time 11/8 \relative e'' { <e c'>8 <ees aes>[ <e c'>] <ees aes>[ <d bes'>] <cis e>[ ] e,,[ <f' a>] }</nowiki></ref>
|-
|JA
|31
|Romance
|incipit:<ref><nowiki>\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'] }>></nowiki></ref>
|-
|JA
|32
|Grave
|incipit:<ref><nowiki>\clef bass \key cis \minor \relative fis, { fis2 cis4 e a2 g\laissezVibrer }</nowiki></ref>
|-
|JA
|33
|Petite prelude variations et choral pour orgue (written in pencil: Petite piece pour orgue)
|incipit:<ref><nowiki>\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 }</nowiki></ref>
|-
|JA
|34
|Cantique en mode phrygien
|incipit:<ref><nowiki>\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 } >></nowiki></ref>
|-
|JA
|35
|O quam suavis (motet) pour baryton
|incipit:<ref><nowiki>\autoBeamOff \key a \major \relative e' { R1 r2 e4 fis8 gis a[ b] } \addlyrics { O quam su -- a __}</nowiki></ref>
|-
|JA
|36
|Mme Husson
|incipit:<ref><nowiki>\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>) }</nowiki></ref>
|-
|JA
|37
|Chant donne
|incipit:<ref><nowiki>\key e \minor \time 3/4 \relative b' { b2 a4 b2 a4 b2 }</nowiki></ref>
|-
|JA
|38
|Complainte a la mode ancienne (pour [illegible])
|incipit:<ref><nowiki>\time 4/2 \partial 2 \relative d' { d2 f g a f bes1 a2 }</nowiki></ref>
|-
|JA
|39
|Chanson a Gouche fermee
|incipit:<ref><nowiki>\partial 2 \relative g' { g4 a g bes g2~g8 a g a }</nowiki></ref>
|-
|JA
|40
|Une scie!
|incipit:<ref><nowiki>\key des \major \time 5/4 \relative bes' { bes4^- 4^- 4^- bes8^- aes4. c8^- bes2^- }</nowiki></ref>
|-
|JA
|41
|Il pleuvra toute la journie
|incipit:<ref><nowiki>\partial 4 \key g \major \relative cis' { cis16 d cis bis cis e a fis g bes ees c cis[ e!] }</nowiki></ref>
|-
|JA
|42
|sur le mode re me fa sol-flat la-flat, si-flat-flat, do
|incipit:<ref><nowiki>\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 }</nowiki></ref>
|-
|JA
|43
|Adagio pour Cello et Piano
|incipit:<ref><nowiki>\key aes \major \time 12/16 \clef bass \relative c { c8.~[ 16 b d] g8 f16 aes8 b16 e4~ }</nowiki></ref>
|-
|JA
|44
|Amen
|incipit:<ref><nowiki>\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 } >></nowiki></ref>
|-
|JA
|45
|un tres vieux motif
|incipit:<ref><nowiki>\time 3/4 \key bes \major \relative ees'' { ees2 d4 bes g a }</nowiki></ref>
|-
|JA
|46
|Postscriptum
|incipit:<ref><nowiki>\relative g' { r4 g bes a c2.\laissezVibrer } \addlyrics { "j'ai" ou -- bie __ }</nowiki></ref>
|-
|JA
|47
|Fantasie pour 3 voix mixtes a gouche fermie
|incipit:<ref><nowiki>\time 8/4 \relative c' { c4 g'2. aes4 bes c }</nowiki></ref>
|-
|JA
|48
|Theorie
|incipit:<ref><nowiki>\relative b { \key d \major \time 3/4 b8 a b4 cis \time 5/4 d8 cis d4 e fis }</nowiki></ref>
|-
|JA
|49
|Le gai liseron
|incipit:<ref><nowiki>\time 3/4 << \relative f'' { f4 d4. c8 b d bes4 } \\ \relative fis' { r4 r4 fis g d } >></nowiki></ref>
|-
|JA
|50
|Sonata
|incipit:<ref><nowiki>\time 4/2 \key d \major << \relative b' { b1 b2 cis d } \\ \relative fis' { fis4 e fis g d g e a b a } >></nowiki></ref>
|-
|JA
|51
|Mephisto
|incipit:<ref><nowiki>\key ees \major \clef bass \time 3/4 \relative g, { g8[ d'] bes'8[ 8] 8[ 8] aes8[ d,] d }</nowiki></ref>
|-
|JA
|52
|La peste
|incipit:<ref><nowiki>\clef bass \key fes \major \time 2/4 \voiceOne \partial 8 aes8 \repeat unfold 3 { <ges des'>8[ <fes ces'>] }</nowiki></ref>
|-
|JA
|53
|Exposition
|incipit:<ref><nowiki>\clef tenor \relative e' { e4 e e a, f'2. e4 d }</nowiki></ref>
|-
|JA
|54
|Sujet
|incipit:<ref><nowiki>\clef tenor \key aes \major \time 3/4 \relative c' { c4 f, des' \time 4/4 c8 bes c4 bes }</nowiki></ref>
|-
|JA
|55
|Comme quoi [les projets les plus belliqueux]
|incipit:<ref><nowiki><< \relative a' { r8 a\noBeam e' a, gis eis] gis[ eis] r8 a\noBeam e' a, } \\ \relative g' { g1 g2 } >></nowiki></ref>
|-
|JA
|56
|Le bon Roi Dagobert
|incipit:<ref><nowiki>\clef bass \key b \major \time 3/4 \relative dis' { dis4 2 cis4 2 }</nowiki></ref>
|-
|JA
|57
|Fugue pour orgue
|incipit:<ref><nowiki>\clef bass \time 1/4 \partial 16 \relative c, { c16 ees f fis a b8. bes16 }</nowiki></ref>
|-
|JA
|58
|Laisse les nuages (F. [Jammes?]) pour Soprano ou Tenor
|incipit:<ref><nowiki>\key des \major \time 2/4 \relative des'' { des4~ \tuplet 3/2 { des8 c bes } des8 c4 } \addlyrics { Lai -- sse les nua -- ges}</nowiki></ref>
|-
|JA
|59
|Histoire d'un hommes
|incipit:<ref><nowiki>\time 7/8 \relative b { r8 b fis'8.[ 16] 8 cis4\laissezVibrer }</nowiki></ref>
|-
|JA
|60
|C'est moi le marchand pous voix de composites
|incipit:<ref><nowiki>\partial 4 \clef bass \relative ges { ges8 8 4 4 4 4 } \addlyrics { c'est moi le mas -- chaud }</nowiki></ref>
|-
|JA
|61
|Canon pour piano et harmonium
|incipit:<ref><nowiki>\time 3/4 \relative a' { a2 bes4 a2 bes4 a2 g4 }</nowiki></ref>
|-
|JA
|62
|de Jules Lemaitre
|incipit:<ref><nowiki>\key ges \major \relative des' { des2. ces4 des2. ces4 }</nowiki></ref>
|-
|JA
|63
|Fantasmagorie pour orgue
|incipit:<ref><nowiki>\key fis \minor \relative gis'' { gis8 fis gis a b4 a8 gis fis eis }</nowiki></ref>
|-
|JA
|64
|"Wieder an" pour piano
|incipit:<ref><nowiki>\key f \major \relative f' { f4 e8 e d8. d16~16 c d bes }</nowiki></ref>
|-
|JA
|65
|"Und jetzt" pour piano
|incipit:<ref><nowiki>\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 } }</nowiki></ref>
|-
|JA
|66
|Intermezzo pour 2 pianos et basson
|incipit:<ref><nowiki>\key aes \major \time 12/8 \partial 4. \relative bes' { r8 bes8 c bes ees c des bes c bes c des }</nowiki></ref>
|-
|JA
|67
|Choral Dorien
|incipit:<ref><nowiki>\time 9/4 \relative g' { g4 a b b2. g }</nowiki></ref>
|-
|JA
|68
|Choral phrygien
|incipit:<ref><nowiki>\clef bass \time 4/2 \relative a { a2 d c a a b }</nowiki></ref>
|-
|JA
|69
|Variations pour orgue
|incipit:<ref><nowiki>\time 5/4 \key ees \major \relative d'' { d4 c ees d c bes4. c8 }</nowiki></ref>
|-
|JA
|70
|Scherzo pour orgue
|incipit:<ref><nowiki>\key gis \minor \time 2/4 \relative dis' { dis8 d cis bis b ais cis dis }</nowiki></ref>
|-
|JA
|71
|Le jardin suspendu pour orgue
|incipit:<ref><nowiki>R1 << \relative bis' { bes4 a } \\ \relative ees' { ees4 d } \\ {g'2} >> << \relative g' { g4. a8 } \\ \relative c' { <c e>2 } >></nowiki></ref>
|-
|JA
|72
|Fantaisie pour illutrer un quatrain d'omar [illegible] pour orgue
|incipit:<ref><nowiki>\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 }</nowiki></ref>
|-
|JA
|69bis
|Andante varie pour quintette a cordes
|incipit:<ref><nowiki>\time 5/4 \key ees \major \relative d'' { d4 c ees d c bes4. c8 }</nowiki></ref>
|-
|JA
|73
|Andante pour flute et piano
|incipit:<ref><nowiki>\time 3/4 \partial 2 \key e \major \relative gis'' { gis4 ais b gis fis gis2 }</nowiki></ref>
|-
|JA
|74
|Allegretto con grazia flute et piano
|incipit:<ref><nowiki>\time 6/8 \key e \major \partial 4. \relative gis' { gis8 8 8 8 fisis b gis g fis }</nowiki></ref>
|-
|JA
|66bis
|Intermezzo transail pour orgue
|incipit:<ref><nowiki>\key aes \major \time 12/8 \partial 4. \relative bes' { r8 bes8 c bes ees c des bes c bes c des r8 }</nowiki></ref>
|-
|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
|incipit:<ref><nowiki>\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 } >></nowiki></ref>
|-
|JA
|76
|Nocturne pour piano
|incipit:<ref><nowiki>\key aes \major \time 6/8 << \relative des'' { s2. des4.~4 eeses8 \bar "" } \\ \relative ees' { ees4.~ <ees f>4.~4.\laissezVibrer } >></nowiki></ref>
|-
|JA
|77
|Deux Danses a Agni Yavishta pour orgue [1/2]
|incipit:<ref><nowiki>\time 3/4 \relative b' { b8 d cis d e4 d8 cis d16( cis b8) b cis }</nowiki></ref>
|-
|JA
|78
|Deux Danses a Agni Yavishta pour orgue [2/2]
|incipit:<ref><nowiki>\time 3/4 \partial 2 \relative b { 8( <cis e>) <cis e>( <d f>) <cis e>16( <cis e>8 4) r4 }</nowiki></ref>
|-
|JA
|79
|Climat pour orgue
|incipit:<ref><nowiki>\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] } >></nowiki></ref>
|-
|JA
|80
|Monodie pour orgue (written in pencil: 1ere piece: animato / Suite monodique pour piano)
|incipit:<ref><nowiki>\partial 2 \relative g' { g8 c a d bes4 aes8 g f16 g aes8 f e }</nowiki></ref>
|-
|JA
|81
|Andante pour piano (written in pencil: illegible)
|incipit:<ref><nowiki>\key g \minor << \relative f' { f8( d8 d4 g2) f8\noBeam( d)} \\ \relative bes { bes4 c16 c bes8 c d~4 bes4 } >></nowiki></ref>
|-
|JA
|82
|Chorale majeur pour orgue
|incipit:<ref><nowiki>\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 } >></nowiki></ref>
|-
|JA
|81bis
|Largo assai ma moldo rubato: Cello
|incipit:<ref><nowiki>\clef tenor \key bes \major \relative f' { f8 d c16 c bes8 c d8~4 \clef bass f,8[ d] }</nowiki></ref>
|-
|JA
|83
|O salutasis de Dugay
|incipit:<ref><nowiki>\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 } >></nowiki></ref>
|-
|JA
|84
|Quand Marion
|incipit:<ref><nowiki>\key e \major << \relative e'' { e4 dis8 cis b4 b cis dis e b e dis8 cis } \\ \relative e' { e2 2 2 2 2 } >></nowiki></ref>
|-
|JA
|85
|Nous n'irons plus an bois
|incipit:<ref><nowiki>\key ees \major \relative ees' { \partial 4. ees8 g aes bes4 ees bes8 c bes aes }</nowiki></ref>
|-
|JA
|86
|Berceuse pour piano
|incipit:<ref><nowiki>\key fis \major \partial 4 \relative gis' { gis8 gis ais ais b b ais4 gis8 8 }</nowiki></ref>
|-
|JA
|87
|Prelude en ut maj. pour piano
|incipit:<ref><nowiki>\partial 4 \relative c' { s32 c32 d fis a c ees aes c4. c8 \grace bes16 c4. \tuplet 3/2 { bes16 c d } }</nowiki></ref>
|-
|JA
|88
|Chanson pour soprano [Rydyan Kaypling?]
|incipit:<ref><nowiki>\partial 2 \relative gis' { r4 r8 gis8 4~4 \tuplet 3/2 { gis8 8 8 } gis4 } \addlyrics { un soir chau -- re sou -- ris }</nowiki></ref>
|-
|JA
|89
|Monodie pour piano
|incipit:<ref><nowiki>\key g \major \time 8/4 \relative c'' { c2 e,4 fis2 c'}</nowiki></ref>
|-
|JA
|89bis
|Transcript pour orgue de la presidente
|incipit:<ref><nowiki>\time 9/4 \relative c'' { \key g \major r4 c r e, fis r c'2 }</nowiki></ref>
|-
|JA
|90
|Complainte du Jean Rinand (harm. 4 voix)
|incipit:<ref><nowiki>\time 6/8 \autoBeamOff \key fis \minor \partial 4. \relative fis' { fis8 8 8 cis'4 8 e[ d] cis }</nowiki></ref>
|-
|JA
|91
|Pour piano (Tarass Boulba)
|incipit:<ref><nowiki>\time 5/8 \partial 8 \relative e'' { e8 <dis bis> e, e' <dis bis> e, \time 6/8 <aes f>[ b,] }</nowiki></ref>
|-
|JA
|92
|Final sur une Sonatine facile pour piano
|incipit:<ref><nowiki>\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 }>></nowiki></ref>
|-
|JA
|93
|Barcarolle facile pour piano
|incipit:<ref><nowiki>\time 6/8 \key d \major \relative d'' { d4. d d8. e16 d8 cis d16 e d cis }</nowiki></ref>
|-
|JA
|94
|Invention a 3 voix pour flute hautbois et clarinette
|incipit:<ref><nowiki>\time 12/8 \key ees \major \relative f' { s8 f g aes d, f c aes' bes ces f, aes \bar "" }</nowiki></ref>
|-
|JA
|95
|Vocalia dorienne pour [illegible] et [il.]
|incipit:<ref><nowiki>\relative a' { a2 f' d c d1 \bar "" }</nowiki></ref>
|-
|JA
|96
|Fauxbordon pour le laudate du 6 ton a 3 voix egales
|incipit:<ref><nowiki>\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' } >></nowiki></ref>
|-
|JA
|97
|Un petit Jesus s'en ra a l'ecole facile pour piano
|incipit:<ref><nowiki>\key des \major \relative f'' { \partial 4 f8 8 4 ees des ees8 8 }</nowiki></ref>
|-
|JA
|98
|O salutaris [illegible] facile pour 2 voices egales a capella
|incipit:<ref><nowiki>\key a \major << { \relative b' { b1~4 a } \addlyrics { O -- sa } } \\ \relative e' { r2 e2 4 4 } >></nowiki></ref>
|-
|JA
|99
|Idee pous improvite
|incipit:<ref><nowiki>\time 5/4 << \relative g'' { <g d'>2. <fis cis'>4 <g d'> <gis e'>2 } \\ \relative b' { b2. 4 4 2 } >></nowiki></ref>
|-
|JA
|100
|Idee idem
|incipit:<ref><nowiki>\time 7/8 \relative gis' { <gis cis,>8 <fis d>4 <a cis,>8\noBeam <gis bis,> <fis d>4 }</nowiki></ref>
|-
|JA
|101
|Noel nouvelle harmonise a 3 voix (scribbled)
|incipit:<ref><nowiki>\key f \major << \relative g' { g4 d' e c d2 bes \bar "" } \\ \relative g' { g4 bes g a bes a g f } >></nowiki></ref>
|-
|JA
|102
|que j'aime ce divin Enfant pour 3 voix
|incipit:<ref><nowiki>\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 } >></nowiki></ref>
|-
|JA
|113
|Douvien vient qu'en cette nuitee a 2 voix egales
|incipit:<ref><nowiki>\key d \major \partial 2 << \relative a' { a4. g8 fis4 a g fis } \\ \relative d' { r4 r4 d4. cis8 b4 d } >> \bar ""</nowiki></ref>
|-
|JA
|114
|Noel pour Radicaux a 1 voix
|incipit:<ref><nowiki>\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 }</nowiki></ref>
|-
|JA
|115
|Transcript du Ricit de Nazard Clarambault [pour] flute et orgue
|incipit:<ref><nowiki>\time 12/8 \partial 1 \relative d'' { s8 d g a bes\noBeam a g^\trill fis\noBeam \grace fis8 g4 }</nowiki></ref>
|-
|JA
|116
|Vivace - 3a piece du la Suite pour piano
|incipit:<ref><nowiki>\time 10/4 \relative d' { r8 d[ ees ges] aes4\fermata d,8[ ees ges aes] b![ aes ges ees d] c4 }</nowiki></ref>
|-
|JA
|117
|2e Fantaisie pour orgue
|incipit:<ref><nowiki>\key g \major \time 6/8 << \relative fis'' { r4 r8 fis8 gis a b4. a4 gis8 } \\ \relative b' { b2.~4. a } >></nowiki></ref>
|-
|JA
|118
|Variations pour orgue sur theme du Clement Jannequin
|incipit:<ref><nowiki>\key g \minor \relative g' { g2 4 4 f2 g a4 f g a bes2 }</nowiki></ref>
|-
|JA
|119
|Litanies pour orgue
|incipit:<ref><nowiki>\key bes \minor \time 15/8 \relative ees' { ees8[ ees f] ges[ f ees des c] ees[ des f ees gis f] }</nowiki></ref>
|-
|JA
|120
|3 Dances pour orchestre
|incipit:<ref><nowiki>\time 18/6 \clef bass \key bes \major \relative bes, { bes4_> 8~_>4 g8 ces4_> 8 bes_> ces bes r8 g4_> aes8 }</nowiki></ref>
|-
|JA
|120bis
|Dance [illegible] une mimoire heroique
|incipit:<ref><nowiki>\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 "" }</nowiki></ref>
|-
|JA
|121
|Marche du St Nicolas pour Clairons tambour et orgue
|incipit:<ref><nowiki>\key bes \major \relative f' { \partial 4 f8. 16 bes2. f8. 16 bes2. f8. 16 \bar "" }</nowiki></ref>
|-
|JA
|122
|Tantum ergo pour 2 voix egales ([illegble])
|incipit:<ref><nowiki>\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 __ }</nowiki></ref>
|-
|JA
|123
|Tu es Petrus a 3 voix egales
|incipit:<ref><nowiki>\clef bass \partial 2 \key d \major \relative a { a4 d, b'8[ a] b[ cis] d4 }</nowiki></ref>
|-
|JA
|124
|Messe gregorienne de mariage avec
|incipit:<ref><nowiki>\time 8/8 \relative g' { r8 g[ a] g[ f g] a[ g] } \bar "||" s2</nowiki></ref>
|-
|JA
|125
|Messe de Requiem repla du gregorien a 4 voix mixtes
|incipit:<ref><nowiki>\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] } >></nowiki></ref>
|-
|JA
|126
|Fragment cantata Bach Erchallet ihr Lieder 2 Trompette et orgue
|incipit:<ref><nowiki>\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 } >></nowiki></ref>
|-
|JA
|127
|Allegro du concerto en sol majere Handel 2 Trompette et orgue
|incipit:<ref><nowiki>\key g \major \partial 8 \relative g'' { g8 fis e d c b d a d g, a b c }</nowiki></ref>
|-
|JA
|128
|Concerto en si Handel. 2 Trompette et orgue
|incipit:<ref><nowiki>\key bes \major \relative bes' { bes4.^\mordent r16 f bes8. 16 d8. bes16 f'4^\mordent }</nowiki></ref>
|-
|JA
|129
|Lettre à son amie Lola pour la consoler d'avoir attrapé la grippe, for the piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|JA
|130
|Adagio, for the piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|JA
|131
|Variations sur un thème donné de Rimsky-Korsakov, for four voices
|incipit:<ref><nowiki></nowiki></ref>
|-
|JA
|132
|Chant nupital, for baritone and organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|JA
|133
|Fugue sur un sujet de Henri Rabaud, for four voices
|incipit:<ref><nowiki></nowiki></ref>
|-
|JA
|134
|Choral cistercien pour une Élévation, for the organ
|incipit:<ref><nowiki>\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 } >></nowiki></ref>
|-
|JA
|135
|Monodie, for the organ or the piano
|incipit:<ref><nowiki>\relative ees' { \cadenzaOn ees4. d8 f8[ ees f] g[ f]\laissezVibrer }</nowiki></ref>
|-
|JA
|135A
|Monodie, for the flute
|incipit:<ref><nowiki></nowiki></ref>
|-
|JA
|136
|Messe modale en septuor, for soprano, the alto, the flute and string quartet or the organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|JA
|137
|Prière pour nous autres charnels
|incipit:<ref><nowiki></nowiki></ref>
|-
|JA
|138
|Aria, for the organ
|incipit:<ref><nowiki>\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}</nowiki></ref>
|-
|JA
|139
|L'année liturgique israëlite, for the organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|JA
|140
|Tantum ergo, for soprano, baritone and the organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|JA
|141
|Salve, virilis pectoris, for soprano, tenor and the organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|JA
|142
|O salutaris, for soprano and the organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|JA
|143
|Pièces d'après François Campion, for the organ
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

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

Jean-Baptiste Robin

2023-07-26T21:51:55Z

Irahs: Categories

'''Jean-Baptiste Robin''' (1976-)

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

{{Stub}}

== WVlist Notes ==
<blockquote><nowiki>Composer, Organist. Professor at the conservatoire in Versailles, and organist at Chapel of Versailles. Composition list is derived from http://jbrobin.com/?q=catalogue-sous-menu Inst.=Instrumental music, Ch.=Chamber music, Or.=Orchestral music, Vo.=Vocal music</nowiki> -William Rehwinkel, May 17, 2022</blockquote>

<blockquote><nowiki></nowiki> -Anonymous, Oct 26, 2022</blockquote>

== Works ==
{| class="wikitable"
|-
|Inst.
|2001
|Regard vers l'Aïr, for organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2003/6
|Falaises, miroir de lune, for piano solo
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2004
|Trois Eléments d'un songe, for Great Organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2008
|L'enfant, le cercle et le vent, for piano solo
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2008
|Cercles Réfléchissants, for Great Organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2011
|Trois Solos, for organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2012
|Cinq versets sur le Veni Creator, for Great Organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2014
|Indian's Rock, for harpsichord
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2014
|Regard vers Agartha, for 4 hands organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2015
|Ciaconna, for piano solo
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2017
|Bagatelle, for cello solo
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2018
|The Hands of Time
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2019
|Click Time, for saxophone
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2019
|Chant du Ténéré, for organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2020
|24 études, for trumpet
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2020
|La Destruction du temps, for organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Inst.
|2020
|Résilience, for piano
|incipit:<ref><nowiki>\time 3/4 \key e \minor << \relative g' { g4~8 fis16 g \tuplet 3/2 { a4 b8} fis2.*2/3 } \\ \relative e' { r4 e b r d } >></nowiki></ref>
|-
|Ch.
|1999/2015
|Etoile intérieure, for piano and organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Ch.
|2006
|Impulsion, for 2 pianos and percussions
|incipit:<ref><nowiki></nowiki></ref>
|-
|Ch
|2006
|Reflected Faces, String quartet, harp, flute and clarinet in B-Flat
|incipit:<ref><nowiki></nowiki></ref>
|-
|Ch
|2007
|Labyrinthe circulaire, for clarinet ensemble
|incipit:<ref><nowiki></nowiki></ref>
|-
|Ch
|2013
|Récits héroïques, for trumpet and organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Ch
|2014
|Trois Nuits, for 2 cellos
|incipit:<ref><nowiki></nowiki></ref>
|-
|Ch
|2015
|Citadelle, for piano and cello
|incipit:<ref><nowiki></nowiki></ref>
|-
|Ch
|2015
|Chant de l'Ame, for trumpet and piano (reduction)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Ch
|2016
|Sur un Sommet, for wind trio
|incipit:<ref><nowiki></nowiki></ref>
|-
|Ch
|2019
|Les Rouages du temps, for flute, cello and organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Ch
|2015/2019
|#Tictac, for piano and violin
|incipit:<ref><nowiki></nowiki></ref>
|-
|Ch
|2014-2020
|Chant de l'Ame, for C trumpet and string quartet
|incipit:<ref><nowiki></nowiki></ref>
|-
|Ch
|2021
|Parchemins de cendre, for C trumpet and organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Or.
|2002
|Toccata, for large orchestra (extract from Tombeau de Couperin by Maurice Ravel)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Or.
|2003-2004
|Paysages paralléles, for large orchestra
|incipit:<ref><nowiki></nowiki></ref>
|-
|Or.
|2010
|Distances, for chamber orchestra
|incipit:<ref><nowiki></nowiki></ref>
|-
|Or.
|2012
|Crop Circles, for large orchestra
|incipit:<ref><nowiki></nowiki></ref>
|-
|Or.
|2013
|Mechanic Fantasy, for organ, string orchestra and timpani
|incipit:<ref><nowiki></nowiki></ref>
|-
|Or.
|2014
|Chant de l'Ame, for C trumpet and string orchestra
|incipit:<ref><nowiki></nowiki></ref>
|-
|Or.
|2019
|La lame des heures, for large orchestra
|incipit:<ref><nowiki></nowiki></ref>
|-
|Or.
|2020
|Zenith, for strings orchestra and 2 oboes
|incipit:<ref><nowiki></nowiki></ref>
|-
|Or.
|2020
|Trois Destinées, for soprano and orchestra
|incipit:<ref><nowiki></nowiki></ref>
|-
|Vo.
|2001
|Hommage a Reiner Maria Rilke, for soprano and ensemble
|incipit:<ref><nowiki></nowiki></ref>
|-
|Vo.
|2005
|Emergences, for children choir and organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Vo.
|2013
|En Clara vox, for two equal voices and organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Vo.
|2018
|Poemes de l'aube et de la nuit, for mezzo-soprano and piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Vo.
|2018
|L'Horloge, for bass and piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Vo.
|2018
|Tic-Tac, for soprano and piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Vo.
|2020
|Trois Destinées, for soprano and orchestra
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

[[Category:Persons|Robin, Jean-Baptiste]]
[[Category:Composers|Robin, Jean-Baptiste]]
[[Category:Organists|Robin, Jean-Baptiste]]
[[Category:WVlist pages|Robin, Jean-Baptiste]]

Jamila Javadova-Spitzberg

2023-07-26T21:50:45Z

Irahs: Categories

[[File:Javadova.jpg|thumb|right|Jamila Javadova-Spitzberg]]
'''Jamila Javadova-Spitzberg''' is an American organist and musecologist. Her doctoral dissertation on the ''Tabulatuurboeck'' by [[Anthoni van Noordt]] was written in 2008.

== See also ==
Javadova, Jamila. "Anthoni van Noordt: Historical and analytical aspects of his ''Tabulatuurboeck van Psalmen en Fantasyen'' of 1659". Doctoral dissertation, University of North Texas, 2008. [https://digital.library.unt.edu/ark:/67531/metadc6092/m2/1/high_res_d/dissertation.pdf digital.library.unt.edu], accessed 25 July, 2023.

[[Category:Persons|Javadova-Spitzberg, Jamila]]
[[Category:Organists|Javadova-Spitzberg, Jamila]]
[[Category:Musicologists|Javadova-Spitzberg, Jamila]]
[[Category:Editors|Javadova-Spitzberg, Jamila]]

Category:Hauptwerk Youtubers

2023-07-26T21:49:40Z

Irahs: Categories

'''Hauptwerk Youtuber''' is a term used to describe organists who operate Youtube channels which feature a large percentage of content created using the [[Hauptwerk]] software.

[[Category:Organists]]

James Flores

2023-07-26T21:49:12Z

Irahs: Categories

[[File:JFO-CD-introspection-1.jpg|thumb|right|The album to the CD "Introspection, Vol. 1" by James Flores]]
'''James Flores''' is an organist in Albury, NSW Australia. He operates a Youtube channel with the same name with [[Hauptwerk]] and real-life organ content.

{{stub}}

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

[[Category:Persons|Flores, James]]
[[Category:Organists|Flores, James]]
[[Category:Hauptwerk Youtubers|Flores, James]]

J. F. K.

2023-07-26T21:48:36Z

Irahs: fix

Two pieces in [[US-NH Ma21 Y11 A29 LM4704]]<ref>{{RISM|104920}}</ref> are headed by the composer initials "'''J. F. K.'''" This attribution has not been solved.

== Description ==
The first piece is a [[Contrapunctus]] in three verses. The second is a chorale arrangement.

== Works ==
{| class="wikitable"
|+ Works by "J. F. K."
|-
! Source !! Title !! Notes
|-
| [[US-NH Ma21 Y11 A29 LM4704]] f.71v-74r
|
* [f.71v] Jesus Christus unser Heÿland. a 2 Cl: et Ped: J. F. K. <nowiki>|</nowiki> in contrapunct all'octav.<ref>{{RISM|104966}}</ref>
* [f.72v] Replica. Jesus Christus unser Heÿland. p. <ref>{{RISM|104967}}</ref>
* [f.73v] Jesus Christus unser Heÿland. p.quint:<ref>{{RISM|104968}}</ref>
| [Three verses of contrapunctus?]{{Citation needed}}
|-
| [[US-NH Ma21 Y11 A29 LM4704]] f.74v || Machs mit mir Gott nach. p.[space] di J. F. K. <nowiki>|</nowiki> per canonem et in vid: c <nowiki>|</nowiki> diminutionem.<ref>{{RISM|104969}}</ref> ||
|}

== References ==

[[Category:Persons|J. F. K.]]
[[Category:Composers|J. F. K.]]
[[Category:Baroque Composers|J. F. K.]]
[[Category:Organists|J. F. K.]]
[[Category:Baroque|J. F. K.]]

J. F. K.

2023-07-26T21:48:24Z

Irahs: Categories

Hugo Distler

2023-07-26T21:47:27Z

Irahs: Categories

'''Hugo Distler''' (1908-1942)

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

{{Stub}}

== WVlist Notes ==
<blockquote><nowiki>Organist of the Jakobikirche, Lübeck. Opus list is from "Hugo Distler and his Church Music" by Larry Palmer. St. Louis: Concordia Publishing House, 1967. App. B. Mot="Kleine Motten und Chorlieder" Na.="Nachlass".</nowiki> -William Rehwinkel, May 11, 2022</blockquote>

== Works ==
{| class="wikitable"
|-
|Op.
|1
|Konzertante Sonate für 2 Klaviere
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|2
|Choralmotette "Herzlich lieb hab' ich dich, o Herr"
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|3
|Eine deutsche Choralmesse
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|4
|Kleine Adventsmusik
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|5
|Der Jahrkreis
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|6/I
|Kleine geistliche Abendsmusik: "Christ, der du bist der helle Tag"
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|6/II
|Drei kleine Choralmotetten
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|6/II-1
|Lobe den Herren
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|6/II-2
|Es ist das Heil uns kommen her
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|6/II-3
|Komm, Heiliger Geist, Herre Gott
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|7
|Choralpassion
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|8/I
|Orgelpartita, "Nun komm, der Heiden Heiland"
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|8/II
|Orgelpartita, "Wachet auf, ruft uns die Stimme"
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|8/III
|Kleine Orgelchoral-Bearbeitungen
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|9/I
|Das Lied von der Glocke
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|9/II
|An die Natur (Weltliche Kantate)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|10
|Die Weihnachtsgeschichte
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|11/I
|Wo Gott zum Haus nit gibt sein Gunst
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|11/II
|Nun danket all und bringet Ehr
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|12
|Geistliche Chormusic
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|12-1
|Singet dem Herrn ein neues Lied
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|12-2
|Totentanz
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|12-3
|Wach auf, du deutsches Reich
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|12-4
|Singet frisch und wohlgemut
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|12-5
|Ich wollt, dass ich daheime wär
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|12-6
|Wachet auf, rust uns die Stimme
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|12-7
|In der Welt habt ihr Angst
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|12-8
|Das ist je gewisslich wahr
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|12-9
|Fürwahr, er trug unsere Krankheit
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|13
|Liturgische Sätze über altevangelische Kyrie- und Gloriaweisen
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|14
|Konzert für Cembalo und Streichorchester
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|15a
|Sonate für zwei Geigen und Klavier
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|15b
|Elf kleine Klavierstücke für de Jugend
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|16
|Neues Chorliederbuch
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|16-1
|Baurenlieder
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|16-2
|Minnelieder I
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|16-3
|Minnelieder II
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|16-4
|Kalendersprüche I
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|16-5
|Kalendersprüche II
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|16-6
|Kalendersprüche III
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|16-7
|Kalendersprüche IV
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|16-8
|Fröliche Lieder
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|17
|Drei geistliche Konzerte für Sopran und Orgel
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|18/I
|Dreissig Spielstücke für die Kleinorgel
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|18/II
|Orgelsonate (Trio)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|19
|Mörike-Chorliederbuch
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|20/I
|Streichquartett, a-moll
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|20/II
|Konzertstück für 2 Klaviere
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|21/I
|Lied am Herde (Kantate, Gedicht von Fritz Dietrich)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|21/II
|Kleine Sing- und Spielmusik
|incipit:<ref><nowiki></nowiki></ref>
|-
|Mot
|
|Ach Herr, ich bin nicht wert
|incipit:<ref><nowiki></nowiki></ref>
|-
|Mot
|
|Jesus Christus, gestern und heute
|incipit:<ref><nowiki></nowiki></ref>
|-
|Mot
|
|O Heiland, reiss die Himmel auf
|incipit:<ref><nowiki></nowiki></ref>
|-
|Mot
|
|Gott, der Vater wohn uns bei
|incipit:<ref><nowiki></nowiki></ref>
|-
|Mot
|
|Lobt Gott, ihr Christen
|incipit:<ref><nowiki></nowiki></ref>
|-
|Mot
|
|Nun freut euch, lieben Christen
|incipit:<ref><nowiki></nowiki></ref>
|-
|Mot
|
|O Mensch, bewein dein Sünde gross
|incipit:<ref><nowiki></nowiki></ref>
|-
|Mot
|
|Wie schön leuchtet der Morgenstern
|incipit:<ref><nowiki></nowiki></ref>
|-
|Mot
|
|Wacht auf, es tut each not
|incipit:<ref><nowiki></nowiki></ref>
|-
|Mot
|
|Die Sonne sinkt von hinnen
|incipit:<ref><nowiki></nowiki></ref>
|-
|Mot
|
|Der Tag hat sich geneiget
|incipit:<ref><nowiki></nowiki></ref>
|-
|Mot
|
|Vom Himmel hoch, o Englein / Su, Su, Su
|incipit:<ref><nowiki></nowiki></ref>
|-
|Mot
|
|Es geht eine dunkle Wolk
|incipit:<ref><nowiki></nowiki></ref>
|-
|Na.
|
|Kleine Sommerkantate (2 Sopran und Streichquartett)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Na.
|
|Konzertstück für Klavier und Orchester (1937)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Na.
|
|Orlando di Lasso: Das grosse Nasenlied
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

[[Category:Persons|Distler, Hugo]]
[[Category:Composers|Distler, Hugo]]
[[Category:Organists|Distler, Hugo]]
[[Category:WVlist pages|Distler, Hugo]]

Gustav Düben

2023-07-26T21:46:44Z

Irahs: Categories

'''Gustav Düben''' (1628-1690)

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

{{Stub}}

== WVlist Notes ==
<blockquote><nowiki></nowiki> -Fabian Beron, Feb 15, 2023</blockquote>

== Works ==
{| class="wikitable"
|-
|
|
|Nun Lobe meine Seele den Herren auff 2 clavir
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Suite in d: Praeludium, Allemande, Courante, Sarabande
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

[[Category:Persons|Düben, Gustav]]
[[Category:Composers|Düben, Gustav]]
[[Category:Baroque Composers|Düben, Gustav]]
[[Category:Organists|Düben, Gustav]]
[[Category:Baroque|Düben, Gustav]]
[[Category:Norddeutsche Orgelschule|Düben, Gustav]]
[[Category:WVlist pages|Düben, Gustav]]

Georg Böhm

2023-07-26T21:46:16Z

Irahs: Categories

'''Georg Böhm''' (1611-1733)

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

{{Stub}}

== WVlist Notes ==
<blockquote><nowiki>Order is derived from Edition Breitkopf Nr. 8087 edited by Klaus Beckmann, the Praeludiums are listed first, and all known choral-based works are listed in alphabetical order.</nowiki> -William Rehwinkel, Feb 22, 2022</blockquote>

<blockquote><nowiki>Incipits according to Edition Breitkopf Nr. 8087 edited by Klaus Beckman</nowiki> -William Rehwinkel, Feb 24, 2022</blockquote>

<blockquote><nowiki></nowiki> -William Rehwinkel, May 10, 2022</blockquote>

<blockquote><nowiki></nowiki> -Anonymous, Jul 7, 2022</blockquote>

== Works ==
{| class="wikitable"
|-
|KB
|1
|Praeludium in C Major
|incipit:<ref><nowiki>\clef bass \relative c, { <c c' e g c e>4 r16 c e c g' g b g c}</nowiki></ref>
|-
|KB
|2
|Praeludium in D Minor
|incipit:<ref><nowiki>\clef bass \key d \minor \relative d { d8. e16 f8. d16 a'8 a, cis' }</nowiki></ref>
|-
|KB
|3
|Praeludium in A Minor
|incipit:<ref><nowiki>\clef bass << { r16 a, c a, \repeat tremolo 2 {e16 c} \repeat tremolo 2 {a16 e} } \\ {a,2 } >></nowiki></ref>
|-
|KB
|4
|Ach wie nichtig (8 Partitas)
|incipit:<ref><nowiki>\relative a' { <a e c>4 <c a e a,>4 4 4 }</nowiki></ref>
|-
|KB
|5
|Allein Gott in der Höh sei Ehr
|incipit:<ref><nowiki>\time 3/2 \key g \major \partial 2 << \relative g' { g4 a b1 c2 d1*1/4 } \\ \relative g {r2 r4 g g' fis e a8 g fis4 } >></nowiki></ref>
|-
|KB
|6
|Auf meinen lieben Gott (4 Versus)
|incipit:<ref><nowiki>\key g \minor \relative g' { r16 g a bes a c bes a bes d }</nowiki></ref>
|-
|KB
|7
|Aus tiefer Not schrei ich zu dir (2 Versus)
|incipit:<ref><nowiki>\clef bass << \relative f { r4 f e f g4. 8 f4 } \\ \relative bes, { R1 r4 bes a } >></nowiki></ref>
|-
|KB
|8
|Christe, der du bist Tag und Licht (3 Versus)
|incipit:<ref><nowiki>\clef bass \time 3/4 \relative g { r4 g a bes4. a8 g4 fis }</nowiki></ref>
|-
|KB
|9
|Christ lag in Todesbanden
|incipit:<ref><nowiki>\key d \minor \relative d' { r4 d cis d8 e f4 g f }</nowiki></ref>
|-
|KB
|10
|Christ lag in Todesbanden
|incipit:<ref><nowiki>\key d \minor \clef bass \relative d { r2 d cis d4 e f2 }</nowiki></ref>
|-
|KB
|11
|Christum wir sollen loben schon
|incipit:<ref><nowiki><< \relative d' { r4 d8 e f4 g a4. d,8 e4 } \\ \relative a { R1 r4 a8 b c4 } >></nowiki></ref>
|-
|KB
|12
|Erhalt uns, Herr, bei deinem Wort
|incipit:<ref><nowiki>\clef bass \key bes \major \relative g { r4 g bes g fis g bes }</nowiki></ref>
|-
|KB
|13
|Freu dich sehf, o meine Seele (12 Partita)
|incipit:<ref><nowiki>\key g \major << \relative g' { g4 g8 a b a g4 g fis } \\ \relative b { b4 d d r8 b cis4 d } \\ \relative g' { s2 g4 s4 e4 s } >></nowiki></ref>
|-
|KB
|14
|Gelobet seist du, Jesu Christ
|incipit:<ref><nowiki>\key g \major \clef alto << \relative d' { R1 r4 d d } \\ \relative g { r4 g g g a g8 a b } >></nowiki></ref>
|-
|KB
|15
|Gelobet seist du, Jesu Christ (Choral, 5 Variatio)
|incipit:<ref><nowiki>\key f \major \partial 4 \relative f' { <f c>4 <f c> << \relative f' { <f c>4 <g c,> f8 g a } \\ \relative f' { f4~8 e <f c>4 f4 } >> }</nowiki></ref>
|-
|KB
|16
|Herr Jesu Christ, dich zu uns wend (6 Variatio)
|incipit:<ref><nowiki>\key f \major \time 3/2 \relative f' { f4. g8 a4. bes8 c4. bes8 a1 }</nowiki></ref>
|-
|KB
|17
|Aria: Jesu, du bist allzu schöne (14 Partita)
|incipit:<ref><nowiki><< \relative g'' { g4 r8 g f4~8 g e4 } \\ \relative e'' { e4 e4~8 e d4~8 } >></nowiki></ref>
|-
|KB
|18
|Nun bitten wir den Heiligen Geist
|incipit:<ref><nowiki>\clef alto \key g \major \relative d' { d2 e4 e d4. c8 b4 a b }</nowiki></ref>
|-
|KB
|19
|Vater unser im Himmelreich
|incipit:<ref><nowiki>\key d \minor << \relative a' { r8 a f'16 e d8 a' } \\ \relative d' { r8 <d f>8 <a' d> <a, f'> <a e'> } >></nowiki></ref>
|-
|KB
|20
|Vater unser im Himmelreich
|incipit:<ref><nowiki>\clef alto \key d \minor \relative d' { r8 d16 cis d8 c16 b c8 bes16 a bes8 }</nowiki></ref>
|-
|KB
|21
|Vater unser im Himmelreich
|incipit:<ref><nowiki>\key d \minor \clef bass \relative a { r4 a a f g a f e d8 }</nowiki></ref>
|-
|KB
|22
|Vom Himmel hoch da komm ich her
|incipit:<ref><nowiki>\clef alto << \relative g' { R1 r4 g fis } \\ \relative c' { r4 c b a b8 a g4 a8 } >></nowiki></ref>
|-
|KB
|23
|Wer nur den lieben Gott läßt walten
|incipit:<ref><nowiki>\partial 8 << \relative e' { e8 a4 r16 d c b c4. b8 a } \\ \relative c' { r8 r c b4 r4 r8 e8~4 } >></nowiki></ref>
|}

== References ==
''See notes''

[[Category:Persons|Böhm, Georg]]
[[Category:Composers|Böhm, Georg]]
[[Category:Baroque Composers|Böhm, Georg]]
[[Category:Organists|Böhm, Georg]]
[[Category:Baroque|Böhm, Georg]]
[[Category:Norddeutsche Orgelschule|Böhm, Georg]]
[[Category:WVlist pages|Böhm, Georg]]

Heinrich Scheidemann

2023-07-26T21:45:39Z

Irahs: Categories

'''Heinrich Scheidemann''' (1595-1663)

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

{{Stub}}

== WVlist Notes ==
<blockquote><nowiki>WV numbers are from the complete works edition by Werner Brieg, which are themselves derived from "Die Orgelwerke von Heinrich Scheidemann", Wiesbaden, 1967</nowiki> -William Rehwinkel, Feb 20, 2022</blockquote>

<blockquote><nowiki>Full catalogue of WV list of Scheidemann organ works from Werner Breig, "Die Orgelwerke von Heinrich Scheidemann". Wiesbaden, Franz Steiner Verlag Gmbh, 1967. The table is divided in the following catagories: 1-56: Works secured according to tradition and style (1-29: Chorale-based works, 30-44: Free compositions, 45-56: Motet intabulations), 57-74: Anonymous pieces that can be attributed to Scheidemann (57-71: Chorale-based compositions, 72-74: Free works), 75-86: Works of dubious authenticity inscribed with Scheidemann's initials in the sources (75-81: Chorale-based works, 82-86: Free works), 87-88: works incorrectly identified with scheidemann's initials in individual sources</nowiki> -William Rehwinkel, Feb 26, 2022</blockquote>

<blockquote><nowiki>WV 1-13 incipits are derived from Fock according to "Ausgaben" in Brieg.</nowiki> -William Rehwinkel, Mar 3, 2022</blockquote>

<blockquote><nowiki>Breig does not list any published edition of the Motet Intabulations WV 45-56. Incipits are from Scheidemann, Heinrich: "12 Orgelintavolierungen", edited by Cleveland Johnson. Wilhelmshaven: Heinrichshofen (1990). (vol. 1-3)</nowiki> -William Rehwinkel, Mar 3, 2022</blockquote>

<blockquote><nowiki>Incipits for chorale-based works (confirmed, anonymous but attributed, listed as composer but considered dubious) in which Brieg lists the work in BA 5481, edited by Gustav Fock.</nowiki> -William Rehwinkel, Mar 5, 2022</blockquote>

<blockquote><nowiki></nowiki> -Anonymous, Mar 14, 2022</blockquote>

<blockquote><nowiki>Incipits for Fragmentary O Lux Beata Trinitas and Te Deum are derived from Dirksen, Pieter. "Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology", Hampshire: Ashgate Publishing Limited, 2007.</nowiki> -William Rehwinkel, Apr 18, 2022</blockquote>

<blockquote><nowiki></nowiki> -William Rehwinkel, May 9, 2022</blockquote>

<blockquote><nowiki>The 7th intabulation, WV 51, has been found to have been based on a motet by Giovanni Bassano.</nowiki> -William Rehwinkel, May 9, 2022</blockquote>

<blockquote><nowiki>According to Dirksen, WV 78 has been found to be an intabulation of a dance song by Giovanni Gastoldi.</nowiki> -WR, May 11, 2022</blockquote>

== Works ==
{| class="wikitable"
|-
|WV
|1
|A solis ortus cardine
|incipit:<ref><nowiki>\clef alto \relative a { a1 c2 c d e } << {a2 f'\laissezVibrer} \\ {d1} >></nowiki></ref>
|-
|WV
|2
|Aus tiefer Not schrei ich zu dir
|incipit:<ref><nowiki>\key g \major << \relative g' { R1 g1 fis2. g4 } \\ \relative c' { c1 b2 c d d } >></nowiki></ref>
|-
|WV
|3
|Christ lag in Todesbanden
|incipit:<ref><nowiki><< \relative a' { a1 gis2 a c2*1/4 } \\ \relative e' { R1 r4 e c d e8 } >></nowiki></ref>
|-
|WV
|4
|Erbarm dich mein, o Herre Gott
|incipit:<ref><nowiki>\relative e' { e1 c2 c b <a e'> }</nowiki></ref>
|-
|WV
|5
|Es spricht der Unweisen Mund wohl
|incipit:<ref><nowiki><< \relative c'' { c1 c2. } \\ \relative e' { r4 e4 c d8 e f2 c4 } >></nowiki></ref>
|-
|WV
|6
|Gott sei gelobet und gebenedeiet
|incipit:<ref><nowiki><< \relative g' { g1 g2 } \\ \relative c' { r4 c b a g2 } \\ \relative e' { r4 e d c b4 } >></nowiki></ref>
|-
|WV
|7
|Herr Christ, der einig Gottes Sohn
|incipit:<ref><nowiki>\key g \major \relative g { g1 g2 b a g }</nowiki></ref>
|-
|WV
|8
|In dich hab ich gehoffet, Herr
|incipit:<ref><nowiki>\clef alto << \relative d' { d1 d2 a' e2*1/4 } \\ \relative d { r2 d2~4 e f g a8 } >></nowiki></ref>
|-
|WV
|9
|In dich hab ich gehoffet, Herr
|incipit:<ref><nowiki>\clef alto << \relative d' { d1 d2 a' e } \\ \relative d { r2 d2~4 e f g a2 } \\ \relative a { R1 a2. b4 c } >></nowiki></ref>
|-
|WV
|10
|Jesus Christus, unser Heiland
|incipit:<ref><nowiki>\clef alto \relative a { a1 d d2 cis d }</nowiki></ref>
|-
|WV
|11
|Kyrie dominicale
|incipit:<ref><nowiki>\key f \major << \relative a' { a1 bes1*3/4 \bar "" } \\ \relative d' { r4 d4. e8 fis4 g f8 e d4 } >></nowiki></ref>
|-
|WV
|12
|Kyrie summum
|incipit:<ref><nowiki><< \relative g' { g1 a b2 } \\ \relative c' { r2 c2~4 c d2~4 } \\ \relative e' { r2 e2~4 e fis2~4 } >></nowiki></ref>
|-
|WV
|13
|Lobet den Herren, denn er ist sehr freundlich
|incipit:<ref><nowiki>\key f \major \clef bass << \relative d' { R1 d2 cis4 } \\ \relative g { g2 fis4 g4 8 a bes g a } >></nowiki></ref>
|-
|WV
|14
|Magnificat I. Toni
|incipit:<ref><nowiki><< \relative f' { f1 g2. 4 a4 } \\ \relative d' { r2 d e4 d c b a } >></nowiki></ref>
|-
|WV
|15
|Magnificat II. Toni
|incipit:<ref><nowiki><< \relative f' { f1 g f2 } \\ \relative d' { r4 d f2~4 f ees2 d2. } >></nowiki></ref>
|-
|WV
|16
|Magnificat III. Toni
|incipit:<ref><nowiki><< \relative g' { g1 a1*5/8 \bar "" } \\ \relative e' { r4 e c4. d16 e f4. e8 d } >></nowiki></ref>
|-
|WV
|17
|Magnificat IV. Toni
|incipit:<ref><nowiki><< \relative e' { e1 g a2 c\laissezVibrer } \\ \relative a { R1 R a } >></nowiki></ref>
|-
|WV
|18
|Magnificat V. Toni
|incipit:<ref><nowiki><< \relative f' { R1 f a2 } \\ \relative bes { bes1 d2 d4. e8 f2 } >></nowiki></ref>
|-
|WV
|19
|Magnificat VI. Toni
|incipit:<ref><nowiki><< \relative f' { f1 g } \\ \relative d' { r4 d f2~4 e8 d e f g e } >></nowiki></ref>
|-
|WV
|20
|Magnificat VIII. Toni
|incipit:<ref><nowiki><< \relative g' { r2 g2~4 a b c d1 } \\ \relative g { g1~1 a } \\ \relative d' { r2 d2 e4 fis g2~4 fis8 e fis2 } \\ \relative b { r2 b c d2~2 2 } >></nowiki></ref>
|-
|WV
|21
|Mensch, willst du leben seliglich
|incipit:<ref><nowiki>\clef alto << \relative e' { e1 g2 } \\ \relative a { r4 <a c>4 <g b> <a f> <e g> <d b'> } >></nowiki></ref>
|-
|WV
|22
|O Gott, wir danken deiner Güt
|incipit:<ref><nowiki>\time 3/2 \partial 2 \key d \minor \relative d' { <d fis a d>2 <d g bes>1 <d f bes>2 <c f a>2 }</nowiki></ref>
|-
|WV
|23
|O lux beata trinitas
|incipit:<ref><nowiki><< \relative e' { r1 a g2 } \\ \relative e' { e1 d2 c b4 } >></nowiki></ref>
|-
|WV
|24
|O lux beata trinitas (Frag.)
|incipit:<ref><nowiki>\clef alto \relative e' { e1~2 d c b c }</nowiki></ref>
|-
|WV
|25
|Te Deum laudamus (Frag.)
|incipit:<ref><nowiki><< \relative a' { a1 gis4 gis8 a b4 e,8 fis } \\ \relative c' { c4 d8 e f4 c8 d e1 } >></nowiki></ref>
|-
|WV
|26
|Vater unser im Himmelreich
|incipit:<ref><nowiki>\key bes \major << \relative g' { g1 g2 ees f } \\ \relative c' { r4 c c d ees d c bes aes } >></nowiki></ref>
|-
|WV
|27
|Vater unser im Himmelreich (Fantasy)
|incipit:<ref><nowiki>\clef alto \key bes \major << \relative ees' { r4 ees d c bes a g bes a } \\ \relative g { g1 g2 ees f } >></nowiki></ref>
|-
|WV
|28
|Vater unser im Himmelreich
|incipit:<ref><nowiki>\key bes \major << \relative g' { g1 g2 ees f g ees } \\ \relative c' { r2 c2~2 c aes bes c } >></nowiki></ref>
|-
|WV
|29
|Wir glauben all an einen Gott
|incipit:<ref><nowiki><< \relative d' { d1 a'2 g a } \\ \relative a { R1 r4 a e' d c } >></nowiki></ref>
|-
|WV
|30
|Praeambulum in C
|incipit:<ref><nowiki>\relative g' { g4 a8 b c b c d <e g,>2. }</nowiki></ref>
|-
|WV
|31
|Praeambulum in d
|incipit:<ref><nowiki><< \relative d' { d1~4 e8 fis g4 a bes2. } \\ \relative a { a1 bes2. c4 d1 } >></nowiki></ref>
|-
|WV
|32
|Praeambulum in d
|incipit:<ref><nowiki>\relative a' { <a d, a fis>1 } \bar "||" << \relative g' { g4\repeatTie g4 fis e f! } \\ \relative bes { bes4\repeatTie bes a g a4 } \\ \relative d' { d1\repeatTie~4 } >></nowiki></ref>
|-
|WV
|33
|Praeambulum in d
|incipit:<ref><nowiki>\relative a' { a4 b!8 c d4 c } \bar "||" \partial 4 << \relative d'' { d4~d8 d a4 c4. } \\ \relative d' { r4 <d f>4. 8 <e a,>4 } >></nowiki></ref>
|-
|WV
|34
|Praeambulum in d
|incipit:<ref><nowiki><< \relative a' { R1 a1~4 } \\ \relative f' { R1 f2. e8 d cis4 } \\ \\ \relative d' { d1~d4 c8 b a2~4 } >></nowiki></ref>
|-
|WV
|35
|Praeambulum in d
|incipit:<ref><nowiki>\relative a' { <a d, fis,>1 } \bar "||" \partial 2 << \relative a' { a2~4 a d2 c4 } \\ \relative c' { r2 d2. d4 a'2.*1/3 } >></nowiki></ref>
|-
|WV
|36
|Praeambulum in d
|incipit:<ref><nowiki><< \relative d' { d2~8 e f g <f a>1 } \\ \relative a { R1 r8 a b c d2 } >></nowiki></ref>
|-
|WV
|37
|Praeambulum in e
|incipit:<ref><nowiki><< \relative b' { b4 c8 d e2~e4 d c b a1 } \\ \relative b { b1 a2. b c2 } >></nowiki></ref>
|-
|WV
|38
|Praeambulum in e
|incipit:<ref><nowiki><< \relative b' { b1~8 b c d e4 b8 d }\\ { <e' b gis>1 1 } >></nowiki></ref>
|-
|WV
|39
|Praeambulum in F
|incipit:<ref><nowiki>\key f \major c''1 << \relative c'' { c8) c8 d e f a, bes c } \\ \relative c' { <c a f>1 } >></nowiki></ref>
|-
|WV
|40
|Praeambulum in F
|incipit:<ref><nowiki>\key f \major << \relative c'' { c1 d4 ees8 d c bes c4 } \\ \relative f' { f1 f } >></nowiki></ref>
|-
|WV
|41
|Praeambulum in g
|incipit:<ref><nowiki>\key f \major << \relative g' { g1~4 a8 b c4 d } \\ \relative d' { d1 ees2. f4 } >></nowiki></ref>
|-
|WV
|42
|Fuga in D
|incipit:<ref><nowiki><< \relative a' { a2 f4 d a' b c2 r8 } \\ \relative d' { R1 r4 d c a f' } >></nowiki></ref>
|-
|WV
|43
|Toccata in G
|incipit:<ref><nowiki>\clef alto << \relative d' { r2 d d4. e8 d4 c b2 } \\ \relative g { g1 g~4 } \\ \relative b { b2. a4 b4. c8 b4 a g2 } >></nowiki></ref>
|-
|WV
|44
|Canzon in F
|incipit:<ref><nowiki>\key f \major \relative c'' { c4 a8 c \repeat tremolo 4 bes8 a4 g8 f g8. }</nowiki></ref>
|-
|WV
|45
|(Haßler) Alleluja. Laudem dicite
|incipit:<ref><nowiki>\relative e' { <e e'>2 <a cis>4 <f d'> <e e'>2 }</nowiki></ref>
|-
|WV
|46
|(Lasso) Angelus ad pastores ait
|incipit:<ref><nowiki>\key f \major \clef alto << { R1 g'1~4. } \\ \relative g { g1~2 g4 a bes2*3/4 } \\ \relative d' { R1 r2 d2~2*3/4 } \\ \relative g { R1 R1 g1*3/8 \bar "" } >></nowiki></ref>
|-
|WV
|47
|(Lasso) Benedicam Dominum
|incipit:<ref><nowiki><< \relative g' { g1~2 g4 a b4. a8 b4 } \\ \relative g { R1 g1~2 4 } \\ \relative d' { R1 R1 d\laissezVibrer \bar "" } >></nowiki></ref>
|-
|WV
|48
|(Hier. Praetorius) Benedicam Dominum
|incipit:<ref><nowiki><< \relative a' { R1 r8 a16 b c d e f g2\laissezVibrer } \\ \relative c'' { c1 g } >></nowiki></ref>
|-
|WV
|49
|(Lasso) Confitemini Domino et invocate
|incipit:<ref><nowiki>\clef alto << \relative a' { R1 a a2 2\laissezVibrer \bar "" } \\ \relative d { R1 R1 d } \\ \relative d' { R1 R1 r2 d\laissezVibrer } \\ \relative a { a1 a2 a2~4 4 4. } >></nowiki></ref>
|-
|WV
|50
|(Lasso) De ore prudentis procedit mel
|incipit:<ref><nowiki><< \relative a' { a1~8 d c bes a bes a g } \\ \relative d' { R1 d\laissezVibrer } >></nowiki></ref>
|-
|WV
|51
|(Bassano) Dic nobis, Maria, quid vidisti in via
|incipit:<ref><nowiki><< \relative d'' { d4 d d8 c16 d e f g c, d8 } \\ \relative g' { <g b>4 4 4 <c c,> <g b>2*1/4 } >></nowiki></ref>
|-
|WV
|52
|(Haßler) Dixit Maria ad angelum
|incipit:<ref><nowiki>\key f \major \clef bass \relative f { f1 f2 f g2. f8 }</nowiki></ref>
|-
|WV
|53
|(Lasso) Ego sum panis
|incipit:<ref><nowiki>\key f \major << \relative c'' { c1~2 c8. d16 bes8. c16 a2\laissezVibrer } \\ \relative f' { R1 f1 f8. g16 e8. } >></nowiki></ref>
|-
|WV
|54
|(Lasso) Omnia, quae fecisti nobis
|incipit:<ref><nowiki><< \relative a' { R1 a\laissezVibrer } \\ \relative d' { d1~8 e f e d cis d4 } >></nowiki></ref>
|-
|WV
|55
|(Lasso) Surrexit pastor bonus
|incipit:<ref><nowiki>\key f \major << \relative c' { c2. d8 e f1~2 f4 } \\ \relative f { R1 f2. a8 bes bes1\laissezVibrer \bar "" } \\ \relative c' { R1 r2 c d1\laissezVibrer } >></nowiki></ref>
|-
|WV
|56
|(Haßler) Verbum caro factum est
|incipit:<ref><nowiki><< \relative e'' { e8. d16 e8. f16 e4 e } \\ \relative a' { <a c>2. 4 } >></nowiki></ref>
|-
|WV
|57
|Durch Adams Fall ist ganz verderbt
|incipit:<ref><nowiki><< \relative a' { a1 a2 a g } \\ \relative d' { r2 d4 e f2 <a, c>4 <c e>2 } >></nowiki></ref>
|-
|WV
|58
|Es ist das Heil uns kommen her
|incipit:<ref><nowiki>\key d \major << \relative a' { a1 a2 a a c b } \\ \relative d' { s1 s r4 d e fis g2 } >></nowiki></ref>
|-
|WV
|59
|Es ist gewißlich an der Zeit
|incipit:<ref><nowiki>\key g \major << \relative g' { g1 g2 b a } \\ \relative c' { r2 c4 d e fis g2 fis } >></nowiki></ref>
|-
|WV
|60
|Gelobet seist du, Jesu Christ
|incipit:<ref><nowiki><< \relative g' { g1 g2 2 } \\ \relative g { r2 <g b>4 <a c> <g b> <c e\laissezVibrer >2 } >></nowiki></ref>
|-
|WV
|61
|Herr Christ, der einig Gotts Sohn
|incipit:<ref><nowiki>\key g \major << \relative g' { g1 g2 b a } \\ \relative c' { r2 c4 d e fis g2 fis } >></nowiki></ref>
|-
|WV
|62
|Herzlich lieb hab ich dich, o Herr
|incipit:<ref><nowiki><< \relative c'' { c1~4 d8 c b4 c8 b a4 } \\ \relative c' { <c e g>1~2 <g d' g>2 <a c e> } >></nowiki></ref>
|-
|WV
|63
|Jesus Christus, unser Heiland
|incipit:<ref><nowiki>\clef bass \relative d { d1 a' a2 g a d,2~4 }</nowiki></ref>
|-
|WV
|64
|Jesus Christus, unser Heiland
|incipit:<ref><nowiki>\clef alto << \relative d' { d2 a'2~4 g f2~4 g8 f e4 } \\ \relative d { R1 r2 d a'1*3/4 \bar "" } \\ \relative a { r2 r4 a d2 d2~4 d c } >></nowiki></ref>
|-
|WV
|65
|Magnificat VII. Toni
|incipit:<ref><nowiki><< \relative a' { a1 gis2 a r4 } \\ \relative d' { r2 d e4. d8 cis4 a d2 } >></nowiki></ref>
|-
|WV
|66
|Magnificat VIII. Toni
|incipit:<ref><nowiki>\clef alto << \relative b { r4 b e d g4. f8 e f d e c1\laissezVibrer } \\ \relative g { g1~1 a\laissezVibrer } >></nowiki></ref>
|-
|WV
|67
|Nun freut euch, lieben Christen gmein
|incipit:<ref><nowiki>\clef bass \relative g { g1 g2 d g <c g'\laissezVibrer> }</nowiki></ref>
|-
|WV
|68
|Victimae paschali laudes
|incipit:<ref><nowiki>\clef bass << \relative a { r2 a2~4 a g2 f4 } \\ \relative d { d1 c d2.*1/3 } >></nowiki></ref>
|-
|WV
|69
|Vom Himmel hoch da komm ich her
|incipit:<ref><nowiki><< \relative c'' { c1 b2 a b4. } \\ \relative b { R1 r4 b c d b }\\ \relative c' { r4 c e fis g2. fis4 g4. } >></nowiki></ref>
|-
|WV
|70
|Wär Gott nicht mit uns diese Zeit
|incipit:<ref><nowiki>\clef alto \key g \major << \relative e' { e1 g2 g a } \\ \relative a { r2 a e'2. d4 cis } >></nowiki></ref>
|-
|WV
|71
|Wo Gott der Herr nicht bei uns hält
|incipit:<ref><nowiki>\clef bass << \relative g { r4 g bes c d4. g8 d4 e f2 } \\ \relative g, { R1 r4 g bes c d } \\ \\ \relative bes { R1 bes1 bes2 } >></nowiki></ref>
|-
|WV
|72
|Praeambulum in C
|incipit:<ref><nowiki><< \relative g' { g2. a8 b c2. d8 e } \\ \relative c' { c1~1 } \\ \relative e' { e1~4 f8 g a2 } >></nowiki></ref>
|-
|WV
|73
|Praeambulum in G
|incipit:<ref><nowiki><< \relative g' { g2. a4 b c d2~2*1/2 } \\ \relative b { b2. c4 d2. c4 b2.*1/3 } \\ \relative d' { d1 g2 a~4 } >></nowiki></ref>
|-
|WV
|74
|Canzon in G
|incipit:<ref><nowiki>\clef alto << \relative d' { d2 4 4 g f8 e d4 g e } \\ \relative g { R1 g2 g4 g c } >></nowiki></ref>
|-
|WV
|75
|Allein zu dir, Herr Jesu Christ
|incipit:<ref><nowiki>\clef alto << \relative g' {r4 g4~16. f32 e16. d32 c8 } \\ \relative c' { c4 c16. c32 b16. a32 g4 a8.*2/3 } >></nowiki></ref>
|-
|WV
|76
|Ein feste Burg ist unser Gott
|incipit:<ref><nowiki>\clef alto << \relative g' { r2 r4 g g g c,4. d8 e2 } \\ \relative c' { c2 c4 c g2 a4. b8 c2 } >></nowiki></ref>
|-
|WV
|77
|Gott der Vater wohn uns bei
|incipit:<ref><nowiki>\partial 4 << \relative g' { g16 g a b c8 c b4 a8. b16 c4*1/4 \bar "" } \\ \relative c' { r4 c8 c d e f f e16 } >></nowiki></ref>
|-
|WV
|78
|(Gastoldi) Jesu, wollst uns weisen
|incipit:<ref><nowiki>\clef alto \partial 2 \relative g { <g d' g b>4 8 8 4 <e g g' cis> }</nowiki></ref>
|-
|WV
|79
|Jesus Christus, unser Heiland
|incipit:<ref><nowiki><< \relative d' { d2 a'2 a4 g a } \\ \relative d { \clef alto r4 d8 e f g a b! c8 d e d c } >></nowiki></ref>
|-
|WV
|80
|Komm, heiliger Geist, Herre Gott
|incipit:<ref><nowiki>\clef bass \key f \major \relative f { f1 g2 <f c'>2 <d d'> <f\laissezVibrer c'> }</nowiki></ref>
|-
|WV
|81
|Nun bitten wir den heiligen Geist
|incipit:<ref><nowiki>\clef alto \key f \major << \relative bes { bes1 c2 c bes4 a bes c d } \\ \relative f { R1 r2 f g g f4 } >></nowiki></ref>
|-
|WV
|82
|Fantasia in C
|incipit:<ref><nowiki><< \relative c'' { <c g>1 <c a>2. 8 <a f> <e g>4 } \\ \relative e' { e1 f4 e8 d c4 d e } >></nowiki></ref>
|-
|WV
|83
|Fantasia in d
|incipit:<ref><nowiki>\relative a' { a2 4 4 c cis d c8 b } << { a'2} \\ { r4 d'4 } >></nowiki></ref>
|-
|WV
|84
|Fuga
|incipit:<ref><nowiki>\clef alto \relative e' { e2 4 4 a, c d e f4. }</nowiki></ref>
|-
|WV
|85
|Toccata in C
|incipit:<ref><nowiki>\relative c'' { <c g e>4 b8 a g f e d <e g>1 }</nowiki></ref>
|-
|WV
|86
|Fantasia in C
|incipit:<ref><nowiki><< \relative d'' { d2. d4 e2~8 d c b a2*1/4 } \\ \relative g' { r2 g2~4 g a2~8 } >></nowiki></ref>
|-
|WV*
|87
|Erbarm dich mein, o Herre Gott (by Sweelinck)
|incipit:<ref><nowiki>\clef bass \relative e { e1 g2 g a b } << {e'1 \bar ""} \\ \relative c' { c4. b8 a b c } >></nowiki></ref>
|-
|WV*
|88
|Fantasia in g (by Frescobaldi)
|incipit:<ref><nowiki>\key f \major \relative d'' { d2 d4 c8 bes a4 a d g, bes }</nowiki></ref>
|}

== References ==
''See notes''

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

Dom Paul Benoit

2023-07-26T21:44:47Z

Irahs: Categories

'''Dom Paul Benoit, O.S.B.''' (1893-1979)

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

{{Stub}}

== WVlist Notes ==
<blockquote><nowiki>Dom Paul Benoit, O.S.B., Organist, Composer, Priest, "member of the Benedictine community at the Abbey of St. Maurice et St. Maur, at Clervaux, in Luxembourg." (http://www.danwebs.com/dpb/index.html) Composition list from http://www.danwebs.com/dpb/benoit03.html. PB numbers in paranthesis note pieces that are bundled in the publication. </nowiki> -William Rehwinkel, Jul 7, 2022</blockquote>

== Works ==
{| class="wikitable"
|-
|PB
|1
|Elevations pour les Messes IX-X-XI
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|2
|Elevations pour la Messe XI
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|3
|Au soir de l'Ascension du Seigneur
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|4
|Noel basque
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|5
|2 Fantaisies pour orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|6
|10 petites fugues sur des themes liturgiques
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|7
|Suite liturgique pour Paques
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|8
|50 Elevations
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|9
|Dyptyque en l'honneur de Ste Therese
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|10
|4 preludes pour grand orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|11
|7 pieces pour harmonium ou orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|12
|Pieces d'orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|13
|Le Chant interieur
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|14
|41 Elevations
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|15
|60 Devotional Pieces
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|16
|Esquisses liturgiques
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|17
|Tryptyque pour orgue (pro defunctis)
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|18
|Ode pour la paix, pour grand orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|19
|Toccata sur Ita Missa est VIII
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|20
|Offertoire sur la Sequence "Te Johannes"
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|21
|Versets du Magnificat
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|22
|Pieces d'orgue pour l'annee liturgique (PB3, 4, 6, 10, 12, 16, 17)
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|23
|Suite liturgique pour Paques (PB7)
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|24
|(PB13, 14, 18)
|incipit:<ref><nowiki></nowiki></ref>
|-
|PB
|25
|Noel original avec 6 variations
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

[[Category:Persons|Benoit, Paul]]
[[Category:Composers|Benoit, Paul]]
[[Category:Organists|Benoit, Paul]]
[[Category:WVlist pages|Benoit, Paul]]

Dietrich Buxtehude

2023-07-26T21:44:07Z

Irahs: Categories

'''Dietrich Buxtehude''' (1637-1707)

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

{{Stub}}

== WVlist Notes ==
<blockquote><nowiki>Organist in Marienkirche, Lübeck. BuxWV numbers are taken from Sämtliche Orgelwerke, edited by Klaus Beckman, New Edition/Revised New Edition (EB 6661-6664)</nowiki> -William Rehwinkel, Feb 18, 2022</blockquote>

<blockquote><nowiki>Beckman notes that the catalogue BuxWV is from G. Karstädt (Breitkops & Härtel, Wiesbaden)</nowiki> -William Rehwinkel, Feb 18, 2022</blockquote>

<blockquote><nowiki>Full BuxWV catalogue is written in Georg Karstädt: "Dietrich Buxtehude: Buxtehude-Werke-Verzeichnis (BuxWV)" Wiesbaden: Breitkopf & Hartel, 1985.</nowiki> -William Rehwinkel, Feb 24, 2022</blockquote>

<blockquote><nowiki></nowiki> -Anonymous, Mar 12, 2022</blockquote>

<blockquote><nowiki></nowiki> -William Rehwinkel, Mar 17, 2022</blockquote>

<blockquote><nowiki></nowiki> -William Rehwinkel, Mar 18, 2022</blockquote>

<blockquote><nowiki></nowiki> -William Rehwinkel, Mar 20, 2022</blockquote>

<blockquote><nowiki></nowiki> -Anonymous, Mar 22, 2022</blockquote>

<blockquote><nowiki></nowiki> -WR, May 4, 2022</blockquote>

<blockquote><nowiki></nowiki> -WR, May 4, 2022</blockquote>

<blockquote><nowiki></nowiki> -William Rehwinkel, May 9, 2022</blockquote>

<blockquote><nowiki></nowiki> -Anonymous, May 12, 2022</blockquote>

<blockquote><nowiki></nowiki> -Anonymous, May 12, 2022</blockquote>

<blockquote><nowiki></nowiki> -wr, May 23, 2022</blockquote>

<blockquote><nowiki></nowiki> -Anonymous, Sep 30, 2022</blockquote>

== Works ==
{| class="wikitable"
|-
|BuxWV
|1
|Accredite gentes, accurrite populi
|incipit:<ref><nowiki>\clef bass << \relative e { r4 e g4. a16 b c4 c r4 r8 e c4. } \\ \relative c { c1 1 1*3/8 } \\ \relative e' { <e g>1~1 <e\laissezVibrer g>1*3/8 } >></nowiki></ref>
|-
|BuxWV
|2
|Afferte Domino gloriam honorem
|incipit:<ref><nowiki>\clef bass \time 3/4 << \relative f { r4 r f a4. bes8 c4 a f } \\ \relative f, { f2. f~f } >> \bar ""</nowiki></ref>
|-
|BuxWV
|3
|All solch dein Güt' wir preisen
|incipit:<ref><nowiki>\key bes \major << \relative g' { r4 g c d8 ees ees4 f8 g8 4 } \\ \relative g' { r2 r4 g c d8 ees ees4 } >></nowiki></ref>
|-
|BuxWV
|4
|Alles, was ihr tut mit Worten oder mit Werken
|incipit:<ref><nowiki>\key g \major \partial 2 << \relative b'' { b2~2 a4. g8 a2 } \\ \relative d' { d2~2 c4. b8 c2 } \\ \relative g'' { g2 e1 fis2 } \\ \relative g' { g2~2 a2~2 } >></nowiki></ref>
|-
|BuxWV
|5
|Also hat Gott die Welt geliebet
|incipit:<ref><nowiki>\key g \major \time 3/4 << \relative d'' { d2. e4 fis2 g2. a4. } \\ \relative g { g2. 4 a2 g2. fis \bar "" } \\ \relative b' { b2. b4 c2 b2. a2. } >></nowiki></ref>
|-
|BuxWV
|6
|An filius non est Dei, fons gratiae salus rei
|incipit:<ref><nowiki>\clef alto \relative b { r4 4 4 4 <ais cis fis>4 4 4 }</nowiki></ref>
|-
|BuxWV
|7
|Aperite mihi portas justitiae
|incipit:<ref><nowiki>\key f \major << \relative c'' { \tuplet 3/2 4 { <a c>8 <bes d> <c e> <d f> <e g> <f a> <g bes> <f a> <e g> <f a>4. } } \\ \relative f' { \tuplet 3/2 4 { f4 e8 d4 c8 bes4 c8 f4. } } >></nowiki></ref>
|-
|BuxWV
|8
|Att du, Jesu, will mig höra
|incipit:<ref><nowiki>\key bes \major \time 3/2 << \relative ees'' { r2 ees c g'2. f4 ees d ees2 } \\ \relative c' { c1. b c1.*1/3 } \\ \relative c'' { r2 c ees d2 1 c2 } >></nowiki></ref>
|-
|BuxWV
|9
|Beenke Mensch, das Ende, bedenke deinen Tod
|incipit:<ref><nowiki>\key bes \major \partial 2 << \relative bes'' { bes2 bes a4. g8 fis2 g\laissezVibrer } \\ \relative g { g2 c1~2 bes } \\ \relative g'' { g4. f8 ees1 d } \\ \relative d'' { d2~2 c4. bes8 a2 bes\laissezVibrer } >></nowiki></ref>
|-
|BuxWV
|10
|Befiehl dem Engel, daß er komm
|incipit:<ref><nowiki><< \relative c'' { c8. d16 e8. f16 e4 r8 e8 d } \\ \relative a' { a4 a, a c b } \\ \\ \relative a' { a8. b16 c8. d16 c8. b16 a8 a' a8. } >></nowiki></ref>
|-
|BuxWV
|11
|Canite Jesu nostro citharae, cymbala, organa
|incipit:<ref><nowiki>\time 3/4 \relative c'' { c4. bes8 a4 g4. 8 4 <c a>4. }</nowiki></ref>
|-
|BuxWV
|12
|Cantate Domino canticum novum
|incipit:<ref><nowiki>\key g \major \relative d'' { r8 \autoBeamOff d8 b g d'8. 16 b8 } \addlyrics { Can -- ta -- te Do -- mi -- no, }</nowiki></ref>
|-
|BuxWV
|13
|Das neugeborne Kindelein, das herzeliebe Jesulein
|incipit:<ref><nowiki>\relative a'' { <a e c>4 r8 8 8 <c e, c> 8. <a f c>16 <gis e b>8. }</nowiki></ref>
|-
|BuxWV
|14
|Dein edles Herz, der Liebe Thron
|incipit:<ref><nowiki>\key c \minor << \relative c'' { c4 c8. b16 c2 ees8. } \\ \relative c' { c4 d ees2 g,4 } \\ \relative g' { g4 4 2 4 } \\ \relative ees' { ees4 d c2 8 } >></nowiki></ref>
|-
|BuxWV
|15
|Der Herr ist mit mir, darum fürchte ich mich nicht
|incipit:<ref><nowiki>\key c \minor \clef bass c4. \clef treble \relative g'' { <g ees c,>8 <c ees, aes,,>4} << \relative c''' { <c ees,>8. <d aes>16 } \\ \relative aes { aes8 f } >> <g g'' b''>4</nowiki></ref>
|-
|BuxWV
|16
|Dies ist der Tag
|incipit:<ref><nowiki>\key g \major << \relative d'' { d4. 8 g4 8. f16 e4 } \\ \relative b' { b4. 8 8. c16 d4 g, } \\ \\ \relative g' { g2 e4 b c } >></nowiki></ref>
|-
|BuxWV
|17
|Dixit Dominus Domino meo
|incipit:<ref><nowiki>\relative g'' { <g e g, e>4 r8 8 <g c, a e>4 r8 <f c a d,> } << \relative f'' { f8 e } \\ { <d' g' b'>4 } >></nowiki></ref>
|-
|BuxWV
|18
|Domine, salvum fac regem et exaudi nos
|incipit:<ref><nowiki>\time 3/2 \key a \major \relative a'' { \partial 2 <a cis, a e a,>2 2 2. 4 <cis e, a, cis, a>1 }</nowiki></ref>
|-
|BuxWV
|19
|Drei schöne Dinge sing
|incipit:<ref><nowiki>\time 3/4 \relative a'' { <a f f,>4 <d, bes g>4. <e bes g>8 <f a, f>2. }</nowiki></ref>
|-
|BuxWV
|20
|Du Frieden - Fürst, Herr Jesu Christ
|incipit:<ref><nowiki>\key g \minor << \relative f'' { f4 fis8 g16 a bes8 d,16 ees f4~8*2 } \\ \relative bes' { bes4 a g d ees } \\ \relative d'' { d4 c bes4. c16 d g,4 } >></nowiki></ref>
|-
|BuxWV
|21
|Du Frieden - Fürst, Herr Jesu Christ
|incipit:<ref><nowiki>\key g \major \relative b'' { b2~ <g e> <a fis> }</nowiki></ref>
|-
|BuxWV
|22
|Du Lebensfürst, Herr Jesu Christ
|incipit:<ref><nowiki>\key a \major \relative a { \repeat tremolo 2 <a cis a' cis e>8 \repeat tremolo 2 8 \repeat tremolo 2 <gis b fis' b d>8 \repeat tremolo 2 <a cis e a cis>8 \repeat tremolo 2 <fis a fis' a cis>8 \repeat tremolo 2 <cis a' e' a cis>8 }</nowiki></ref>
|-
|BuxWV
|23
|Ecce, nunc benedicite Domino
|incipit:<ref><nowiki>\relative b' { b16 c d8 a16 b c8 b g r16 g a b <c e> }</nowiki></ref>
|-
|BuxWV
|24
|Eins bitte ich vom Herrn
|incipit:<ref><nowiki>\relative e'' { <e c>4 8. <d b>16 c4 r8 <c g'>8 <c a'> <c g'> <c f>8. 16 <c e>4 }</nowiki></ref>
|-
|BuxWV
|25
|Entreißt euch, meine Sinnen
|incipit:<ref><nowiki>\clef bass << \relative a { r4 r8 a f e16 d g a bes a a8 } \\ \relative d { d4 cis d bes8 g d' } >></nowiki></ref>
|-
|BuxWV
|26
|Erfreue dich, Erde! Du Himmel eschall!
|incipit:<ref><nowiki></nowiki></ref>
|-
|BuxWV
|27
|Erhalt uns, Herr, bei deinem Wort
|incipit:<ref><nowiki><< \relative e'' { e8 f16 g a4 g r8 a f } \\ \relative c'' { c4~16 d c d e4 r8 a, b } >></nowiki></ref>
|-
|BuxWV
|28
|Fallax mundus ornat vultus
|incipit:<ref><nowiki>\key c \minor << \relative ees'' { r4 ees g4. d8 ees4 g c2\laissezVibrer } \\ \relative c' { c1 c2. ees4 } \\ \\ \relative c'' { r4 c ees4. b8 c4 ees2 g4 } >></nowiki></ref>
|-
|BuxWV
|29
|Frohlocket mit Händen
|incipit:<ref><nowiki>\time 6/4 \partial 1 \relative g' { <g c>4 <g b d>4. 8 <g b>4 <g c>4 4 } \addlyrics { Froh -- lok -- ket, froh -- lok -- ket, }</nowiki></ref>
|-
|BuxWV
|30
|Fürchtet euch nicht, siehe ich verkündige euch große Freude
|incipit:<ref><nowiki>\time 3/4 \relative f' { f4 a c a4. g8 f4 c' }</nowiki></ref>
|-
|BuxWV
|31
|Fürwahr, er trug unsere Krankheit
|incipit:<ref><nowiki>\key c \minor \relative c' { r8 <c g' c c ees>8 8 8 <c g' c ees g>8 8 8 8 4. }</nowiki></ref>
|-
|BuxWV
|32
|Gen Himmel zu dem Vater mein
|incipit:<ref><nowiki>\key g \major << \relative d'' { d8 b16 d d8 g,16 d' e8 g,16 e' d g, c } \\ \relative g' { g4 b, c b8 a \bar "" } >></nowiki></ref>
|-
|BuxWV
|33
|Gott fähret auf mit Jauchzen
|incipit:<ref><nowiki>\relative c'' { r4 c c g c f e d c2 }</nowiki></ref>
|-
|BuxWV
|34
|Gott hilf mir, denn das Wasser geht mir bis an die Seele
|incipit:<ref><nowiki>\key c \minor << \relative g'' { g8 g f f <g ees>8[ 8] <f d>8 } \\ \relative c' { c2 c \bar "" } \\ \relative c' { c1\laissezVibrer } >></nowiki></ref>
|-
|BuxWV
|35
|Herr, auf dich traue ich
|incipit:<ref><nowiki>\time 3/4 << \relative e'' { e8 e c c a a f' e d } \\ \relative a' { a2. a4 <f a> } >></nowiki></ref>
|-
|BuxWV
|36
|Herr, ich lasse dich nicht
|incipit:<ref><nowiki>\key bes \major << \relative d'' { <f d>2 <ees g>2~4 <f aes>8 <ees g> <d f>2 } \\ \relative bes' { bes2 g4 ees bes1 } >></nowiki></ref>
|-
|BuxWV
|37
|Herr, nun läßt du deinen Diener in Frieden fahren
|incipit:<ref><nowiki><< \relative g'' { g4 f e2 r4 g f2 e1 } \\ \relative e'' { e4 d c2 r4 c4 c4. b8 c1 } >></nowiki></ref>
|-
|BuxWV
|38
|Herr, wenn ich nur dich hab
|incipit:<ref><nowiki>\key g \major << \relative g' { r4 g4 r4 a r8 b8 b cis d2 } \addlyrics { Herr, Herr, wenn ich nur dich } \\ \relative g' { g2 fis e b } >></nowiki></ref>
|-
|BuxWV
|39
|Herr, wenn ich nur dich habe
|incipit:<ref><nowiki>\key g \major << \relative b' { 4 r8 8 8 <a c>8 8 <g b>16 <fis a> <g b>4. } \\ \relative g' { g4 r8 b, c4 d g,8 a b } >></nowiki></ref>
|-
|BuxWV
|40
|Herren var Gud - Der Herr erhöre dich
|incipit:<ref><nowiki><< \relative b' { r4 b c b e2 } \\ \relative e' { e2 r2 r4 <e gis>4 } >></nowiki></ref>
|-
|BuxWV
|41
|Herzlich lieb hab ich dich, o Herr
|incipit:<ref><nowiki><< \relative c'' { r8 <c e>8 8 8 4 r8 b8~8 a a4. } \\ \relative c' { r8 <c g'>8 8 8 <d g>4 r8 8 <c e c'>2 } >></nowiki></ref>
|-
|BuxWV
|42
|Herzlich tut mich verlangen
|incipit:<ref><nowiki><< \relative e'' { r2 r8 e a8. g16 f4 } \\ \relative a' { a2~8. g16 f8. e16 d4 } \\ \\ \relative a' { r8 a e'8. d16 c2~16 d c b } >></nowiki></ref>
|-
|BuxWV
|43
|Heut triumphieret Gottes Sohn
|incipit:<ref><nowiki>\time 6/4 \relative e'' { r4 r <e g>4 <e c'> <c e>4. <d f>8 <e g>4 <e, c'> }</nowiki></ref>
|-
|BuxWV
|44
|Ich bin die Auferstehung und das Leben
|incipit:<ref><nowiki>\time 3/4 \partial 4 \relative c' { <c g' c e>4 <d g b d> r4 <d a' d f> <e a c e> }</nowiki></ref>
|-
|BuxWV
|45
|Ich bin eine Blume zu Saron
|incipit:<ref><nowiki>\time 3/4 \key a \major \relative a'' { <a cis,>4. 8 <a d,>8 8 <a e>2 4 }</nowiki></ref>
|-
|BuxWV
|46
|Ich habe Lust abzuscheiden
|incipit:<ref><nowiki>\time 3/2 \key c \minor \relative c' { <c ees' g>2 <bes d' g> <aes c' f> <g b' f'>1 }</nowiki></ref>
|-
|BuxWV
|47
|Ich habe Lust abzuscheiden und bei Christo zu sein
|incipit:<ref><nowiki>\time 3/2 \key c \minor << \relative ees'' { <ees g>1. <f aes>2 <ees g>2. <d f>4 <ees g>1. } \\ \relative c' { c1.~c~c } >></nowiki></ref>
|-
|BuxWV
|48
|Ich halte es dafür, daß dieser Zeit Leiden der Herrlicnkeit nicht wert sei
|incipit:<ref><nowiki>\key f \major \relative bes' { <bes d,>2 2 r2 <bes g> <c ees,>4 <bes d,> <a c,> <g bes,> }</nowiki></ref>
|-
|BuxWV
|49
|Ich sprach in meinem Herzen
|incipit:<ref><nowiki>\clef alto << \relative g' { g8 e16 g g8 d16 g g8 c,16 g' f } \\ \relative c' { c4 b a } >></nowiki></ref>
|-
|BuxWV
|50
|Ich suchte des Nachts in meinem Bette
|incipit:<ref><nowiki>\clef bass \key f \major << \relative d' { r4 r8 d8 d2 d8 8 8 8 8 } \\ \relative g, { g4 a bes c d g, g' } >></nowiki></ref>
|-
|BuxWV
|51
|Ihr lieben Christen, freut euch nun
|incipit:<ref><nowiki>\key d \major << \relative a'' { a8 16 16 d,8 a' b e,16 fis g8 fis16 e <fis d>8 } \\ \relative d' { d4 fis g e d } >></nowiki></ref>
|-
|BuxWV
|52
|In dulci jubilo, nun singet und seid froh!
|incipit:<ref><nowiki>\time 3/2 \key f \major \partial 2 \relative f' { f2 <f d>1 <g e>2 <a f>2. <c g>4( 2) <c g>2. } \addlyrics { In dul -- ci ju -- bi -- lo }</nowiki></ref>
|-
|BuxWV
|53
|In te, Domine, speravi. Non confundar in aeternum
|incipit:<ref><nowiki>\clef bass \relative c { c8 d e c f d g g, c d] } \clef treble \relative c'' { <c g>8[ <c e,>] } \addlyrics { In te, }</nowiki></ref>
|-
|BuxWV
|54
|Ist es recht, daß man dem Kaiser Zinse gebe oder night?
|incipit:<ref><nowiki>\key bes \major \relative f' { f8 g16 a bes8 c d ees <f d>8 }</nowiki></ref>
|-
|BuxWV
|55
|Je höher du bist, je mehr dich demütige
|incipit:<ref><nowiki>\key d \major \time 3/4 << \relative fis'' { fis4 b4. cis8 ais4 fis ais b } \\ \relative b { b4 g2 fis2 4 g } \\ \relative d'' { d2 e4 fis2 4 d } >></nowiki></ref>
|-
|BuxWV
|56
|Jesu dulcis memoria
|incipit:<ref><nowiki>\time 6/8 \key e \minor << \relative b'' { r8 b8. 16 g8 g e e4 dis16 e e8 } \\ \relative e' { e4 dis8 e4 g8 a fis4 e4.*1/3 } \\ \\ \relative g' { s4. r8 g g a fis8. e16 e4*1/2 } >></nowiki></ref>
|-
|BuxWV
|57
|Jesu dulcis memoria
|incipit:<ref><nowiki>\key g \major << \relative g'' { <g b>2~16 <fis a> <e g> <d fis> <cis e>8. <d fis>16 <d d>2*1/2 } \\ \relative g { g4 g' e a fis } >></nowiki></ref>
|-
|BuxWV
|58
|Jesu, komm, mein Trost und Lachen
|incipit:<ref><nowiki>\key c \minor << \relative c''' { c4 c,8. d16 b4 r4 } \\ \relative c' { c4 aes g r4 } \\ \relative g'' { g4 g8. f16 g4 r4 } \\ \relative ees' { ees4. c8 d4 r4 } >></nowiki></ref>
|-
|BuxWV
|59
|Jesu, meine Freud und Lust
|incipit:<ref><nowiki>\time 6/4 \key a \major << \relative c'' { <cis e>4. 8 <a cis>4 <gis b>4. <gis cis>8 <a d>4 <d e,>4 <a cis>4. } \\ \relative a' { a4 e e e4. 8 d4 b'8 a e4. } >></nowiki></ref>
|-
|BuxWV
|60
|Jesu, meine Freude, meines Herzens Weide
|incipit:<ref><nowiki>\key e \minor << \relative b'' { b4 g e8 e dis dis e4 fis g8 } \\ \relative e' { e2. b'4 c a g8 } >></nowiki></ref>
|-
|BuxWV
|61
|Jesu, meiner Freuden Meister
|incipit:<ref><nowiki><< \new Voice { \relative e' {\voiceOne e4 e8 b'8 4 8 e8 e4. a,8 b4 g } \addlyrics { Je -- su, __ _ mei -- ner __ _ Freu -- den Mei -- ster } } \new Voice { \voiceTwo \relative e' { <e g>4 4 <dis fis>4 4 <cis g'>4. <dis fis>8 <g, g'>4 4 } } >></nowiki></ref>
|-
|BuxWV
|62
|Jesu, meines Lebens Leben
|incipit:<ref><nowiki><< \relative f'' { f4 cis d8. 16 c8. bes16 a8 } \\ \relative f' { f4 r8 e8 d4 g, a4*1/2 } \\ \relative f'' { d4 e f g c,4*1/2 } \\ \relative a' { a4. g8 f8 a g4 f4*1/2 } >></nowiki></ref>
|-
|BuxWV
|63
|Jesulein, du Tausendschön, Blümlein aus dem Himmelsgarten
|incipit:<ref><nowiki>\relative c' { <c g' c e g>8. 16 4 8. 16 4 <c e' g>8. <d d' f>16 <e c' e>8 }</nowiki></ref>
|-
|BuxWV
|64
|Jubilate Domino omnis terra
|incipit:<ref><nowiki>\key d \major << \relative a' { r8 a16 b a8. g16 fis8 16 16 8 g16 a d,8 } \\ \relative d' { d4 cis d4. e16 fis g8 } >></nowiki></ref>
|-
|BuxWV
|65
|Klinget mit Freuden, ihr klaren Klarieren (BuxWV 119)
|incipit:<ref><nowiki></nowiki></ref>
|-
|BuxWV
|66
|Kommst du, kommst du, Licht der Heiden
|incipit:<ref><nowiki>\key bes \major << \relative f'' { f2 r4 bes aes2 g4.*2/3 } \\ \relative bes { bes2 r4 g4 f bes ees,2*1/2 } \\ \relative d'' { d2 r4 ees4~4. d8 ees4.*2/3 } \\ \relative d' { d2 r4 bes4 c bes bes2*1/2 } \\ \relative f' { f2 r4 g aes f ees } >></nowiki></ref>
|-
|BuxWV
|67
|Lauda anima mea Dominum!
|incipit:<ref><nowiki>\time 3/4 \relative c' { <c e' g>4 <a c' f>4. 8 <g b' f'>4. 8 <a c' e>4 4 <f a' d>4. }</nowiki></ref>
|-
|BuxWV
|68
|Lauda Sion Salvatorem
|incipit:<ref><nowiki>\relative a' { a8. c16 b8. d16 c16 d c b a c d e <a, c>8. }</nowiki></ref>
|-
|BuxWV
|69
|Laudate, pueri, Dominum, laudate nomen Domini
|incipit:<ref><nowiki>\key f \major \relative a { r8 <a f' a>8 <d f a>8. <d d g>16 <cis e a>8. 16 4 r8 }</nowiki></ref>
|-
|BuxWV
|70
|Liebster, meine Seele saget mit durchauss verliebtem Sinn
|incipit:<ref><nowiki><< \relative e'' { e16 g f a g8 f16 e d8 g g8.*2/3 } \\ \relative g' { r4 g16 b a c b8 a16 g c8 } >></nowiki></ref>
|-
|BuxWV
|71
|Lobe den Herrn, meine Seele
|incipit:<ref><nowiki>\time 6/4 \key a \major <a e' a' cis'' e''>2. 4 4 4 1.~1.</nowiki></ref>
|-
|BuxWV
|72
|Mein Gemüt erfreuet sich
|incipit:<ref><nowiki><< \relative g'' { g4~16 a g f e8 a d, g e } \\ \relative e'' { e4. e16 d c8 c c8. b16 c8 } >></nowiki></ref>
|-
|BuxWV
|73
|Mein Herz ist bereit, Gott, Daß ich singe und lobe
|incipit:<ref><nowiki>\key f \major \partial 2 << \relative c'' { c2 f2. ees4 d1 } \\ \relative f' { f2 d a bes1 } \\ \relative a' { a2~4 bes c2 bes1 } \\ \relative f' { f2 1 1 }>></nowiki></ref>
|-
|BuxWV
|74
|Meine Seele, willtu ruhn
|incipit:<ref><nowiki>\key g \major << \relative g'{ r4 g4:8 d'4:8 <d fis, d>4:8 4:8 4 } \\ \relative g' { g4 e b d <g g,>2. } >></nowiki></ref>
|-
|BuxWV
|75
|Membra Jesu Nostri
|incipit:<ref><nowiki>\key bes \major << \relative g'' { g2 2 8 8 8 a16 b c2*1/4\laissezVibrer } \\ \relative c' { c2~2 2 8 } \\ \relative ees'' { ees2 2 r2 ees8 } >></nowiki></ref>
|-
|BuxWV
|76
|Mit Fried und Freud ich fahr dahin
|incipit:<ref><nowiki>\time 4/2 <<\relative d' { d1 a'2 a g } \\ \relative a { r4 a f a8 b c2. d8 c bes2 } \\ \relative f' { r2 r4 f e f8 g a4 f g2 } >></nowiki></ref>
|-
|BuxWV
|77
|Nichts sol uns scheiden von der Liebe Gottes
|incipit:<ref><nowiki>\key f \major << \relative a'' { a4 g8 a16 e f4 e8 f16 cis d4 } \\ \relative d' { d8 f e cis d d, r4 d'4 } \\ \\ \relative a'' { r2 a4 g8 a16 e f8. } >></nowiki></ref>
|-
|BuxWV
|78
|Nimm von uns, Herr, du treuer Gott
|incipit:<ref><nowiki>\key e \minor << \relative b'' { b2 4. fis8 g2 4 dis e } \\ \relative e' { e2 dis e2. b4 e4 } \\ \relative g'' { g2 fis4 b,4 1 4 } \\ \relative b' { b2 2 2. 4 4 } \\ \relative e' { e2 fis e2. fis4 g } >></nowiki></ref>
|-
|BuxWV
|79
|Nun danket alle Gott
|incipit:<ref><nowiki>\time 3/2 << \relative c'' { <c g>2 <e c> <g e> <e c> <c g> <d g> <e a> } \\ \relative c' { c1 2 1 b2 c2. } >></nowiki></ref>
|-
|BuxWV
|80
|Nun freut euch, ihr Frommen, mit mir
|incipit:<ref><nowiki>\key g \major << \relative d'' { d2. 4 e2. fis4 g1 } \\ \relative g' { <g b>1~2 <a c> <g b>1 } >></nowiki></ref>
|-
|BuxWV
|81
|Nun laßt uns Gott dem Herren Dank sagen
|incipit:<ref><nowiki>\partial 2. \relative c'' { <c g e>4 4 4 <a f c> <c g e> <c a f>8 } \addlyrics { Nun lasst uns Gott dem Her- }</nowiki></ref>
|-
|BuxWV
|82
|O clemens, o mitis, o coelestis Pater
|incipit:<ref><nowiki>\key bes \major \time 3/4 \partial 4 \relative c'' { <c g ees>4 4 4 4 <c g c,>4 4 <c aes c,> <ees g, c,> }</nowiki></ref>
|-
|BuxWV
|83
|O dulcis Jesu, o amor cordis mei
|incipit:<ref><nowiki>\partial 2 \key e \minor <<\relative b'' { 2 r8 <b, g>8 <g' e>4 r8 <e c> <c' a>4 } \\ \relative e' { e2 r4 r8 e c'4 r8 a b4. } >></nowiki></ref>
|-
|BuxWV
|84
|O fröhliche Stunden, o fröhliche Zeit
|incipit:<ref><nowiki>\time 6/8 << \relative a' { a8. b16 cis d cis8. b16 a8 } \\ \repeat unfold 6 a'8 >></nowiki></ref>
|-
|BuxWV
|85
|O fröhliche Stunden, o herrliche Zeit
|incipit:<ref><nowiki>\time 6/4 \relative c' { <c g' c e>4 4 4 <a c a' c f>4 4 4 4 }</nowiki></ref>
|-
|BuxWV
|86
|O Gott, wir danken deiner Güt'
|incipit:<ref><nowiki>\time 3/2 << \relative e'' { e2 e e f2. e4 d2 e2. } \\ \relative a' { a2 gis a d,1 g2 c,1*3/4 } \\ \relative c'' { c2 b c c1 b2 b1*3/4 } >></nowiki></ref>
|-
|BuxWV
|87
|O Gottes Stadt, o güldnes Licht
|incipit:<ref><nowiki>\time 3/4 \key c \minor \relative ees' { <ees g c>4 <d f c'>4. <d f b>8 <es g c>2. <c f aes>4 <c ees g>4. }</nowiki></ref>
|-
|BuxWV
|88
|O Jesu mi dulcissime
|incipit:<ref><nowiki>\time 3/4 \key e \minor \relative e' { <e g' b>2 <dis fis' b>4 <e e' g>4 <e e' e> c'' b b }</nowiki></ref>
|-
|BuxWV
|89
|O lux beata, treintas et principalis unitas
|incipit:<ref><nowiki><< \relative a'' { a4 gis a2~4 c d2 c2 r4 } \\ \relative a { a1~2 b a r4 } \\ \relative e'' { e4 d e2~4 a a4. gis8 a2 r4 } \\ \relative c'' { c4 b c2~4 e d2 e2 r4 } >></nowiki></ref>
|-
|BuxWV
|90
|O wie selig sind, die zu dem Abendmahl des Lammes berufen sind
|incipit:<ref><nowiki>\time 3/4 \clef bass << \relative e' { R2. e4. e8 d c b4. } \\ \relative a, { a2 b4 c2 d4 e2.*1/2\laissezVibrer } \\ \relative a { a4. a8 g f e4. c'8 b a gis4. } >></nowiki></ref>
|-
|BuxWV
|91
|Pange lingua gloriosi, corporis mysterium
|incipit:<ref><nowiki>\partial 2 \relative b { <g e' b' g'>4. 8 <a fis' a cis'>4 4 r8 <a fis' a dis>8 8 8 4. 8 2 }</nowiki></ref>
|-
|BuxWV
|92
|Quemadmodum desiderato cervus
|incipit:<ref><nowiki>\key f \major \clef bass << \relative a { r4 a4 8. 16 8. 16 d4 c4.*2/3 } \\ \relative f, { f4 f'8 e d4 8 c bes4 a } \\ \\ \relative f { r4 f4 8. 16 8. 16 f2.*2/3 } >></nowiki></ref>
|-
|BuxWV
|93
|Salve desideratum, salve clamor gentium
|incipit:<ref><nowiki>\key c \minor \time 3/4 << \relative e'' { R2. r4 ees4. 8 aes4. } \\ \relative c' { c2.~4 c4 4 f2*3/4 } \\ \relative g' { r4 g4. 8 c2. c2*3/4 } >></nowiki></ref>
|-
|BuxWV
|94
|Salve Jesu, Patris gnats unigenite
|incipit:<ref><nowiki>\key d \major \relative d'' { d4 a8 d e fis g fis16 e fis4. }</nowiki></ref>
|-
|BuxWV
|95
|Schaffe in mir, Gott, ein rein Herz
|incipit:<ref><nowiki>\key bes \major << \relative f'' { f8. 16 8. 16 bes2~4 } \\ \relative d'' { r2 d8. 16 8. 16 g4 } >></nowiki></ref>
|-
|BuxWV
|96
|Schwinget euch himmelan, Herzen und Sinnen
|incipit:<ref><nowiki>\key g \major \time 6/8 << \relative b'' { b4. 4. a4. a b4 } \\ \relative g' { g4. b, c d g,4 } \\ \\ \relative d'' { <d g>4. 4. <e g>4. <d g>4 fis8 <g d>4 } >></nowiki></ref>
|-
|BuxWV
|97
|Sicut Moses exaltavit serpentum
|incipit:<ref><nowiki>\clef alto \key d \major << \relative a' { r8 a8 4 d4. c8 b4. cis!8 d2 } \\ \relative d' { r8 d8 cis4 b8 g fis4 g4 e d2 } \\ \\ \relative fis' { r8 fis e4 d8 b' a4 a8 g g8. fis16 fis2 } >></nowiki></ref>
|-
|BuxWV
|98
|Singet dem Herrn ein neues Lied
|incipit:<ref><nowiki>\time 3/4 << \relative e'' { e4 b4. d8 c4. e8 g4 g, } \\ \relative c'' { c4 g2 a e4~4 } >></nowiki></ref>
|-
|BuxWV
|99
|Surrexit Christus hodie
|incipit:<ref><nowiki>\key g \major << \relative b'' { r2 <c a>1 2. } \\ \relative g' { g2 2~2 fis g e2*1/2 } \\ \\ \relative d'' { r2 d2 e d a'4 g g2*1/2 } >></nowiki></ref>
|-
|BuxWV
|100
|Wachet auf, rust uns die Stimme
|incipit:<ref><nowiki>\key d \major \time 3/2 \partial 2 << \relative a' { a4 d <d a fis>2 2. 4 } \\ \relative d' { <d fis a,>2 a4 d d2. 4 } >></nowiki></ref>
|-
|BuxWV
|136
|Praeludium in C Major
|incipit:<ref><nowiki><< \relative g { r16 g a b c d e f g e f g a } \\ \relative g { r8 r16 g a b c d e c d e f } >></nowiki></ref>
|-
|BuxWV
|137
|Praeludium in C Major
|incipit:<ref><nowiki>\clef bass \relative c { r16 c e c g'8 g, r g c c, r4 }</nowiki></ref>
|-
|BuxWV
|138
|Praeludium in C Major
|incipit:<ref><nowiki>\relative c'' { r16 c b a g e f g c, d e f g }</nowiki></ref>
|-
|BuxWV
|139
|Praeludium in D Major
|incipit:<ref><nowiki><< \relative a' { r8 r16 a d fis d a a'8 r8 r4 r8 } \\ \relative d' { s2 r16 d fis a d a fis d d'8 } >></nowiki></ref>
|-
|BuxWV
|140
|Praeludium in D Minor
|incipit:<ref><nowiki>\relative g' { r16 <g e'> <a f'> <g e'> <f d'> <g e'> <f d'> <e cis'> <f d'> }</nowiki></ref>
|-
|BuxWV
|141
|Praeludium in E Major
|incipit:<ref><nowiki>\key e \major \relative b' { r16 b cis dis e b cis b32 a b16 a32 gis e'16~32 }</nowiki></ref>
|-
|BuxWV
|142
|Praeludium in E Minor
|incipit:<ref><nowiki>\key e \minor \relative e' { r16 e g b g e c' a b e cis dis e }</nowiki></ref>
|-
|BuxWV
|143
|Praeludium in E Minor
|incipit:<ref><nowiki>\key e \minor \clef bass \relative e, { e4~16 e' dis e b b' a b e,8 }</nowiki></ref>
|-
|BuxWV
|144
|Praeludium in F Major
|incipit:<ref><nowiki>\clef bass \key f \major {f16 bes a bes g c' bes c' } \clef treble << \relative c' { c16 f e f d } \\ {a4 bes8} >></nowiki></ref>
|-
|BuxWV
|145
|Praeludium in F Major
|incipit:<ref><nowiki>\relative f'' { r16 e f e f c d bes c a bes g a }</nowiki></ref>
|-
|BuxWV
|146
|Praeludium in F-Sharp Minor
|incipit:<ref><nowiki>\key fis \minor \relative fis'' { \repeat percent 4 { fis16 a eis gis } fis16 }</nowiki></ref>
|-
|BuxWV
|147
|Preludium in G Major
|incipit:<ref><nowiki>\clef bass \relative g { r8 g fis16 g e fis d g b, d c g' a, }</nowiki></ref>
|-
|BuxWV
|148
|Praeludium in G Minor
|incipit:<ref><nowiki>\key g \minor << \relative d'' { r16 d ees c d bes c a bes g a fis g } \\ \relative d' { r4 r16 d ees c d bes c a bes } >></nowiki></ref>
|-
|BuxWV
|149
|Praeludium in G Minor
|incipit:<ref><nowiki>\key g \minor \relative g'' { \tuplet 6/4 4 { r16 fis g a g fis g cis, d e d cis d }}</nowiki></ref>
|-
|BuxWV
|150
|Praeludium in G Minor
|incipit:<ref><nowiki>\clef alto \key g \minor \relative g { g8. 16 a g a32 g a fis g16 d bes' g d' }</nowiki></ref>
|-
|BuxWV
|151
|Praeludium in A Major
|incipit:<ref><nowiki>\key a \major \relative e'' { e8. a16 cis, d e b cis d a b cis }</nowiki></ref>
|-
|BuxWV
|152
|Praeludium quarti toni
|incipit:<ref><nowiki>\relative e'' { e8 d16 c b c d e gis, a b a gis }</nowiki></ref>
|-
|BuxWV
|153
|Praeludium in A minor
|incipit:<ref><nowiki>\clef alto << \relative e' { r2 e16 a gis b a } \\ \relative e { e16 a gis b a c b d c8 b16 d c } >></nowiki></ref>
|-
|BuxWV
|155
|Toccata in D Minor
|incipit:<ref><nowiki>\relative d'' { d8. a16 bes a f g } << \relative a' { <a f>4 }\\ \relative cis' {r16 cis d d, } >></nowiki></ref>
|-
|BuxWV
|156
|Toccata in F Major
|incipit:<ref><nowiki>\relative c' { r32 c d e f g a bes c a bes c d e f g a16 }</nowiki></ref>
|-
|BuxWV
|157
|Toccata in F Major
|incipit:<ref><nowiki>\relative f' { f16 c d e f g a bes c a bes c d e f g a c, d e f }</nowiki></ref>
|-
|BuxWV
|158
|Praeambulum in A Minor
|incipit:<ref><nowiki>\relative e'' { e4. d16 c b8 c16 d gis,8 a16 b e,4 }</nowiki></ref>
|-
|BuxWV
|159
|Ciacona in C Minor
|incipit:<ref><nowiki>\key c \minor \time 3/4 << \relative c'' { r8 c16 b c4. d8 b8 } \\ \relative e' {r8 ees16 d ees8. d16 c4 d8 } \\ \relative g' { r4 g f g8 } >></nowiki></ref>
|-
|BuxWV
|160
|Ciacona in E Minor
|incipit:<ref><nowiki>\key e \minor \time 3/4 << \relative a' { r8 a b4. c8~8 } \\ \relative a { r4 r r8 a b } \\ \relative fis' { r4 r8 fis g4 fis8 } >></nowiki></ref>
|-
|BuxWV
|161
|Passacaglia in D Minor
|incipit:<ref><nowiki>\partial 2 \key d \minor \time 3/2 << \relative f'' { r4 f~f e2. r4 g8 a f4 } \\ \relative d' { r4 d~d2 cis r4 e~e } \\ \relative a' { r4 a4~1 r4 a~a }>></nowiki></ref>
|-
|BuxWV
|162
|Praeludium manualiter in G Major
|incipit:<ref><nowiki>\relative g'' { g8 a16 g fis a g fis g b a g fis e d cis d }</nowiki></ref>
|-
|BuxWV
|163
|Praeludium manualiter in G Minor
|incipit:<ref><nowiki>\relative g'' { g16 aes g f ees d c bes a g fis g~ g32 a }</nowiki></ref>
|-
|BuxWV
|164
|Toccata manualiter in G Major
|incipit:<ref><nowiki>\relative g' { g8. a16 b fis g d e fis b, d a }</nowiki></ref>
|-
|BuxWV
|165
|Toccata manualiter in G Major
|incipit:<ref><nowiki>\clef bass \relative g { <g g, d''>1 r16 g fis g d g b, d g,2 }</nowiki></ref>
|-
|BuxWV
|166
|Canzona in C Major
|incipit:<ref><nowiki>\relative c' { c16 e d e f g f e d f e f g }</nowiki></ref>
|-
|BuxWV
|167
|Canzonetta in C Major
|incipit:<ref><nowiki>\relative g' { \repeat unfold 2 \repeat tremolo 4 { g8} a8 a e f g e f d e }</nowiki></ref>
|-
|BuxWV
|168
|Canzona in D Minor
|incipit:<ref><nowiki>\relative a' { a2 d,8 d' c bes a16 bes c8 f,16 g a8 d, }</nowiki></ref>
|-
|BuxWV
|169
|Canzonetta in E Minor
|incipit:<ref><nowiki>\relative b' { r8 b e, fis g16 fis g a g8. fis16 e8 }</nowiki></ref>
|-
|BuxWV
|170
|Canzona in G Major
|incipit:<ref><nowiki>\key g \major \relative d'' { d16 e d c b g' f g e f d e c }</nowiki></ref>
|-
|BuxWV
|171
|Canzonetta in G Major
|incipit:<ref><nowiki>\relative d'' { \repeat tremolo 2 d16 \repeat tremolo 2 b16 \repeat tremolo 2 e16 \repeat tremolo 2 a,16 \repeat tremolo 2 b16 \repeat tremolo 2 g16 \repeat tremolo 2 d'16 \repeat tremolo 2 fis,16 }</nowiki></ref>
|-
|BuxWV
|172
|Canzonetta in G Major
|incipit:<ref><nowiki>\relative d'' { r16 d d d e d e b c b c a d }</nowiki></ref>
|-
|BuxWV
|173
|Canzona in G Minor
|incipit:<ref><nowiki>\key g \minor \relative d'' { d4. g16 d ees c g' c, d bes g' bes, c }</nowiki></ref>
|-
|BuxWV
|174
|Fuga in C Major
|incipit:<ref><nowiki>\time 12/8 \relative c' { r4 c8 g' a g e4 e8 a bes a g4 g8 c4 }</nowiki></ref>
|-
|BuxWV
|175
|Fuga in G Major
|incipit:<ref><nowiki>\relative d'' { d4 d8 d e d16 c b8 b16 c d8 a d c }</nowiki></ref>
|-
|BuxWV
|176
|Fuga in B-flat Major
|incipit:<ref><nowiki>\key bes \major \relative f' { f8 16 16 8 16 16 g8 aes16 g f g ees f d }</nowiki></ref>
|-
|BuxWV
|177
|Ach Gott und Herr (2 Versus)
|incipit:<ref><nowiki><< \relative f' { r4 f8 e f g a b c } \\ { d'1 c'8 } >></nowiki></ref>
|-
|BuxWV
|178
|Ach Herr, mich armen Sünder
|incipit:<ref><nowiki>\clef bass << \relative e' { s1 s r2 e a } \\ \relative e { r1 r2 e a2. g4 f2 } \\ \\ \relative b { r2 b2 e2. d4 c1~4 } >></nowiki></ref>
|-
|BuxWV
|179
|Auf meinen lieben Gott
|incipit:<ref><nowiki>\key e \minor \relative e' { \partial 8 e8 e4. fis8 g8 g32 a b16 a8. g32 a b2 }</nowiki></ref>
|-
|BuxWV
|180
|Christ, unser Herr, zum Jordan kam
|incipit:<ref><nowiki>\relative d' { d2~8 e32 f g16 f8. e16 f2 }</nowiki></ref>
|-
|BuxWV
|181
|Danket dem Herren (3 Versus)
|incipit:<ref><nowiki>\key g \minor << \relative g' { g1 bes2*1/2 } \\ \relative c' { r4 r8 c16 b c8 d ees4~4 } >></nowiki></ref>
|-
|BuxWV
|182
|Der Tag, der ist so freudenreich
|incipit:<ref><nowiki>\clef alto \key g \major <<\relative g' { r2 g g g2*1/2 } \\ \relative g { r2 r4 g8 a b c~c b c4 } \\ \relative b { r2 r4 b8 c d e d4 e4 } >></nowiki></ref>
|-
|BuxWV
|183
|Durch Adams Fall ist ganz verderbt
|incipit:<ref><nowiki><< \relative a' { a1 a2 a } \\ \relative d' { r4 d cis d a cis d } \\ \relative f' { r4 f e f cis e f2 } >></nowiki></ref>
|-
|BuxWV
|184
|Ein feste Burg ist unser Gott
|incipit:<ref><nowiki>\relative c'' { r16 c d e c e b d c2 c4~16}</nowiki></ref>
|-
|BuxWV
|185
|Erhalt uns, Herr, bei deinem Wort
|incipit:<ref><nowiki>\key g \minor \relative g' { r16 g bes g d' a bes fis g4~16 }</nowiki></ref>
|-
|BuxWV
|186
|Es ist das Heil uns kommen her
|incipit:<ref><nowiki>\relative a' { r8 a g8. fis16 g2 g g g4. }</nowiki></ref>
|-
|BuxWV
|187
|Es spricht der Unweisen Mund wohl
|incipit:<ref><nowiki>\key g \major << \relative e' { r4 e e d8 c b4 e4~8 } \\ \relative c' { r4 c c b8 a g2 a4 } \\ \relative g' { g1 g4. a16 g f8 } >></nowiki></ref>
|-
|BuxWV
|188
|Gelobet seist du, Jesu Christ
|incipit:<ref><nowiki>\clef alto << \relative d' { d2 d4 d e2 d r8 } \\ \relative g { r1 r4 g g g a2 } >></nowiki></ref>
|-
|BuxWV
|189
|Gelobet seist du, Jesu Christ
|incipit:<ref><nowiki><< \relative b { r16 b c d g, d' e fis g2 g } \\ \relative g' { r2 r8 g e c r <c e> <g b> } >></nowiki></ref>
|-
|BuxWV
|190
|Gott der Vater wohn uns bei
|incipit:<ref><nowiki><< \relative g' { g4 g a b c c b } \\ \relative c' { c4 c~c b a2 g4 } \\ \\ \relative e' { e4 e fis g~g fis g } >></nowiki></ref>
|-
|BuxWV
|191
|Herr Christ, der einig Gottes Sohn
|incipit:<ref><nowiki>\key g \major << {g'1 g'2 b'2*1/4 } \\ \relative b { r4 b c4. d8 e b e4~e8 } >></nowiki></ref>
|-
|BuxWV
|192
|Herr Christ, der einig Gottes Sohn
|incipit:<ref><nowiki>\partial 2 \key g \major << \relative g' { g2 g4. a8 b2 } \\ \relative b { r8 b c d e4 d8 c b } \\ \relative fis' { s2 s4. fis8 g4. } >></nowiki></ref>
|-
|BuxWV
|193
|Herr Jesu Christ, ich weiß gar wohl
|incipit:<ref><nowiki>\partial 2 << \relative a' { a2 a gis a } \\ \relative d' { s2 r4 d8 c b a b4 a4 } \\ \relative a' { r4 a8 g f e f e d c d4 c4 } >></nowiki></ref>
|-
|BuxWV
|194
|Ich dank dir, lieber Herre
|incipit:<ref><nowiki>\key f \major \clef alto \relative f' { \partial 2 <f c a>2 4 4 <f d a>4 <g d~ g,~> <e d g,>8 }</nowiki></ref>
|-
|BuxWV
|195
|Ich dank dir shon durch deinen Sohn
|incipit:<ref><nowiki>\time 4/2 \key f \major \relative c' { c1 2 2 f1. d2 e1. }</nowiki></ref>
|-
|BuxWV
|196
|Ich ruf zu dir, Herr Jesu Christ
|incipit:<ref><nowiki><< \relative a' { a1 } \\ \relative a, { r16 \clef bass a16 b cis d e f g a cis, d e f g a d, } >></nowiki></ref>
|-
|BuxWV
|197
|In dulci jubilo
|incipit:<ref><nowiki>\key g \major \time 3/2 \partial 2 << \relative g' { g2 g1 a4 b8 c b2. } \\ \relative d' { d2 e1 d2~2. } >></nowiki></ref>
|-
|BuxWV
|198
|Jesus Christus, unser Heiland, der den Tod
|incipit:<ref><nowiki>\key f \major \clef alto << \relative g' { g2 g } \\ \relative c' { r2 r16 c b a g8 } \\ \relative f' { r16 f ees d c8 d ees d16 c bes8 } >></nowiki></ref>
|-
|BuxWV
|199
|Komm, Heiliger Geist, Herre Gott
|incipit:<ref><nowiki>\key f \major \relative c' { r16 c d e f g a bes c2 d }</nowiki></ref>
|-
|BuxWV
|200
|Komm, Heiliger Geist, Herre Gott
|incipit:<ref><nowiki>\key f \major << { c''1} \\ \relative e' { r16 <e g> <f a> <g bes> <f a>8 <e g> <f a>2 } >></nowiki></ref>
|-
|BuxWV
|201
|Kommt her zu mir, spricht Gottes Sohn
|incipit:<ref><nowiki>\key g \minor \clef alto << \relative d' { d2 4 4 g2. fis4 g } \\ \relative g { r2 r4 g g g d'2~4 } >></nowiki></ref>
|-
|BuxWV
|202
|Lobt Gott, ihr Christen allzugleich
|incipit:<ref><nowiki>\key g \major \partial 4 \relative g { g4 d' d d d e d8. c16 b4. }</nowiki></ref>
|-
|BuxWV
|203
|Magnificat primi toni
|incipit:<ref><nowiki>\key d \minor \relative d' { d16 e f g a b cis d e f g a r16 e,}</nowiki></ref>
|-
|BuxWV
|204
|Magnificat primi toni
|incipit:<ref><nowiki>\key d \minor \clef bass \relative e { r16 e f g f a g bes a d cis e d }</nowiki></ref>
|-
|BuxWV
|205
|Magnificat noni toni
|incipit:<ref><nowiki>\key d \minor \clef alto << \relative d' { r4 d f2~4 e8 d e4 } \\ \relative a { r2 r4 a c2. } >></nowiki></ref>
|-
|BuxWV
|206
|Mensch, willt du leben seliglich
|incipit:<ref><nowiki>\clef bass << \relative b { r4 b c2~4 b8. a16 b8} \\ \relative e { e2. fis4 g2 gis8 } >></nowiki></ref>
|-
|BuxWV
|207
|Nimm von uns, Herr, du treuer Gott (4 versus)
|incipit:<ref><nowiki><< {a'1} \\ \relative g' { r16 g f e f g f e f8 e16 d e4 } >></nowiki></ref>
|-
|BuxWV
|208
|Nun bitten wir den Heiligen Geist
|incipit:<ref><nowiki>\partial 2 << \relative g' { g4. fis16 g a2*1/4 } \\ \relative b { r8 <e c>4~8 } >></nowiki></ref>
|-
|BuxWV
|209
|Nun bitten wir den Heiligen Geist
|incipit:<ref><nowiki><< \relative g' { g1 a2 a } \\ \relative b { r2 <c~ e> <c d> } >></nowiki></ref>
|-
|BuxWV
|210
|Nun freut euch, lieben Christen gmein
|incipit:<ref><nowiki>\relative g { r8 r16 fis g a b c b g a b c }</nowiki></ref>
|-
|BuxWV
|211
|Nun komm, der Heiden Heiland
|incipit:<ref><nowiki>\clef alto \key g \minor << \relative g' { g2 g8. bes16 a8. g16 f2 } \\ \relative d' { r4 d ees2 d4 a } \\ \\ \relative bes { r4 bes4~8 g c bes a g f } >></nowiki></ref>
|-
|BuxWV
|212
|Nun lob, mein Seel, den Herren
|incipit:<ref><nowiki>\time 3/2 \partial 2 << \relative c'' { c2 c1 b2 a1 } \\ \relative g' { g2 g a g g f } \\ \\ \relative e' { e2 e1 e2 c1 } >></nowiki></ref>
|-
|BuxWV
|213
|Nun lob, mein Seel, den Herren (3 versus)
|incipit:<ref><nowiki>\clef alto \time 3/2 \partial 2 << \relative g' { g2 g1 fis2 e1*1/4 } \\ \relative g { g4 g8 a b4 g b c d fis,8 g a4 } >></nowiki></ref>
|-
|BuxWV
|214
|Nun lob, mein Seel, den Herren
|incipit:<ref><nowiki>\time 3/2 \clef alto \relative c' { r2 r2 c c2. d8 c b2 a2. }</nowiki></ref>
|-
|BuxWV
|215
|Nun lob, mein Seel, den Herren
|incipit:<ref><nowiki>\key g \major \time 3/2 \partial 2 << \relative g' { g2 g1 } \\ \relative c' { r8 c e c b2~8 b cis4 } >></nowiki></ref>
|-
|BuxWV
|216
|O lux beata trinitas (frag.)
|incipit:<ref><nowiki>\relative e'' { e8 b g e d d' d d c2 }</nowiki></ref>
|-
|BuxWV
|217
|Puer natus in Bethlehem
|incipit:<ref><nowiki>\time 3/2 r2 r2 << \relative a' { a2 a1 a2 b2. } \\ \relative c' { c2 c1 a2~a1 } \\ \\ \relative e' { e2 1 d4 e f2 } >></nowiki></ref>
|-
|BuxWV
|218
|Te Deum laudamus
|incipit:<ref><nowiki>\time 3/4 \relative b' { r16 b c d e b c a c e d c b }</nowiki></ref>
|-
|BuxWV
|219
|Vater unser im Himmelreich
|incipit:<ref><nowiki><< \relative a' { a1 a4. } \\ \relative d' { r4 d2 cis4 r4 a4*1/2 } \\ \\ \relative f' { r4 f4 e2 r4 e2*1/4 } >></nowiki></ref>
|-
|BuxWV
|220
|Von Gott will ich nicht lassen
|incipit:<ref><nowiki>\clef alto \partial 4 << \relative a { a4 e' fis g4. g8 c, } \\ \relative e { r4 r2 r4 e a } >></nowiki></ref>
|-
|BuxWV
|221
|Von Gott will ich nicht lassen
|incipit:<ref><nowiki>\partial 4 << \relative e' { r16 e fis gis a8 gis16 a b16 } \\ \relative c' { r4 r16 c b a gis8 } >></nowiki></ref>
|-
|BuxWV
|222
|Wär Gott nicht mit uns diese Zeit
|incipit:<ref><nowiki><< \relative a' { a2. b4 c2 cis d e } \\ \relative c' { r4 c f2 a1~a2. g4 } >></nowiki></ref>
|-
|BuxWV
|223
|Wie schön leuchtet der Morgenstern
|incipit:<ref><nowiki>\time 6/4 \clef bass g,1. << \relative a' { r4 \clef treble a g fis a fis }\\ {d1.} >></nowiki></ref>
|-
|BuxWV
|224
|Wir danken dir, Herr Jesu Christ
|incipit:<ref><nowiki>\clef alto \time 3/2 << \relative a { a2 a a d1 e2 f4 g f e d } \\ \relative d { s1. s1. d2 d d } >></nowiki></ref>
|-
|BuxWV
|225
|Canzonetta in A Minor
|incipit:<ref><nowiki>\relative a' { a16 a' gis a b, a' gis a c, a' gis a d, }</nowiki></ref>
|-
|BuxWV
|226
|Suite in C
|incipit:<ref><nowiki>\partial 4 \relative g' { r16 g a b } << { <e' g' c''>4 r16 } \\ { r16 \clef bass <c>16~ <c e>~ <c e g>~ <c e g c>4 } >></nowiki></ref>
|-
|BuxWV
|227
|Suite in C
|incipit:<ref><nowiki>\partial 4 << \relative c'' { c8. 16 <c g e>4 r16 g c e d2 r16 } \\ \relative c' { s4 s c4~8 a b4 c4*1/4 } \\ \\ \relative c' { r4 r8 c c,4 r16 f' g a g8. f16 e4*1/4 } >></nowiki></ref>
|-
|BuxWV
|228
|Suite in C
|incipit:<ref><nowiki>\partial 4 << \relative c'' { c8. 16 <c~ g e>4 c16 d e f e e d c g' } \\ \relative c' { r4 c8. b16 c4~4 b \bar "" } >></nowiki></ref>
|-
|BuxWV
|229
|Suite in C
|incipit:<ref><nowiki>\partial 4 \relative e'' { r8 e <e c g>4~ e16 f e d c8 g' f8. }</nowiki></ref>
|-
|BuxWV
|230
|Suite in C
|incipit:<ref><nowiki>\partial 4 \relative g' { r16 g a b <c g e>4~ c16 c b a g a g f e }</nowiki></ref>
|-
|BuxWV
|231
|Suite in C
|incipit:<ref><nowiki>\partial 4 << \relative c'' { c8. 16 <c g>2 r8 e16 a, b8. } \\ \relative e' { r4 e2 c4 g } >></nowiki></ref>
|-
|BuxWV
|232
|Suite in D
|incipit:<ref><nowiki>\partial 4 \key d \major << \relative d'' { d8. 16 d4. cis16 d e4~16 } \\ \relative d' { r4 d d,4~8 d cis4 \bar "" } \\ \relative fis' { r4 <fis a>4. r8 <g a>4. } >></nowiki></ref>
|-
|BuxWV
|233
|Suite in D Minor
|incipit:<ref><nowiki>\partial 4 \key d \minor << \relative d'' { d8. 16 4~16 e d cis d8 a8~16 a bes c bes8.*2/3 } \\ \relative d'' { r4 r8 d,8 e4 f fis g8 } \\ \relative f' { r4 <f d a'>4 g a d d4.*1/3 } >></nowiki></ref>
|-
|BuxWV
|234
|Suite in D Minor
|incipit:<ref><nowiki>\key d \minor \ottava #-1 \partial 4 << \relative d' { r8 d d4~16 f e g f4~16 a g bes a4 } \\ \relative d { r4 r8 d4. r8 d4 e8 f4 } \\ \relative f { r4 r4 f8 g a2 } >></nowiki></ref>
|-
|BuxWV
|235
|Suite in E Minor
|incipit:<ref><nowiki>\key e \minor \partial 4 \relative e' { e8. 16 <e b g>4~ e16 fis g a 4 }</nowiki></ref>
|-
|BuxWV
|236
|Suite in E Minor
|incipit:<ref><nowiki>\partial 4 \key e \minor << \relative b' { b8. 16 4~16 b c d c4 r16 fis, b a g8 } \\ \relative e' { s4 <e g>4 e r16 a fis e dis4 r16 } >></nowiki></ref>
|-
|BuxWV
|237
|Suite in E Minor
|incipit:<ref><nowiki>\partial 4 \key e \minor << \relative e' { e8. 16 e4. fis8 g e b'4~4. } \\ \relative g { s4 <g b>4. s8 s4. b8 e } >></nowiki></ref>
|-
|BuxWV
|238
|Suite in F
|incipit:<ref><nowiki>\key f \major \partial 4 \relative f' { f8. 16 <f c a>4~ f16 f' e d c8. }</nowiki></ref>
|-
|BuxWV
|239
|Suite in F
|incipit:<ref><nowiki>\key f \major \partial 4 \relative f' { f8. 16 <f c a>4~ f16 e f g a8 f16 }</nowiki></ref>
|-
|BuxWV
|240
|Suite in G
|incipit:<ref><nowiki>\key g \major \relative d' { \partial 4 r16 d e fis <g d b>4 r16 g fis e d4 }</nowiki></ref>
|-
|BuxWV
|241
|Suite in G Minor
|incipit:<ref><nowiki>\key g \minor \partial 4 \relative d'' { d8. 16 <d bes g>4 r16 d g, bes a4 }</nowiki></ref>
|-
|BuxWV
|242
|Suite in G Minor
|incipit:<ref><nowiki>\key g \minor \partial 4 \relative g' { g8. 16 <g d bes>4~ g16 ees d c d g bes g c, }</nowiki></ref>
|-
|BuxWV
|243
|Suite in A
|incipit:<ref><nowiki>\key a \major \partial 4 \relative a' { a8. 16 <a e cis>4~ a16 a gis fis e4 }</nowiki></ref>
|-
|BuxWV
|244
|Suite in A Minor
|incipit:<ref><nowiki>\key a \minor \partial 4 \relative a' { a8. 16 c,16~ <c e>16~ <c e a>8~16 a' gis a b4 }</nowiki></ref>
|-
|BuxWV
|245
|Courant simble in A Minor
|incipit:<ref><nowiki>\time 3/4 \partial 8 << \relative a' { a8 <a e c>4. b8 c4 a c4. } \\ \relative a { s8 a2~8 g f4 <e g> } >></nowiki></ref>
|-
|BuxWV
|246
|Aria
|incipit:<ref><nowiki>\time 3/2 << \relative c'' { c2. d4 e2 b2. a4 g2 } \\ \relative c' { c1 2 r4 g2.~4 } \\ \\ \relative e' { e2. f4 g2 g2 d4 c b2 } >></nowiki></ref>
|-
|BuxWV
|247
|Aria: More Palatino
|incipit:<ref><nowiki><< \relative c'' { c4 g c d e } \\ \relative e' { r4 e4~8 a a b c4 } >></nowiki></ref>
|-
|BuxWV
|248
|Aria Rofilis
|incipit:<ref><nowiki>\partial 4 \relative d' { d8 e f4 d a' d8. e16 cis2 }</nowiki></ref>
|-
|BuxWV
|249
|Aria
|incipit:<ref><nowiki>\time 3/4 \clef alto \relative c' { c4 d8. c32 d e4 r8 b e }</nowiki></ref>
|-
|BuxWV
|250
|Partite diverse una Aria d'Inventione detta La Capricciosa
|incipit:<ref><nowiki>\relative d'' { d4 d8. c32 d e4.~32 d c b a8. }</nowiki></ref>
|-
|BuxWV
|251
|7 Klavier-Suiten
|incipit:<ref><nowiki></nowiki></ref>
|-
|BuxWV
|252
|Trio Sonate I in F
|incipit:<ref><nowiki>\key f \major \relative c'' { <c a f,>4 r8 8 <c bes e,,>4 r8 8 <c a f,>4 }</nowiki></ref>
|-
|BuxWV
|253
|Trio Sonate II in G
|incipit:<ref><nowiki>\key g \major \relative b' { 2 r8 <c a> <d b> <c a>2 r8 8 8 }</nowiki></ref>
|-
|BuxWV
|254
|Trio Sonate III in A Minor
|incipit:<ref><nowiki>\relative c'' { r4 <c e,>2 8 <a c,>8 4 8 <gis b,>8 }</nowiki></ref>
|-
|BuxWV
|255
|Trio Sonate IV in B-Flat
|incipit:<ref><nowiki>\key bes \major << \relative f'' { s4 r8 \clef treble f16 16 4 r4 } \\ \relative bes, { \clef bass bes8 bes' a4 bes \clef bass d, } >></nowiki></ref>
|-
|BuxWV
|256
|Trio Sonate V in C
|incipit:<ref><nowiki><< \relative c'' { r4 c16 c c c g'4 r8 } \\ \relative c { c8 c'16 b c8 a b g c } >></nowiki></ref>
|-
|BuxWV
|257
|Trio Sonate VI in D Minor
|incipit:<ref><nowiki>\clef alto \key f \major << \relative a' { <a f>4 r8 <a e>8 <a f> <a cis,> <a d,>8. <g e>16 <a cis,>r } \\ \relative d' { d4 r8 cis d a bes4 a4*1/2 } >></nowiki></ref>
|-
|BuxWV
|258
|Trio Sonate VII in E Minor
|incipit:<ref><nowiki>\key e \minor \relative b' { b8. c16 b c b a g8 e c'16 b a c b8 }</nowiki></ref>
|-
|BuxWV
|259
|Trio Sonate I in B-Flat Major
|incipit:<ref><nowiki>\clef bass \key bes \major \time 6/8 \relative bes, { bes16 bes' a g f ees d c bes c d }</nowiki></ref>
|-
|BuxWV
|260
|Trio Sonate II in D Major
|incipit:<ref><nowiki>\key d \major \partial 2 << \relative d'' { d2~4 cis8 b cis2 d1\fermata } \\ \relative d' { <d fis>2 <e g>1 <d fis>\fermata } >></nowiki></ref>
|-
|BuxWV
|261
|Trio Sonate III in G Minor
|incipit:<ref><nowiki>\clef alto \key f \major << \relative g' { r4 r8 g g g g8. fis16 g4 } \\ \relative g { g8 a bes g c a d d, g } >></nowiki></ref>
|-
|BuxWV
|262
|Trio Sonate IV in C Minor
|incipit:<ref><nowiki>\time 3/4 \key c \minor << \relative d'' { r8 d ees f ees f g4. } \\ \relative b { r8 b c d c d es4. } >></nowiki></ref>
|-
|BuxWV
|263
|Trio Sonate V in A
|incipit:<ref><nowiki>\time 12/8 \key a \major << \relative e'' { r4 e8 4 8 cis8 e cis a4 } \\ \relative a { a4. gis a r4 } >></nowiki></ref>
|-
|BuxWV
|264
|Trio Sonate VI in E
|incipit:<ref><nowiki>\key e \major << \relative b' { b4. e16 dis e2~8 fis16 e e8 } \\ \relative e' { <e gis>2. <gis b>4 <fis a>2 } >></nowiki></ref>
|-
|BuxWV
|265
|Trio Sonate VII in F
|incipit:<ref><nowiki>\key f \major \relative f' { <f c'>2. 4 1 r4 c d e }</nowiki></ref>
|-
|BuxWV
|266
|Sonate in C
|incipit:<ref><nowiki><< \relative g'' { g2 a4 g f2 e } \\ \relative c' { c2 c4. b8 a4 b c4. } \\ \relative e'' { e2 c4 d e d d c } >></nowiki></ref>
|-
|BuxWV
|267
|Sonate in D
|incipit:<ref><nowiki>\key d \major \partial 2 \relative fis' { fis2 e4. fis16 g a8 g g8. fis16 2\laissezVibrer }</nowiki></ref>
|-
|BuxWV
|268
|Sonate in D
|incipit:<ref><nowiki>\clef alto \key d \major << \relative d' { d2 e fis8 a16 16 8 8 } \\ \relative d { d2. cis4 d2 } >></nowiki></ref>
|-
|BuxWV
|269
|Sonate in F
|incipit:<ref><nowiki>\key f \major << \relative f' { f16 g f g a g a f c' d bes c a } \\ \relative f' { f2 e4 f8. } >></nowiki></ref>
|-
|BuxWV
|270
|Sonate in F
|incipit:<ref><nowiki>\key f \major << \relative c'' { c8 16 16 8 16 16 a8 f } \\ \relative f' { f4 e f } >></nowiki></ref>
|-
|BuxWV
|271
|Sonate in G
|incipit:<ref><nowiki>\key g \major \clef alto << \relative g' { r2 r4 r8 fis16 fis g4 } \\ \relative g { g4 b c a g8 } >></nowiki></ref>
|-
|BuxWV
|272
|Sonate in A Minor
|incipit:<ref><nowiki><< \relative e'' { e4 e e e e8 f d8. } \\ \relative a' { a4 b c a f g } >></nowiki></ref>
|-
|BuxWV
|273
|Sonate in B-Flat (mit der Suite)
|incipit:<ref><nowiki>\partial 4 \key bes \major << \relative bes' { bes8. 16 4~16 16 a g f8 } \\ \relative bes' { r4 bes8 bes, c4 d8 } >></nowiki></ref>
|-
|BuxWV
|274
|Sonaten a 2 und 3 Violini und Viola da Gamba cum continuo zur Kirchen
|incipit:<ref><nowiki></nowiki></ref>
|-
|BuxWV
|275
|Sonatina forte con molti violini doi Oboi
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

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

Daniel Magnus Gronau

2023-07-26T21:43:30Z

Irahs: Categories

'''Daniel Magnus Gronau''' (1685-1747)

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

{{Stub}}

== Works ==
{| class="wikitable"
|-
|
|1
|Der Herr ist mein getreuer Hirt, hält mich in seiner Hute
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|2
|Kommt her zu mir, spricht Gottes Sohn
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|3
|Ich ruf zu dir, Herr Jesu Christ / O Jesu Christ, mein höchstes Licht
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|4
|Ach Gott, wie manches Herzeleid / Herr Jesu Christ, mein’ Lebens Licht
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|5
|Warum sollt ich mich denn grämen
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|6
|Ich hab mein Sach Gott heimgestellt / Ich weiß ein Blümlein hübsch und fein
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|7
|Was mein Gott will, das g’scheh allzeit / Ich hab in Gottes Herz und Sinn / Ach, höchster Gott, verleihe mir / Will Gott mir wohl, so geht mir’s wohl
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|8
|Was Gott tut, das ist wohlgetan
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|9
|Wer nur den lieben Gott lässt walten / Wer weiß wie nahe mir mein Ende
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|10
|Zion klagt mit Angst und Schmerzen / Treuer Gott, ich muss dir klagen / Freu dich sehr, o meine Seele / Sei mir tausendmal gegrüßet / Jesu, deine tiefe Wunden
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|11
|In dich hab ich gehoffet, Herr / Ich weiß, mein Gott, dass all mein Tun
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|12
|Ach Gott, vom Himmel sieh darein
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|13
|O Herre Gott, dein göttlich Wort
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|14
|Mag ich Unglück nicht widerstahn
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|15
|Ein feste Burg ist unser Gott
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|16
|Wenn wir in höchstes Nöten sein / Nimm von uns, Herr, du treuer Gott / Nach dir, o Herr, verlanget mich / Ich heb mein Augen sehnlich auf
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|17
|Ach lieben Christen, seid getrost / Wo Gott, der Herr, nicht bei uns hält
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|18
|O Herr, dein Ohren neig zu mir / Ein matter Hirsch schreit für und für
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|19
|Christ ist erstanden / Christ fuhr gen Himmel
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|20
|Christ lag in Todesbanden
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|21
|Erschienen ist der herrliche Tag / Frühmorgens, da die Sonn aufgeht
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|22
|Jesus Christus, unser Heiland, der den Tod überwand
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|23
|Heut triumphieret Gottes Sohn
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|24
|Nun freut euch, Gottes Kinder all’ / Herr Gott, dich loben alle wir
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|25
|Komm, Gott Schöpfer, Heiliger Geist / Des Morgens früh, wenn ich aufsteh
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|26
|Komm, Heiliger Geist, Herre Gott
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|27
|Nun bitten wir den Heil’gen Geist
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|28
|Brunnquell aller Güter
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|29
|Allein Gott in der Höh’ sei Ehr’
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|30
|Es steh’n vor Gottes Throne
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|31
|O großer Gott von Macht
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|32
|Gott hat das Evangelium
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|33
|Ach Gott, tu dich erbarmen
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|34
|Wacht auf, ihr Christen alle
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|35
|Es wird schier der letzte Tag herkommen
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|36
|Es spricht der Unweisen Mund wohl
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|37
|So wünsch ich nun ein’ gute Nacht
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|38
|Mitten wir im Leben sind
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|39
|Ich bin ja, Herr, in deiner Macht
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|40
|O wie selig seid ihr doch, ihr Frommen
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

[[Category:Persons|Gronau, Daniel Magnus]]
[[Category:Composers|Gronau, Daniel Magnus]]
[[Category:Baroque Composers|Gronau, Daniel Magnus]]
[[Category:Organists|Gronau, Daniel Magnus]]
[[Category:Baroque|Gronau, Daniel Magnus]]
[[Category:Norddeutsche Orgelschule|Gronau, Daniel Magnus]]
[[Category:WVlist pages|Gronau, Daniel Magnus]]

Cor Kee

2023-07-26T21:42:51Z

Irahs: Categories

[[File:Cor Kee.jpg|thumb|right|Cor Kee]]
'''Cor Kee''' (1900-1997)

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

{{Stub}}

== WVlist Notes ==
<blockquote><nowiki>Composer, Organist at Doosgezinde Kerk in Westzaan, Mennonite Singelkerk in Amsterdam, Ronde Lutherse Kerk, Oude Lutherse Kerk aan het Spui. Current list is far from complete. Opus numbers or other catalogue not known. Works ordered by year published.</nowiki> -William Rehwinkel, May 11, 2022</blockquote>

<blockquote><nowiki>Works list from Beckmann - Repertorium Orgelmusik (2001) AN=Ars nova W=Willemsen</nowiki> -William Rehwinkel, Sep 24, 2022</blockquote>

<blockquote><nowiki></nowiki> -wr, Sep 24, 2022</blockquote>

== Works ==
{| class="wikitable"
|-
|W
|©1926
|Hymne Psalm 116
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|143
|Feetpostludium over "Dankt, dankt nu allen God"
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|148
|Partita "Jezuz leeft en wij met hem"
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|174
|Orgelspel voor de dienst: Psalm 22
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|174
|Orgelspel voor de dienst: Psalm 145
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|176
|Psalm 19
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|184
|Een vaste Burg
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|222
|Psalm 31
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|222
|Psalm 57
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|239
|Psalm 46
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|239
|Psalm 47
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|246
|Partita over Psalm 116
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|288
|2 Preludes en Fuga's: 1
|incipit:<ref><nowiki>\partial 2 \relative a' { r16 a b c d e f g } << \relative a'' { a4~8 g16 f g4*1/2\laissezVibrer } \\ \relative a { r8 a a'4~8 } >></nowiki></ref>
|-
|AN
|288
|2 Preludes en Fuga's: 2
|incipit:<ref><nowiki>\key e \minor \clef bass \time 6/8 << \relative e { e8 fis g b a g~g fis e~e4 } \\ \relative e { e4. d c b4.*2/3 } >></nowiki></ref>
|-
|AN
|289
|Partita over Psalm 106
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|334
|Fantasie "De Heer is God"
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|338
|Kerstmusik
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|352
|Inleident orgelspel "Van U zijn alle dingen"
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|406
|2 kleine partitas: Psalm 26
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|406
|2 kleine partitas: Psalm 33
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|408
|3 psalmen: 17
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|408
|3 psalmen: 105
|incipit:<ref><nowiki></nowiki></ref>
|-
|AN
|408
|3 psalmen: 123
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|116
|Psalm 43
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|126
|Inleidingen tot de Psalmen, I
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|127
|Inleidingen tot de Psalmen, II
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|128
|Inleidingen tot de Psalmen, III
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|129
|Inleidingen tot de Psalmen, IV
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|130
|Inleidingen tot de Psalmen, V
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|143
|Muzikale gedachte over Ps. 84
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|144
|Fantasie in toccatastijl Psalm 24
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|147
|Fantasie in toccatastijl Psalm 33
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|193
|Koraalsuite/Fanfare: Koraalsuite
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|210
|Koraalsuite/Fanfare: Fanfare
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|213
|Prijs mijn ziel der Heem'len Koning
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|239
|Fantasie over de avondzang
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|500
|Verzamelde orgelwerken I
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|
|Liedbewerkingen I
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|
|Liedbewerkingen II
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|176
|Orgelius I: Paas- en Pinksterhymnen: Daar juicht een toon, daar klinkt een stem
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|176
|Orgelius I: Paas- en Pinksterhymnen: Heer, ik hoor van rijken zegen
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Orgelius II
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Orgelius III
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|181
|Orgelius IV: 2 grote Koraalfantasieën: Halleluja, eeuwig dank en ere
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|181
|Orgelius IV: 2 grote Koraalfantasieën: Heil'ge' Jezuz! mij ten leven
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|182
|Orgelius V: De Zondagspsalm
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|183
|Orgelius VI: Fantasie "Lofzang van Zacharias"
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Orgelius VII
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|185
|Orgelius VIII: Dankt, dankt nu allen God
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|186
|Orgelius IX: Muzikale Illustratie over Psalm 42
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|187
|Orgelius X: Ambrosiaans Lofgezang. Grote God U loven wij
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|188
|Orgelius XI: De profundis
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|189
|Orgelius XII: Feestklanken III. Lof zij den Heer
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|190
|Orgelius XIII: Ps. 150 in allerlei variaties
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|191
|Orgelius XIV: Fantasie over het Wilhelmus in majeur en mineur met Psalm 134
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|192
|Kerstklanken. Stille Nacht
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|192
|Kerstklanken. O, hoe heerlijk
|incipit:<ref><nowiki></nowiki></ref>
|-
|Alsbach
|©1936
|Psalmen voor Orgel, I-III: I
|incipit:<ref><nowiki></nowiki></ref>
|-
|Alsbach
|©1936
|Psalmen voor Orgel, I-III: II
|incipit:<ref><nowiki></nowiki></ref>
|-
|Alsbach
|©1936
|Psalmen voor Orgel, I-III: III
|incipit:<ref><nowiki></nowiki></ref>
|-
|Harmonia
|764
|Skandinavisch Kerkleid
|incipit:<ref><nowiki></nowiki></ref>
|-
|Harmonia
|764
|Passie-Lied
|incipit:<ref><nowiki></nowiki></ref>
|-
|Harmonia
|1163
|O Hoofd bedekt met wonden
|incipit:<ref><nowiki></nowiki></ref>
|-
|Harmonia
|3226
|Suite Bavo-Orgel
|incipit:<ref><nowiki></nowiki></ref>
|-
|Donemus
|©1963
|Variatie
|incipit:<ref><nowiki></nowiki></ref>
|-
|Donemus
|©1963
|Postludium, reeks
|incipit:<ref><nowiki></nowiki></ref>
|-
|Donemus
|©1963
|Postludium
|incipit:<ref><nowiki></nowiki></ref>
|-
|Donemus
|©1966
|3 Inventionen
|incipit:<ref><nowiki></nowiki></ref>
|-
|Donemus
|©1965
|Reeks-veranderingen in 4 secties deel I, II. Voor orgel. I
|incipit:<ref><nowiki></nowiki></ref>
|-
|Donemus
|©1966
|Reeks-veranderingen in 4 secties deel I, II. Voor orgel. II
|incipit:<ref><nowiki></nowiki></ref>
|-
|Donemus
|©1968
|Phases for organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Donemus
|
|Suite 1969
|incipit:<ref><nowiki></nowiki></ref>
|-
|Zengerink
|R 420
|De lofzang van Maria
|incipit:<ref><nowiki></nowiki></ref>
|-
|Donemus
|©1972
|Organ Music for Concert and Study Purposes
|incipit:<ref><nowiki></nowiki></ref>
|-
|Donemus
|©1974
|Suite for harpsichord or organ
|incipit:<ref><nowiki></nowiki></ref>
|-
|Harmonia
|2921
|Orgeltrilogie in klassiek-romantische stijl
|incipit:<ref><nowiki></nowiki></ref>
|-
|Harmonia
|2995
|Credo. 50 psalmbewerkingen in hedendaagse stijl
|incipit:<ref><nowiki></nowiki></ref>
|-
|Alsbach
|
|Variaties op "Merck toch hoe sterck"
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Kleine Partita op een oud Nederlands lied
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|3 Präludien und Fugen
|incipit:<ref><nowiki></nowiki></ref>
|-
|W
|614
|De lofzand van Zacharias
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

[[Category:Persons|Kee, Cor]]
[[Category:Organists|Kee, Cor]]
[[Category:Composers|Kee, Cor]]
[[Category:WVlist pages|Kee, Cor]]

Charles Tournemire

2023-07-26T21:42:01Z

Irahs: Categories

'''Charles Tournemire''' (1870-1939)

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

{{Stub}}

== WVlist Notes ==
<blockquote><nowiki>Composer, Improviser, Organist at St. Clotilde, Paris. Opus list is from Joël-Marie Fauquet: "Catalogue de L'oeurve de Charles Tournemire". Geneva: Editions Minkoff, 1979. Also includes chronological listing of all known works including unpublished.</nowiki> -William Rehwinkel, Feb 23, 2022</blockquote>

== Works ==
{| class="wikitable"
|-
|Op.
|1
|Sonate pour piano et violon et 4 parties
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|2
|Andantino pour orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|3
|Sortie en sol M. pour orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|4
|Trois pieces pour hautbois et piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|5
|Sonate pour violoncelle et piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|5
|Deux pieces pour violoncelle et piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|6
|Andante pour cor chromatique en fa et piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|7
|Trois melodies pour chant et piano (V. Hugo, N. J. L. Gilbert)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|8
|Pater noster, motet avec accompagnement d'orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|8
|La Salutation angelique pour chant, violon et orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|9
|Sérénade pour piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|10
|Offertoire pour orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|10
|Sortie en b. M. pour orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|11
|Suite en 3 parties pour alto et piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|12
|Sonata a violino solo de Giovanni Battista Fonatana (reconstitution)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|13
|6e suite de l'Hortulus chelicus de Johann Jakob Walther (realisation)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|14
|Sonate pour violon d'Antonio Lolli (realisation)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|15
|Quatuor pour piano et cordes
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|16
|Piéce symphonique pour grand orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|17
|Sonate pour piano en 4 parties
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|17
|Deux pieces pour piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|18
|1re symphonie "Romantique" en la pour orchestre
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|18bis
|Transcription pour piano a 4 mains
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|19
|Suite de morceaux pour grand orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|20
|Six petites pieces pour piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|21
|Variae preces, 40 pieces pour harmonium
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|22
|Trio pour piano et cordes
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|23
|Sarabande pour piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|24
|Suite de morceaux pour grand orgue (2e partie)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|25
|Melodies pour chant et piano (A. Le Braz)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|25bis
|Deux melodies pour chant et orchestre (A. Le Braz)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|26
|Quatre petites pieces pour piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|26bis
|Trois petites pieces pour piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|27
|Le Sang de la Sirene, legende musicale en 4 parties pour solistes, choer et orchestre (M. Brennure d'apres A. Le Braz)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|28
|Deux melodies pour chant et piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|28bis
|Cloches de Paques pour chant et orchestre (A. Le Braz)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|29
|Rhapsodie pour piano seul ou avec orchestre
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|30
|Nittetis, tragedie lyrique en 3 actes et 7 tableux pour solistes, choeur, et orchestre (Ch. T. d'apres Metastase)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|31
|Sonatet pour violon et continuo (BWV 1023) de Jean-Sebastien Bach, accompagnement de piano par Ch. T.
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|32
|Poeme pour chant et piano (A. Samain)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|33
|Poeme mystique pour piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|34
|Sagesse, pour chant et piano (P. Verlaine)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|35
|Poeme pour violoncelle et piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|36
|IIe symphonie "Ouessant" en si M. pour orchestre
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|37
|Psaume LVII pour choeur, orchestre, grand orgue.
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|38
|Poeme pour grand orgue et orchestre
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|39
|Tryptyque pour chant et piano (A. Samain)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|40
|Pour une epigramme de Theocrite, pour trois flutes, deux clarinettes et harpe
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|41
|Triple choral pour orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|42
|Les Dieux sont morts (Chryseis), drame antique an 2 actes pour solistes, choeurs et orchestre (E. Berteaux)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|43
|"Moscou (1913)" IIIe symphonie pour orchestre
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|44
|Pages symphoniques, 4e symphonie pour orchestre
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|45
|Psaume XLVI pour solo, choeurs et orchestre
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|46
|Trois lieder pour chant et piano (A. Samain)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|47
|Ve symphonie en fa pour orchestre
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|48
|VIe symphonie pour grand orchestre, choeurs, recit, grand orgue (Psaumes, propheetes, Saint Jean)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|49
|VIIe symphonie, Les Danses de la Vie pour grand orchestre
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|50
|Dialogue sacre, petit poeme d'Amour (du Cantique des Cantiques) pour chant et piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|51
|VIIIe symphonie, La Symphonie du Triomphe de la Mort pour orchestre
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|52
|Trilogie Faust-Don Quichotte-Sint Francois d'Assise pour solistes, choeurs et orchestre (Ch. T. d'apres Marlowe et Cervantes)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|53
|La Legende de Tristan, 3 actes et 8 tableux pour solistes, choeurs et orchestre (A. Pauphilet)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|54
|La Queste du Saint Graal, fresque pour orchestre et choeur invisible (d'apres A. Pauphilet)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|55
|L'Orgue mystique, cycles de Noël, offices no. 1 a 11
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|56
|L'Orgue mystique, cycles de Paques, offices no. 12 a 25
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|57
|L'Orgue mystique, cycles de Pentecote, offices no. 26 a 51
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|1
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|2
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|3
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|4
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|5
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|6
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|7
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|8
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|9
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|10
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|11
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|12
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|13
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|14
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|15
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|16
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|17
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|18
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|19
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|20
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|21
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|22
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|23
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|24
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|25
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|26
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|27
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|28
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|29
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|30
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|31
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|32
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|33
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|34
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|35
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|36
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|37
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|38
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|39
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|40
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|41
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|42
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|43
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|44
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|45
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|46
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|47
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|48
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|49
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|50
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|OM
|51
|
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|58
|Douze preludes-poemes pour le piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|59
|Trois poemes pour orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|60
|Sei Fioretti, pages d'Orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|61
|Musique orante pour quatuor a cordes
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|62
|Cloches de Chateauneuf-du-Faou pour piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|63
|Apocalypse de Saint Jean, triolgie sacree pour orchestre, grand orgue, choeurs, recits
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|64
|Fantaisie symphonique pour orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|65
|Sonate-poeme pour piano et violon
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|66
|Petites fleurs musicales, 40 pieces tres faciles pour orgue sans pedale ou harmonium
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|67
|Sept chorals-poemes d'orgue pour les sept paroles du Xrist
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|68
|Postludes libres pour des antiennes de Magnificat pour orgue sans pedale ou harmonium
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|69
|Symphonie-choral d'orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|70
|Etudes de chaque jour pour le piano
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|71
|Symphonie sacree pour orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|72
|La Doulouresuse Passion du Xrist, oratorio pour choeurs, recits, grand orgue, orchestre (d'apres C. Emmerich)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|73
|Il Poverello di Assisi, le Petit Pauvre d'Assise, 5 episodes lyriques en 7 tableaux pour solistes, choeurs et orchestre (J. Peladan)
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|74
|Suite evocatrice pour grand orgue
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|75
|Deux Fresques symphonices sacrees pour orgue [1/2]
|incipit:<ref><nowiki></nowiki></ref>
|-
|Op.
|76
|Deux Fresques symphonices sacrees pour orgue [2/2]
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

[[Category:Persons|Tournemire, Charles]]
[[Category:Composers|Tournemire, Charles]]
[[Category:Organists|Tournemire, Charles]]
[[Category:WVlist pages|Tournemire, Charles]]

Anthoni van Noordt

2023-07-26T21:40:57Z

Irahs: Categories

'''Anthoni van Noordt''' (1619-1675) was a Dutch organist and composer. His only known works are in a ''Tabulatuurboeck'' of Psalms and Fantasias published in 1659.

== History ==
[[File:Van noordt-p7.jpg|thumb|right|The cover of the Tabulatuurboeck]]
Anthoni was born to Sybrandus van Noordt and Jannitgen Jacobs in 1619.

From 1652-1664 he was the organist at the ''Heilige Stede'' (now ''Nieuwezijds Kapel''). In 1664, he became the organist at ''Nieuwe Kerk'', and he oversaw the restoration of the organ by [[Jacobus van Hagerbeer]] and later by [[Roelof Barentszoon Duyschot]] upon van Hagerbeer's death. Van Noordt was named organist ''emeritus'' of the ''Niewe Kerk'' in 1973.

In 1659, van Noordt published his '''Tabulatuurboeck van Psalmen en Fantasyen''', titled "TABULATUURBOECK of Psalms and Fantasies of which Psalms varied in different verses in Soprano, Tenor or Bass in 2, 3 and 4 parts/voices by ANTHONI VAN NOORDT" [Javadova, 12], including ten Psalm fantasies, each from one to eight verses, and six fantasias. It seems that books of organ music were very rarely published in the Netherlands, indeed this was the first such book since a similar one by [[Henderick Joostenz Speuy]] in 1610. Apparently, there was some reluctance to granting van Noordt his copyright license, as it was doubted that such a book would sell enough copies to be worthwhile.

The ''Tabulatuurboeck'' was dedicated to the Amsterdam Burgomasters, the dedication reads

<blockquote>Most Noble Sirs,

The same favor and generosity of my Masters with which you from time to time have deigned to oblige me and mine; this gives me also frankness to trust that the slightness of the results of these my meager efforts will not displease my Masters: in which I have attempted to provide my countrymen and particularly my fellow citizens, fellow subjects of your most esteemed Sirs with some essays of several Psalms varied in several verses in the Soprano, Tenor or Bass and besides some Fantasies: which I think will be the more pleasant to the practitioners of this art, because this kind of Tablatures (while they could not be printed in the normal way, but had to be engraved on separate cut plates) up till now has not been published in print by anybody in the country (even though there has been no lack of excellent spirits/minds in this art). My work has appeared with the intention to improve the Art of playing and to encourage more and more continuation of the same; I want thanks for this to be directed to the Noble Masters, who have by their efforts and industry encouraged obedient spirits; just as I too have been not a little encouraged. I hope with this publication not to cause any grief. Henceforth I shall always emphasize that I hold your favor in the same high esteem that I declare myself obliged to your service.

To my Noble, Admirable Commanders Your humble servant and obedient subject.

Anthoni van Noordt.

[Javadova, 14]</blockquote>

Only one copy of the ''Tabulatuurboeck'' has survived to the modern day. Despite having gone missing and being recently rediscovered, it is the same copy that was read by [[Max Seiffert]] for his edition of 1896. This copy was held in the Prussian State Library, Berlin, and assigned signature '''Mus. ant. pract. N 250''', before being moved to Jagilonski University Library, Cracow.

== Notation ==
[[File:Van noordt p52.jpg|thumb|right|The first verse of Psalm 24]]
The ''Tabulatuurboeck'' is notated in Anglo-Dutch six-line staff format engraved on copper plates. Each staff has a C and G or F and C clef that are freely moved to better accomodate the range of the voices. Voice crossings are clearly notated with connecting lines, as are transferring a voice to the other hand. However, up- and down-stems are liberally used without any designation of what voice they refer to (for example, two voices on one staff might both have up-stems depending on their placement).

No registration information or manual designations are written in the ''Tabulatuurboeck'' (except for some verses which are marked "Ped."). However, some verses (such as Psalm 24 verse 1) have the voices written in such a way that the voice performing the psalm in long notes is written on its own staff, suggesting a solo voice.

In some verses, the bass voice is written in [[New German Tablature Notation]] below the lower staff. It appears that the tablature line is always played in the pedal when it appears, but some variations are marked "Ped." with no tablature line, such as Psalm 6 verse 2.

== Analysis ==
{{Stub}}

The ''Tabulatuurboeck'' has been interpreted as a reflection of the situations in which the organ was used in Dutch reformed churches in the middle of the 17th centuries. Before the organ was re-introduced into the service around 1685, the organist (who was an employee of the city) was instructed to play secular concerts during the day. These would include fantasias, variations on popular tunes, and fantasias on the Psalms to make the tunes more familiar{{Citation needed}} to parisioners who would sing the Psalms unnacompanied. Thus, a selection of verses on the Genevan Psalms and free fantasias are very much like the type of repertoire that an organist would play.

Much thought has been given to why the pedal part is sometimes written in staff notation. It has been thought that this is because the pedal parts of those verses are more advanced, or it was to save space as the upper voices could all be notated on the upper staff.

It has been theorized that the individual verses of the ''Tabulatuurboeck'' can be split into two periods, being composed before and after 1657. Those in the later period are characterized by a trio format and more active pedal part, which could be a reflection of the rise of ensemble writing in the Netherlands<ref>van Nieuwkoop, 47.</ref>.

Comparisons have been drawn between the Psalm verses by Anthoni van Noordt and the compositional style of the [[North German Organ School]]. The second verse of Psalm 24 has an ornamented cantus firmus in ''coloratura'', a rarity for the ''Tabulatuurboeck'' but a technique commonly used by other North German composers like [[Matthias Weckmann]]. Another similarity is the third verse of Psalm 24. [[Hans van Nieuwkoop]] theorizes that this is the only verse of the ''Tabulatuurboeck'' which is intended to be played with the ''plenum'' registration, as it is stylistically similar to the first verse of many Magnificat settings by Scheidemann and other composers, in which the ''cantus firmus'' is typically in Tenore or Bass and played with the ''plenum'' registration.<ref>van Nieuwkoop, 47.</ref>

== WVlist Notes ==
<blockquote><nowiki>Organist in the Nieuwezijdskapel and Nieuwe Kerk, Amsterdam. All known works by van Noordt are contained in a published work: "Tabulatuurboeck van Psalmen en Fantasyen", published 1659 by Willem van Beaumont. Numbering system is the order of contents in this cycle. The facsimile can be viewed on IMSLP at the following link: https://imslp.org/wiki/Special:ReverseLookup/528368</nowiki> -William Rehwinkel, Feb 20, 2022</blockquote>

<blockquote><nowiki>improved incipits</nowiki> -William Rehwinkel, May 9, 2022</blockquote>

<blockquote><nowiki></nowiki> -wr, Jul 13, 2023</blockquote>

== Works ==
{| class="wikitable"
|-
|No.
|1
|Psalm 35 (1 verse)
|incipit:<ref><nowiki>\time 4/2 \key d \minor << {a'1} \\ \relative d { r8 \clef bass d c d a d8. c16 bes a } >></nowiki></ref>
|-
|No.
|2
|Psalm 38 (5)
|incipit:<ref><nowiki>\time 4/2 << {c''1 b'} \\ \relative c' { c4 b a8 b c d e8 f g4 d e } >></nowiki></ref>
|-
|No.
|3
|Psalm 6 (5)
|incipit:<ref><nowiki>\time 4/2 << { r1 a'1 a'2*3/8 } \\ \relative d' { r2 d4 8 8 c4 c d8 e f4 e8. } >></nowiki></ref>
|-
|No.
|4
|Psalm 7 (3)
|incipit:<ref><nowiki>\time 4/2 << \relative g' { g1 g2 a bes a c2*1/2 } \\ \relative f' { r1 r2 f4 ees d2 r4 d e } >></nowiki></ref>
|-
|No.
|5
|Psalm 2 (3)
|incipit:<ref><nowiki>\clef alto \time 4/2 << \relative d' { d1 f2 } \\ \relative d { r4 d d8 e16 d c8 d16 c bes4 a } \\ \\ \relative c' { r1 r4 c } >></nowiki></ref>
|-
|No.
|6
|Psalm 50 (4)
|incipit:<ref><nowiki>\clef alto \time 4/2 << \relative a' { a1 g2 f } \\ \relative g { s1 r4 g d8 e f g } \\ \\ \relative d' { r4 d a8 b c d e4 b d a8 b } >></nowiki></ref>
|-
|No.
|7
|Psalm 119 (8)
|incipit:<ref><nowiki>\time 4/2 << \relative g'' { r16 \clef treble g e f g a f g e f d e c } \\ \relative c { \clef bass c1*13/16 } >></nowiki></ref>
|-
|No.
|8
|Psalm 116 (5)
|incipit:<ref><nowiki>\time 4/2 << \relative d'' { r4 d b c8 b16 c d8 c b a } \\ \relative d' { d1 b2 } >></nowiki></ref>
|-
|No.
|9
|Psalm 22 (3)
|incipit:<ref><nowiki>\time 4/2 << \relative c'' { c1 a } \\ \\ \relative e' { r4 e a g f4. e8 fis g e fis } \\ \relative a { r1 r4 a d c } >></nowiki></ref>
|-
|No.
|10
|Psalm 24 (3)
|incipit:<ref><nowiki>\time 4/2 << \relative d' { r4 d a'2 f g g4 f e2*1/4 } \\ \relative a { r2 r4 a d2 b c2~8 } >></nowiki></ref>
|-
|No.
|11
|Fantasia [1] a 4
|incipit:<ref><nowiki>\clef bass \time 4/2 \relative a { a2 4 4 f8 e16 f d8 e f}</nowiki></ref>
|-
|No.
|12
|Fantasia [2] a 4
|incipit:<ref><nowiki>\time 4/2 \relative d' { r8 d f g a g16 f e8 f g4 }</nowiki></ref>
|-
|No.
|13
|Fantasia [3] a 4
|incipit:<ref><nowiki>\clef bass \time 4/2 \relative e { e2 e4 f g8 a g f e2 r4 }</nowiki></ref>
|-
|No.
|14
|Fantasia [4] a 4
|incipit:<ref><nowiki>\time 4/2 \relative e' { e2 e4 f g d4. e8 f4~8}</nowiki></ref>
|-
|No.
|15
|Fantasia [5] a 4
|incipit:<ref><nowiki>\time 4/2 \relative c' { r2 c2 b4 e d8 c b a g4 }</nowiki></ref>
|-
|No.
|16
|Fantasia [6] a 4
|incipit:<ref><nowiki>\time 4/2 \relative d' { r2 d g4 g a e f fis g8 }</nowiki></ref>
|}

== See also ==
A facsimile of the ''Tabulatuurboeck'' is available at {{IMSLP|506003}}

== References ==
''See notes''

[[Jamila Javadova]]. "Anthoni van Noordt: Historical and analytical aspects of his Tabulatuurboeck van Psalmen en Fantasyen of 1659". Doctoral dissertation, University of North Texas, 2008.

[[Hans van Nieuwkoop]]. “Anthoni van Noordt and the Organs of Seventeenth-Century Amsterdam,” The Organ Yearbook 21. Fritz Knuf: Buren, 1990,

[[Category:Persons|Noordt, Anthoni van]]
[[Category:Composers|Noordt, Anthoni van]]
[[Category:Baroque Composers|Noordt, Anthoni van]]
[[Category:Organists|Noordt, Anthoni van]]
[[Category:Baroque|Noordt, Anthoni van]]
[[Category:WVlist pages|Noordt, Anthoni van]]

Category:WVlist pages

2023-07-26T21:40:10Z

Irahs: New category

Pages copied from '''wvlist.net'''. Some pages may have had additional edits since they were copied.

[[Category:Articles]]

Andreas Düben II

2023-07-26T21:39:32Z

Irahs: Categories

'''Andreas (II) Düben''' (1597-1662)

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

{{Stub}}

== Works ==
{| class="wikitable"
|-
|
|
|Praeludium ex E vel A
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Allein Gott in der Höh sei Ehr
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Allein Gott in der Höh sei Ehr
|incipit:<ref><nowiki></nowiki></ref>
|-
|
|
|Wo Gott der Herr nicht beÿ unß Held
|incipit:<ref><nowiki></nowiki></ref>
|}

== References ==
''See notes''

[[Category:Persons|Düben, Andreas]]
[[Category:Composers|Düben, Andreas]]
[[Category:Baroque Composers|Düben, Andreas]]
[[Category:Organists|Düben, Andreas]]
[[Category:Baroque|Düben, Andreas]]
[[Category:Norddeutsche Orgelschule|Düben, Andreas]]
[[Category:WVlist pages|Düben, Andreas]]

M. W. C. B. M.

2023-07-22T20:36:22Z

Irahs: Categories

[[File:Signature-M. W. C. B. M..png|thumb|The composer's initials]]
Two pieces in [[The Lynar Tablatures|D-B Mus. Ms. Lynar B 3]] are headed by the unsolved initials '''M. W. C. B. M.''' It has been theorized that this refers to the composer [[Wilhelm Karges]] by [[Max Seiffert]]{{Citation needed}}.

== Works<ref>Mus. Ms. Lynar B 3, scanned by Staatsbibliothek, Berlin. [http://resolver.staatsbibliothek-berlin.de/SBB000066CC00000000] Accessed 17 July, 2023</ref> ==
[[File:Mwcbm o mensch end.jpg|thumb|The end of ''O Mensch, bewein dein Sünde groß'', showing haphazard part-writing]]
Mus. Ms. Lynar B 3 is written in [[New German Tablature Notation]], but the two pieces by M. W. C. B. M. have some haphazard part-writing in the accompanying voices, and frequent changes in the number of voices (such as an addition of a fifth voice at cadences in ''O Mensch, bewein dein Sünde Groß''). One particularly egregious example of this is the end of ''O Mensch, bewein dein Sünde groß'', in which the bass and tenor appear to move in parallel fifths. Based on the vertical alignment of the notes, the alto appears to become the ''quintus'' (a term used by [[Klaus Beckmann]] to refer to the middle of five voices<ref>[[Klaus Beckmann|Beckmann, Klaus]] (editor). ''Dietrich Buxtehude: Sämtliche Orgelwerke, Band I-II''. Wiesbaden, Breitkopf & Härtel, 1997. 104.</ref>) resulting in an incorrect handling of the leading tone.

The first piece is a chorale setting of ''Vater unser in Himmelreich'' in three verses. The second and third variations are [[Bicinium|Biciniums]] with the [[Cantus firmus]] in the bass and treble respectively. One aspect of note is that the third verse is succeeded by "Verte.", suggesting that the piece is incomplete (as ''verte'' is typically an instruction to the player to turn the page to continue the piece{{Citation needed}}). The second piece is an example of the practice of ornamenting the cantus firmus, and it is dated 1628.
{| class="wikitable"
|+Works by M. W. C. B. M.
!Manuscript
!Title
!Notes
|-
|D-B Mus. Ms. Lynar B 3 No. 6
|Vater unser / in Himmell / reich. / MW.C.B.M.
|3 verses. Third verse ends with "verte [''sic.'']"
|-
|D-B Mus. Ms. Lynar B 3 No. 24
|O Mensch Be / weine deine / sünde gros auf. / 2 Clavier der Co / rahll gecollorirett / M. W. C. B. M.
|
|}

==References==
<references />

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

H. M. T.

2023-07-22T20:35:44Z

Irahs: Categories

[[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>. 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>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
|-
|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.
|}

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

* [[Partitura Organum]] (2019)[https://partitura.org/wp-content/uploads/2019/08/Anonymus-KN-209-p047-Ich-ruf-zu-dir-Herr-Jesu-Christ.pdf]
* [[William Rehwinkel]] (2013)[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:Stubs

2023-07-22T09:47:40Z

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