pipe-organ.wiki - Recent changes [en]

Marcus Olter

Fiskfan1999 — Mon, 15 Jun 2026 04:14:29 GMT

← Older revision		Revision as of 00:14, 15 June 2026
Line 15:		Line 15:

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

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

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

Franz Tunder

Fiskfan1999 — Fri, 05 Jun 2026 02:02:44 GMT

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

← Older revision		Revision as of 22:02, 4 June 2026
Line 17:		Line 17:
	Franz Tunder passed away at 9:30 PM on November 5, 1667.		Franz Tunder passed away at 9:30 PM on November 5, 1667.

	== ~~Analysis~~ ==		== Works ==
	The organ chorale works of Franz Tunder can be divided into four categories<ref>{{NdS2 2009}} 277</ref>:		The organ chorale works of Franz Tunder can be divided into four categories<ref>{{NdS2 2009}} 277</ref>:
	* ''Verse cycles'' with separate verses - Jesus Christus, unser Heiland		* ''Verse cycles'' with separate verses - Jesus Christus, unser Heiland
Line 24:		Line 24:
	* ''Choral Fantasie'' (the rest of the surviving compositions)		* ''Choral Fantasie'' (the rest of the surviving compositions)

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

Line 70:		Line 69:
	\| [[S-Uu Ms. Ihre 285]] P50-52 \|\| [20] Cantzon / F: Töndern \|\| On a theme by [[Francesco Della Porta]]? \|\| <score>\relative d'' { \key g \major d8 d d e c8. b16 a8 b16 c d8 d, g a }</score>		\| [[S-Uu Ms. Ihre 285]] P50-52 \|\| [20] Cantzon / F: Töndern \|\| On a theme by [[Francesco Della Porta]]? \|\| <score>\relative d'' { \key g \major d8 d d e c8. b16 a8 b16 c d8 d, g a }</score>
	\|}		\|}

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

	It has been found that the theme of the ''Canzon'' is similar to that of the motet ''Salve mi Jesu'' by [[Francesco Della Porta]] found in ''Motetti concertati'' (Venezia, 1647, published by [[Giovanni Rovetta]]).<ref name="beckmann276">Beckmann (2009), 276.</ref>

	=== Other theorized works ===		=== Other theorized works ===
Line 80:		Line 75:
	The first praeludium in [[D-Lr Mus.ant.pract. K.N. 207/16]], which is anonymous, has been described as being reminiscent of Tunder<ref>[[Organum IV]] vol.10</ref>.		The first praeludium in [[D-Lr Mus.ant.pract. K.N. 207/16]], which is anonymous, has been described as being reminiscent of Tunder<ref>[[Organum IV]] vol.10</ref>.

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

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

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

Lynar Tablatures

Fiskfan1999 — Fri, 05 Jun 2026 01:15:59 GMT

Lynar B 5: expand description

← Older revision		Revision as of 21:15, 4 June 2026
Line 792:		Line 792:

	[[File:PPN1032686251 00000006.jpg\|thumb\|The ending of the fragmented ''Durch Adams fall'' by Jacob Praetorius]]		[[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]].		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]]).		The piece is neatly written in five voices, suggesting that the top voice is to be played on ''Rückpositiv'', the second on ''Brustwerk'', the third and fourth on ''Organum'', and the bottom in ''Pedal''. It is written in a unique ''Echo'' style in which the right hand plays the Cantus Firmus with echos on the ''Rückpositiv'' and ''Brustwerk'' manuals while accompanied by the left hand on ''Organum'' manual and pedals (Even though the letters "R", "B", and "O" are not present, the title stating "auff 3 clavier" suggests the use of three manuals). This piece provides evidence that Jakob Praetorius was the inventor of the ''Echo-Choralfantasia'' on 3 manuals; [[Nicolaus Hasse]] also wrote in this style.

	==== References ====		==== References ====

Pelplin Tablatures

Irahs — Thu, 04 Jun 2026 19:39:14 GMT

Heinrich Scheidemann

← Older revision		Revision as of 15:39, 4 June 2026
Line 43:		Line 43:
	=== Analysis of the North-German Organ Works ===		=== Analysis of the North-German Organ Works ===
	==== Heinrich Scheidemann ====		==== Heinrich Scheidemann ====
	According to [[Pieter Dirksen]], the works ''Gott der Vater wohn uns bei'' and ''Jesus Christus, unser Heiland'' are considered dubious compositions by Scheidemann. These works have some typically-Scheidemann motifs and idioms, but they are handled in "an entirely untypical stiff and dogmatic manner". In addition, it has been noted by [[Michael Belotti]] that the chorales in these pieces aligns with those in the [[Görlitzer Tabulaturbuch]] by [[~~Sammuel~~ Scheidt]]<ref>[[Pieter Dirksen\|Dirksen, Pieter]], ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology''. Hampshire: Ashgate, 2007. 57.</ref>.		According to [[Pieter Dirksen]], the works ''Gott der Vater wohn uns bei'' and ''Jesus Christus, unser Heiland'' are considered dubious compositions by Scheidemann. These works have some typically-Scheidemann motifs and idioms, but they are handled in "an entirely untypical stiff and dogmatic manner". In addition, it has been noted by [[Michael Belotti]] that the chorales in these pieces aligns with those in the [[Görlitzer Tabulaturbuch]] by [[Samuel Scheidt]]<ref>[[Pieter Dirksen\|Dirksen, Pieter]], ''Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology''. Hampshire: Ashgate, 2007. 57.</ref>.

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

Doppelstrich

Irahs — Thu, 04 Jun 2026 19:36:06 GMT

← Older revision		Revision as of 15:36, 4 June 2026
Line 1:		Line 1:
	[[File:Doppelstriche1.jpg\|thumb\|From ''O Lux beata Trinitas'' by [[Johann Bahr]], in the [[Visby Tablature]]]]		[[File:Doppelstriche1.jpg\|thumb\|From ''O Lux beata Trinitas'' by [[Johann Bahr]], in the [[Visby Tablature]]]]
	The '''double bar''' or '''double line''' (de "Doppelstrich" or "Doppelsenkrechte) is an [[ornament]] that appeared primarily in [[Baroque]] music in northern Germany.		The '''double bar''' or '''double line''' (de "Doppelstrich" or "Doppelsenkrechte") is an [[ornament]] that appeared primarily in [[Baroque]] music in northern Germany.

	== Appearence ==		== Appearence ==
Line 11:		Line 11:

	==Execution==		==Execution==
	~~Due to the lack of scientific results, no generally valid rules can be established for a historically correct execution of this ornament. However, there are~~ some ~~testimonies~~ from the area of the [[North German organ school]]~~, which allow~~ an approximation to the ~~practices~~ of ~~that~~ time. One of the most important findings is a possible adaptation of the length of an ornament to the length of the underlying note. [[Michael Praetorius]]~~' ''~~[[Syntagma musicum]]'' (1619), [[Johann Adam Reincken]]~~'s ''~~[[Hortus Musicus\|Hortvs Musicvs]]'' (1687) and explanations by [[Martin Heinrich Fuhrmann]] (1669-1745) show that trills - or ~~"trillo"~~ or ~~"tremuli"~~ - begin with the main note. A correspondence of the symbol \|\| ~~with~~ [[Jan Pieterszoon Sweelinck]]'s // is obvious and requires a situation-dependent execution on ~~the basis of~~ the flow direction of the music~~, but also presupposes a beginning with the main note. However, a performance with a beginning secondary note is conceivable in later works of the North German organ school as in [[Vincent Lübeck]]~~.<ref>[[Klaus Beckmann\|Beckmann, K.]], 2009. ''Blütezeit und Verfall'', 1. Auflage. ed, ''Die Norddeutsche Schule: Orgelmusik im protestantischen Norddeutschland zwischen 1517 und 1755''. Schott, Mainz.</ref><ref>[[Jon Laukvik\|Laukvik, J.]], 1990. ''Orgelschule zur historischen Aufführungspraxis. Eine Einführung in die „alte Spielweise“ anhand ausgewählter Orgelwerke des 16. bis 18. Jahrhunderts''. Carus-Verlag, Stuttgart.</ref> ~~Also~~ the Hamburg manuscript [[S.M.G. 1691]] only achieves a beginning of trills with the secondary note around 1710 by means of ~~suggested~~ notes.<ref>[[Siegbert Rampe\|Rampe, S.]], 2003. ''Vincent Lübeck. Neue Ausgabe sämtlicher Orgel- und Clavierwerke.'' Bärenreiter-Verlag, Kassel.</ref><blockquote>In connection with the transmission of Buxtehude's suites and variations, it can be proven that around 1700 the tablature symbols double vertical line, double cross and wavy line were identified as the "agréments" ''cadence'' or ''tremblement, pincement'' or ''coulé.'' With all due caution, one can infer that the symbol of the double vertical line often found in the tablatures signifies an ornament which uses the upper auxiliary note, ... .<ref>Beckmann, K (editor). ''D. Buxtehude: Sämtliche Orgelwerke, Band I-II.'' Wiesbaden: Edition Breitkopf, 1997. Preface.</ref></blockquote>		There is some evidence from the area of the [[North German organ school]] that allows an approximation of the customs of the time for the execution of ornaments. One of the most important findings is a possible adaptation of the length of an ornament to the length of the underlying note. [[Michael Praetorius]]‘ (1571-1621) [[Syntagma musicum]] (1619), [[Johann Adam Reincken]]‘s (1623/43-1722) [[Hortus Musicus\|Hortvs Musicvs]] (1687) and explanations by [[Martin Heinrich Fuhrmann]] (1669-1745) show that trills - or “trillo” or “tremuli” - begin with the main note. A correspondence between the symbol \|\| and [[Jan Pieterszoon Sweelinck\|Sweelinck‘s]] // is obvious and requires a situation-dependent execution based on the flow direction of the music.<ref>[[Klaus Beckmann\|Beckmann, K.]], 2009. ''Blütezeit und Verfall'', 1. Auflage. ed, ''Die Norddeutsche Schule: Orgelmusik im protestantischen Norddeutschland zwischen 1517 und 1755''. Schott, Mainz.</ref><ref>[[Jon Laukvik\|Laukvik, J.]], 1990. ''Orgelschule zur historischen Aufführungspraxis. Eine Einführung in die „alte Spielweise“ anhand ausgewählter Orgelwerke des 16. bis 18. Jahrhunderts''. Carus-Verlag, Stuttgart.</ref>

			Several categories of ornaments can be found from the late 16th to the 17th century:
			# Mordent (short) and Tremulus descendens (long) with a lower secondary note and beginning on the main note.
			# Tremoletti (short) and Tremulus ascendens (long) analogously with an upper secondary note.
			# Groppi (long) with the upper secondary note as a written-out final clause for cadences.
			While groppi were always written out, the first two types can be produced with a ''Doppelstrich''. This can be seen from the fingering markings in the [[D-W Cod. Guelf. 1055 Helmst.\|Helmstadt tablature, D-W Cod. Guelf. 1055 Helmst.]] It is important to note that the third finger is always the main finger in the execution of ornaments, as can be seen from the [[RUS-SPan Ms, XXL.L.5\|tablature booklet of Loysae Charlotten, “Marggrävin und Churfl. Frewlein zu Brandenburg”]] from 1632 (St. Petersburg, Biblioteka Akademii Nauk, Ms, XXL.L.5) - as well as a fourth type of ornament:<ref name="Vogel">[[Harald Vogel\|Vogel, Harald]]. Jan Pieterszoon Sweelinck – Sämtliche Werke für Tasteninstrumente. Vol. 1 Toccaten. Breitkopf & Härtel, 2005</ref>
			# <li value="4">ornaments beginning with the upper secondary note.</li>
			As [[Harald Vogel]] has pointed out, the type of ornament can be identified from the fingerings in this tablature. In general, however, ornaments beginning with a main note are much more common.<ref name="Vogel" /> The Hamburg manuscript [[D-ND S.M.G. 1691]] also only achieves the beginning of trills with the secondary note around 1710 by means of grace notes.<ref>[[Siegbert Rampe\|Rampe, Siegbert]], 2003. ''Vincent Lübeck. Neue Ausgabe sämtlicher Orgel- und Clavierwerke.'' Bärenreiter-Verlag, Kassel.</ref>

			<blockquote>In connection with the transmission of Buxtehude's suites and variations, it can be proven that around 1700 the tablature symbols double vertical line, double cross and wavy line were identified as the "agréments" ''cadence'' or ''tremblement, pincement'' or ''coulé.'' With all due caution, one can infer that the symbol of the double vertical line often found in the tablatures signifies an ornament which uses the upper auxiliary note, ... .<ref>Beckmann, K (editor). ''D. Buxtehude: Sämtliche Orgelwerke, Band I-II.'' Wiesbaden: Edition Breitkopf, 1997. Preface.</ref></blockquote>

	==References==		==References==

Lindemann Tablatures

Fiskfan1999 — Thu, 04 Jun 2026 13:08:18 GMT

Move thumbnail images to the top

← Older revision		Revision as of 09:08, 4 June 2026
Line 1:		Line 1:
			[[File:Lindemann b flat major.jpg\|thumb\|right\|The first page of Wenster N:1b]][[File:Alvin-record 443261-ATTACHMENT-0002.jpg\|thumb\|The beginning of the Canzon in G Major by [[Dietrich Buxtehude]] in [[S-L Wenster N:8]]]]
	The '''Lindemann Tablatures''' are a collection of 9 manuscripts copied by [[Gottfried Lindemann]] which contain organ music from [[Dietrich Buxtehude]] and currently held in the ''Universitetsbibliotek'', Lund. They are dated 1713-1714.		The '''Lindemann Tablatures''' are a collection of 9 manuscripts copied by [[Gottfried Lindemann]] which contain organ music from [[Dietrich Buxtehude]] and currently held in the ''Universitetsbibliotek'', Lund. They are dated 1713-1714.

Line 4:		Line 5:

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

Line 18:		Line 18:

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

S-L Engelhart 216

Fiskfan1999 — Wed, 03 Jun 2026 22:25:47 GMT

← Older revision		Revision as of 18:25, 3 June 2026
Line 9:		Line 9:
	The hand is unidentified, but perhaps the manuscript was copied around 1710-1720 by [[Heinrich Christopher Engelhardt]].		The hand is unidentified, but perhaps the manuscript was copied around 1710-1720 by [[Heinrich Christopher Engelhardt]].

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

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

	== References ==		== References ==

Gottfried Lindemann

Fiskfan1999 — Wed, 03 Jun 2026 22:21:05 GMT

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

New page

{{Stub}}

''See'' [[Lindemann Tablatures]]

Friedrich Gottlieb Klingenberg

Fiskfan1999 — Wed, 03 Jun 2026 22:20:14 GMT

wrong facts

← Older revision		Revision as of 18:20, 3 June 2026
Line 1:		Line 1:
	'''Friedrich Gottlieb Klingenberg''' stated that he ~~was a student of~~ [[Dietrich Buxtehude]] in 1689. He then taught [[Gottfried Lindemann]], who wrote the [[Lindemann Tablatures]].		'''Friedrich Gottlieb Klingenberg''' stated that he lived in Lübeck near [[Dietrich Buxtehude]] until 1689. He then taught [[Gottfried Lindemann]], who wrote the [[Lindemann Tablatures]].

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

Gottfried Klingenberg

Fiskfan1999 — Wed, 03 Jun 2026 22:19:16 GMT

Fiskfan1999 moved page Gottfried Klingenberg to Friedrich Gottlieb Klingenberg wrong name

← Older revision		Revision as of 18:19, 3 June 2026
(One intermediate revision by the same user not shown)
Line 1:		Line 1:
	'''~~Gottfried~~ Klingenberg''' stated that he was a student of [[Dietrich Buxtehude]] in 1689. He then taught [[Gottfried Lindemann]], who wrote the [[Lindemann Tablatures]].		'''Friedrich Gottlieb Klingenberg''' stated that he was a student of [[Dietrich Buxtehude]] in 1689. He then taught [[Gottfried Lindemann]], who wrote the [[Lindemann Tablatures]].

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

Lindemann Tablatures

Fiskfan1999 — Wed, 03 Jun 2026 22:18:46 GMT

Fix Klingenberg's name

← Older revision		Revision as of 18:18, 3 June 2026
(One intermediate revision by the same user not shown)
Line 13:		Line 13:

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

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

	=== N:1b ===		=== N:1b ===

Gottfried Klingenberg

Fiskfan1999 — Wed, 03 Jun 2026 22:08:34 GMT

Created page with "'''Gottfried Klingenberg''' stated that he was a student of Dietrich Buxtehude in 1689. He then taught Gottfried Lindemann, who wrote the Lindemann Tablatures. == References == {{NdS2 2009}} 312."

New page

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

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

Lindemann Tablatures

Fiskfan1999 — Wed, 03 Jun 2026 21:58:06 GMT

fix link

← Older revision		Revision as of 17:58, 3 June 2026
(One intermediate revision by the same user not shown)
Line 1:		Line 1:
	The '''Lindemann Tablatures''' are a collection of manuscripts copied by [[Gottfried Lindemann]] which contain organ music from [[Dietrich Buxtehude]] and currently held in the ''Universitetsbibliotek'', Lund. They are dated 1713-1714. It is theorized that these manuscripts may be the most direct descendent from autographs of organ music written by Buxtehude~~{{Citation needed}}~~.		The '''Lindemann Tablatures''' are a collection of 9 manuscripts copied by [[Gottfried Lindemann]] which contain organ music from [[Dietrich Buxtehude]] and currently held in the ''Universitetsbibliotek'', Lund. They are dated 1713-1714.

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

	== Description ==		== Description ==

File:Lindemann b flat major.jpg

Fiskfan1999 — Wed, 03 Jun 2026 21:54:16 GMT

← Older revision		Revision as of 17:54, 3 June 2026
Line 1:		Line 1:
			[[S-L Wenster N:1b]]

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

Lindemann Tablatures

Fiskfan1999 — Wed, 03 Jun 2026 21:52:22 GMT

Combine description blocks

← Older revision		Revision as of 17:52, 3 June 2026
(One intermediate revision by the same user not shown)
Line 11:		Line 11:

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

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

	== Contents ==		== Contents ==
Line 38:		Line 42:
	\| [[S-L Wenster U:6]] \|\| Praeludium. ex: D: h: / di. / Diet: Buxtehude. / G: Lindemann: [page 2:] J: N: J: 1714. d[ie] 3 Janu: \|\| BuxWV 139		\| [[S-L Wenster U:6]] \|\| Praeludium. ex: D: h: / di. / Diet: Buxtehude. / G: Lindemann: [page 2:] J: N: J: 1714. d[ie] 3 Janu: \|\| BuxWV 139
	\|}		\|}

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

	== See Also ==		== See Also ==

S-L Wenster U:6

Fiskfan1999 — Wed, 03 Jun 2026 21:50:32 GMT

Redirected page to Lindemann Tablatures

New page

#REDIRECT [[Lindemann Tablatures]]

S-L Wenster U:5

Fiskfan1999 — Wed, 03 Jun 2026 21:50:23 GMT

Redirected page to Lindemann Tablatures

New page

#REDIRECT [[Lindemann Tablatures]]

S-L Wenster N:9

Fiskfan1999 — Wed, 03 Jun 2026 21:50:14 GMT

Redirected page to Lindemann Tablatures

New page

#REDIRECT [[Lindemann Tablatures]]

S-L Wenster N:6

Fiskfan1999 — Wed, 03 Jun 2026 21:50:00 GMT

Redirected page to Lindemann Tablatures

New page

#REDIRECT [[Lindemann Tablatures]]

S-L Wenster N:5

Fiskfan1999 — Wed, 03 Jun 2026 21:49:53 GMT

Redirected page to Lindemann Tablatures

New page

#REDIRECT [[Lindemann Tablatures]]

S-L Wenster N:2

Fiskfan1999 — Wed, 03 Jun 2026 21:49:46 GMT

Redirected page to Lindemann Tablatures

New page

#REDIRECT [[Lindemann Tablatures]]

S-L Wenster N:1b

Fiskfan1999 — Wed, 03 Jun 2026 21:49:39 GMT

Redirected page to Lindemann Tablatures

New page

#REDIRECT [[Lindemann Tablatures]]

S-L Wenster N:1

Fiskfan1999 — Wed, 03 Jun 2026 21:49:31 GMT

Redirected page to Lindemann Tablatures

New page

#REDIRECT [[Lindemann Tablatures]]

Lindemann Tablatures

Fiskfan1999 — Wed, 03 Jun 2026 14:29:36 GMT

Links to individual manuscript shelfmarks

← Older revision		Revision as of 10:29, 3 June 2026
Line 20:		Line 20:
	! RISM/Signature !! Title !! BuxWV number		! RISM/Signature !! Title !! BuxWV number
	\|-		\|-
	\| S-L Wenster N:1 \|\| Cantzon / ex: G: b. / G: Lindemann. / Anno 1713. / d[ie]: 6 April: \|\| BuxWV 173		\| [[S-L Wenster N:1]] \|\| Cantzon / ex: G: b. / G: Lindemann. / Anno 1713. / d[ie]: 6 April: \|\| BuxWV 173
	\|-		\|-
	\| S-L Wenster N:1b \|\| Praeludium. / di. / Dieter. Buxtehude. \|\| BuxWV 154		\| [[S-L Wenster N:1b]] \|\| Praeludium. / di. / Dieter. Buxtehude. \|\| BuxWV 154
	\|-		\|-
	\| S-L Wenster N:2 \|\| Praeludium. manualit: / ex: G: h. / di. / Diet: Buxtehude. / G: Lindemann. [page 2:] Ao: 1713 d[ie]: 6 Nove: \|\| BuxWV 162		\| [[S-L Wenster N:2]] \|\| Praeludium. manualit: / ex: G: h. / di. / Diet: Buxtehude. / G: Lindemann. [page 2:] Ao: 1713 d[ie]: 6 Nove: \|\| BuxWV 162
	\|-		\|-
	\| S-L Wenster N:5 \|\| Praeludium. ex: E: b. / di / D: B: H: / Pedalieter. / G. Lindemann / Ao: 1714. d[ie]: 17 Maij \|\| BuxWV 142		\| [[S-L Wenster N:5]] \|\| Praeludium. ex: E: b. / di / D: B: H: / Pedalieter. / G. Lindemann / Ao: 1714. d[ie]: 17 Maij \|\| BuxWV 142
	\|-		\|-
	\| S-L Wenster N:6 \|\| Cantzon. / ex: C: h: / di / D: Buxtehude: / G: Lindemann: / Ao: 1713. / d[ie]: 5: Martij: \|\| BuxWV 167		\| [[S-L Wenster N:6]] \|\| Cantzon. / ex: C: h: / di / D: Buxtehude: / G: Lindemann: / Ao: 1713. / d[ie]: 5: Martij: \|\| BuxWV 167
	\|-		\|-
	\| S-L Wenster N:8 \|\| Cantzon. ex. G: h / di. / Diet: Buxtehude / G: Lindemann. \|\| BuxWV 170		\| [[S-L Wenster N:8]] \|\| Cantzon. ex. G: h / di. / Diet: Buxtehude / G: Lindemann. \|\| BuxWV 170
	\|-		\|-
	\| S-L Wenster N:9 \|\| Cantzon. ex: E. b. / di: / Diet: Buxtehude. / G: Lindemann. \|\| BuxWV 169		\| [[S-L Wenster N:9]] \|\| Cantzon. ex: E. b. / di: / Diet: Buxtehude. / G: Lindemann. \|\| BuxWV 169
	\|-		\|-
	\| S-L Wenster U:5 \|\| Praeludium. ex. G: b: / di. / Diete: Buxtehude. / G: Lindemann / Ao: 1714: / d[ie] 15 Maij. [page 2:] J: N: J: 1714. / 5 April. [end:] Soli Deo / Gloria. / d[ie] 15 Maij. / Soli DEO / Gloria: \|\| BuxWV 149		\| [[S-L Wenster U:5]] \|\| Praeludium. ex. G: b: / di. / Diete: Buxtehude. / G: Lindemann / Ao: 1714: / d[ie] 15 Maij. [page 2:] J: N: J: 1714. / 5 April. [end:] Soli Deo / Gloria. / d[ie] 15 Maij. / Soli DEO / Gloria: \|\| BuxWV 149
	\|-		\|-
	\| S-L Wenster U:6 \|\| Praeludium. ex: D: h: / di. / Diet: Buxtehude. / G: Lindemann: [page 2:] J: N: J: 1714. d[ie] 3 Janu: \|\| BuxWV 139		\| [[S-L Wenster U:6]] \|\| Praeludium. ex: D: h: / di. / Diet: Buxtehude. / G: Lindemann: [page 2:] J: N: J: 1714. d[ie] 3 Janu: \|\| BuxWV 139
	\|}		\|}

S-L Wenster N:8

Fiskfan1999 — Wed, 03 Jun 2026 14:27:54 GMT

Redirected page to Lindemann Tablatures

New page

#REDIRECT [[Lindemann Tablatures]]

D-B Mus.ms. 30245

Fiskfan1999 — Wed, 03 Jun 2026 14:25:34 GMT

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

New page

{{Stub}}

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

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

Peter Heydorn

Fiskfan1999 — Wed, 03 Jun 2026 14:05:13 GMT

Works: work on incipits and works table

← Older revision		Revision as of 10:05, 3 June 2026
Line 15:		Line 15:
	! Source !! Title !! Incipit !! Notes !! Ref.		! Source !! Title !! Incipit !! Notes !! Ref.
	\|-		\|-
	\| [[Lowell Mason Codex]] \|\| Toccata in C \|\| \|\| "Ortsangabe Krempe" \|\|		\| [[Lowell Mason Codex]] p.151-159 \|\| Toccata in C \|\| <score>\relative g' { r8 r16 g16 c4 r16 b c d e g, a b \| c d, e f e8. d16 }</score> \|\| "Ortsangabe Krempe" \|\| <ref>{{RISM\|103780}}</ref>
	\|-		\|-
	\| [[Lowell Mason Codex]] \|\| Fuga ex g \|\| \|\| "Ortsangabe Krempe" \|\|		\| [[Lowell Mason Codex]] p.147-151 \|\| Fuga ex g \|\| <score> \relative d'' { \key f \major d8 d16 d d8 d g d bes^"//" g \| g'8 g a8. g32 a << \relative bes'' { bes4 g } \\ \relative g' { g8 16 16 8 8 } >> } </score> \|\| "Ortsangabe Krempe" \|\| <ref>{{RISM\|103779}}</ref>
	\|-		\|-
	\| [[D-B Mus.ms. 40644]] \|\| ~~Fude~~ d \|\| \|\| "Theme Reinkianum" \|\|		\| [[D-B Mus.ms. 40644]] f.33v-35r \|\| Fuge d \|\| <score>\relative d' { \key f \major d8 d e e f f d d \| bes'16 c bes c a bes a bes g a g a f g f g \| e f e f d e f g }</score> \|\| "Theme Reinkianum" \|\| <ref>[http://resolver.staatsbibliothek-berlin.de/SBB00022DD600000070 resolver.staatsbibliothek-berlin.de], accessed 3 June, 2026.</ref>
	\|-		\|-
	\| [[D-Mbs Mus.ms. 5368]] \|\| Fuge G \|\| \|\| \|\|		\| [[D-Mbs Mus.ms. 5368]] \|\| Fuge G \|\| \|\| \|\|
	\|-		\|-
	\| [[D-B Mus.ms. 40644]]<br>[[D-Mbs Mus.ms. 5368]] \|\| Fuge g \|\| \|\| \|\|		\| [[D-B Mus.ms. 40644]] f.35v-38r<br>[[D-Mbs Mus.ms. 5368]] \|\| Fuge g \|\| <score>\relative d'' { \key f \major d2 ees4 d8 c \| d4 fis, g8 a bes c \| << \relative d'' { d2. g4 \| } \\ \relative g' { r4 g bes a8 g } >> }</score> \|\| \|\| <ref>[http://resolver.staatsbibliothek-berlin.de/SBB00022DD600000074 resolver.staatsbibliothek-berlin.de], accessed 3 June, 2026.</ref>
	\|}		\|}

D-Mbs Mus.ms. 5368

Fiskfan1999 — Wed, 03 Jun 2026 13:59:29 GMT

← Older revision		Revision as of 09:59, 3 June 2026
Line 5:		Line 5:
	== Links ==		== Links ==
	{{OnlFac\|sig=D-Mbs Mus.ms. 5368\|url=https://www.digitale-sammlungen.de/view/bsb00047087?page=26,27\|urlc=www.digitale-sammlungen.de\|date=24 August, 2023}}		{{OnlFac\|sig=D-Mbs Mus.ms. 5368\|url=https://www.digitale-sammlungen.de/view/bsb00047087?page=26,27\|urlc=www.digitale-sammlungen.de\|date=24 August, 2023}}

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

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

Möller Manuscript

Fiskfan1999 — Wed, 03 Jun 2026 13:55:23 GMT

← Older revision		Revision as of 09:55, 3 June 2026
Line 4:		Line 4:
	== Links ==		== Links ==
	{{OnlFac\|sig=D-B Mus.ms. 40644\|url=http://resolver.staatsbibliothek-berlin.de/SBB00022DD600000000\|urlc=digital.staatsbibliothek-berlin.de\|imslp=579060\|date=12 August, 2023.}}		{{OnlFac\|sig=D-B Mus.ms. 40644\|url=http://resolver.staatsbibliothek-berlin.de/SBB00022DD600000000\|urlc=digital.staatsbibliothek-berlin.de\|imslp=579060\|date=12 August, 2023.}}

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

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

Peter Heydorn

Irahs — Wed, 03 Jun 2026 08:28:08 GMT

← Older revision		Revision as of 04:28, 3 June 2026
Line 25:		Line 25:
	\| [[D-B Mus.ms. 40644]]<br>[[D-Mbs Mus.ms. 5368]] \|\| Fuge g \|\| \|\| \|\|		\| [[D-B Mus.ms. 40644]]<br>[[D-Mbs Mus.ms. 5368]] \|\| Fuge g \|\| \|\| \|\|
	\|}		\|}

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

	==References==		==References==

Petrus Heydorn

Irahs — Wed, 03 Jun 2026 08:26:04 GMT

Redirected page to Peter Heydorn

New page

#REDIRECT [[Peter Heydorn]]

Dietrich Buxtehude

Fiskfan1999 — Wed, 03 Jun 2026 03:40:43 GMT

Sonata in D Minor

← Older revision		Revision as of 23:40, 2 June 2026
Line 483:		Line 483:

	==== Sonata in D Minor ====		==== Sonata in D Minor ====
	Recently, concordances to the Sonata in D Minor have been found, one with attribution to [[Johann Michael Nicolai]]<ref>{{RISM\|190025158}}</ref> and two others with attributions to [[William Young]]<ref>{{RISM\|806934061}}, {{RISM\|806904606}}</ref>, all three being discovered by [[Jochen Thesmann]]<ref>Snyder<sup>2</sup> p. 306, 507.</ref>. With conflicting evidence, the question of authorship remains unsolved. The piece bears no resemblance to any instrumental sonata or organ piece written by Dietrich Buxtehude.		Recently, concordances to the Sonata in D Minor have been found, one with attribution to [[Johann Michael Nicolai]]<ref>{{RISM\|190025158}}</ref> and two others with attributions to [[William Young]]<ref>{{RISM\|806934061}}, {{RISM\|806904606}}</ref>, all three being discovered by [[Jochen Thesmann]]<ref>Snyder<sup>2</sup> p. 306, 507.</ref>. With conflicting evidence, the question of authorship remains unsolved. The piece bears no resemblance to any instrumental sonata or organ piece written by Dietrich Buxtehude. Stylistically, this piece is more similar to instrumental chamber sonatas than organ pieces. The middle voice frequently doubles the bass line, sometimes with more ornamentation.

	=== Notable works not included in BuxWV ===		=== Notable works not included in BuxWV ===

Johann Adam Reincken

Fiskfan1999 — Wed, 03 Jun 2026 03:31:42 GMT

List: remove harpsichord works

@@ Line 36: / Line 36: @@
 |-
 | [[D-DS Ms. Nr. 4061]] || Fuga || <score>\relative g' { \key f \major g4 r16 a bes c d a bes c d a bes c | bes8 g }</score> || This source is lost. Based on earlier editions || <ref name="beckmannbreit">Beckmann, Breitkopf</ref>
 |}

Talk:Johann Adam Reincken

Fiskfan1999 — Wed, 03 Jun 2026 03:31:04 GMT

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

New page

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

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

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

Hieronymus Praetorius III

Fiskfan1999 — Tue, 02 Jun 2026 22:22:57 GMT

Work: finish work section for now

← Older revision		Revision as of 18:22, 2 June 2026
(One intermediate revision by the same user not shown)
Line 25:		Line 25:

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

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

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

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

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

	== References ==		== References ==

M. W. C. B. M.

Fiskfan1999 — Tue, 02 Jun 2026 18:18:57 GMT

Attribution: re-write

← Older revision		Revision as of 14:18, 2 June 2026
Line 3:		Line 3:

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

	~~As pointed out by~~ [[Klaus Beckmann]]~~, the~~ assertion ~~that Karges was a scribe of '''Ms. Lynar B 3'''~~ is ~~shown to be~~ false ~~when comparing it~~ to [[D-B Am.B 340]]~~, which was likely written by Karges~~<ref>''20 Freie Orgelwerke der Norddeutschen Schule.'' [[Meister der Norddeutschen Orgelschule]] 29. Mainz: Schott, 2013. p.81.</ref>~~. (see [[D-B Am.B 340#Scribe\|D-B Am.B 340]])~~.		Moser stated that Karges was one of the scribes of this manuscript, which would explain the appearance of one of his pieces. However, [[Klaus Beckmann]] said that this assertion is false due to the comparison of the handwriting with a known Karges manuscript, [[D-B Am.B 340]].<ref>''20 Freie Orgelwerke der Norddeutschen Schule.'' [[Meister der Norddeutschen Orgelschule]] 29. Mainz: Schott, 2013. p.81.</ref>.

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

Main Page

Fiskfan1999 — Tue, 02 Jun 2026 18:11:56 GMT

Getting started: remove

← Older revision		Revision as of 14:11, 2 June 2026
Line 45:		Line 45:

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

	~~== Getting started ==~~
	* [[Special:AllPages\|View all pages]]
	* [[Pipe-organ.wiki:News]]
	* [[mediawikiwiki:Special:MyLanguage/Manual:Configuration_settings\|Configuration settings list]]
	* [https://www.mediawiki.org/wiki/Special:MyLanguage/Manual:FAQ MediaWiki FAQ]
	* [https://lists.wikimedia.org/postorius/lists/mediawiki-announce.lists.wikimedia.org/ MediaWiki release mailing list]
	* [https://www.mediawiki.org/wiki/Special:MyLanguage/Localisation#Translation_resources Localise MediaWiki for your language]
	* [https://www.mediawiki.org/wiki/Special:MyLanguage/Manual:Combating_spam Learn how to combat spam on your wiki]

	[[Category:The Wiki]]		[[Category:The Wiki]]

Peter Heydorn

Irahs — Tue, 02 Jun 2026 18:10:44 GMT

Biography

← Older revision		Revision as of 14:10, 2 June 2026
Line 1:		Line 1:
	~~{{Stub}}~~		'''Peter Heydorn the Elder''' was probably born between 1650 and 1660 in Uetersen and died in 1715. The first-born son of his brother Johann Peter Heydorn (1674-1702) also bore the name Peter Heydorn and was organist at St. Martin’s Church in London.<ref name="Küster" /> Various spellings of the name have survived; including '''Peter Heidorn''' ([[Lowell Mason Codex\|Codex E. B. 1688]]), '''Peter Heÿdorn''' ([[Johann Gottfried Walther]]) und '''Petrus Heydorn'''.

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

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

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

	== Works ==		== Works ==
	{\| class="wikitable"		{\| class="wikitable"
	\|+ Organ works by Peter Heydorn<ref>[[Konrad Küster\|Küster, Konrad]], "Peter Heydorn. Zwei Biographien." ''Acta Organologica'' vol.32. Kassel: Merseburger, 2011.</ref>		\|+ Organ works by Peter Heydorn<ref name="Küster">[[Konrad Küster\|Küster, Konrad]], "Peter Heydorn. Zwei Biographien." ''Acta Organologica'' vol.32. Kassel: Merseburger, 2011.</ref>
	\|-		\|-
	! Source !! Title !! Incipit !! Notes !! Ref.		! Source !! Title !! Incipit !! Notes !! Ref.
Line 17:		Line 25:
	\| [[D-B Mus.ms. 40644]]<br>[[D-Mbs Mus.ms. 5368]] \|\| Fuge g \|\| \|\| \|\|		\| [[D-B Mus.ms. 40644]]<br>[[D-Mbs Mus.ms. 5368]] \|\| Fuge g \|\| \|\| \|\|
	\|}		\|}

			==References==
			<references />

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

D-B Mus.ms. Bach P 271

Fiskfan1999 — Tue, 02 Jun 2026 16:40:45 GMT

← Older revision		Revision as of 12:40, 2 June 2026
Line 2:		Line 2:

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

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

	== References ==		== References ==

D-B Mus.ms. Bach P 272

Fiskfan1999 — Tue, 02 Jun 2026 16:39:31 GMT

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

New page

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

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

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

{{Bach-digital|BachDigitalSource_source_00001205}}

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

Johann Sebastian Bach

Fiskfan1999 — Tue, 02 Jun 2026 16:34:11 GMT

fix bach-digital link

← Older revision		Revision as of 12:34, 2 June 2026
Line 18:		Line 18:

	==== References ====		==== References ====
	{{Bach-digital\|~~00011154~~}}		{{Bach-digital\|BachDigitalSource_source_00001202}}

	=== Preludes and Fugues ===		=== Preludes and Fugues ===

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

D-B Mus.ms. Bach P 271

Fiskfan1999 — Tue, 02 Jun 2026 16:33:10 GMT

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

New page

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

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

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

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

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

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

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

Template:Bach-digital

Fiskfan1999 — Tue, 02 Jun 2026 16:31:44 GMT

Rework: require full persistent ID

← Older revision		Revision as of 12:31, 2 June 2026
Line 1:		Line 1:
	[https://www.bach-digital.de/receive/~~BachDigitalWork_work_~~{{{1\|}}} Bach-digital<sup>{{{1\|}}}</sup>][[Category:Bach-digital References]]		[https://www.bach-digital.de/receive/{{{1\|}}} Bach-digital<sup>{{{1\|}}}</sup>][[Category:Bach-digital References]]

Johann Sebastian Bach

Fiskfan1999 — Tue, 02 Jun 2026 16:22:39 GMT

Start trio sonatas

@@ Line 8: / Line 8: @@
 * [https://imslp.org/wiki/Category:Bach,_Johann_Sebastian Johann Sebastian Bach] on IMSLP.
 * [https://www.bach-digital.de Bach Digital]
 [[Category:German Composers]][[Category:Composers]][[Category:Baroque Composers]][[Category:Organists]][[Category:German Organists]][[Category:Baroque Organists]]

Template:Bach-digital

Fiskfan1999 — Tue, 02 Jun 2026 16:18:10 GMT

Created page with "[https://www.bach-digital.de/receive/BachDigitalWork_work_{{{1|}}} Bach-digital{{{1|}}}]Category:Bach-digital References"

New page

[https://www.bach-digital.de/receive/BachDigitalWork_work_{{{1|}}} Bach-digital{{{1|}}}][[Category:Bach-digital References]]