Lynar Tablatures

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 B 10) and another which appears to be transcribed from a psalm part book (C).

All of the Lynar Tablatures except B 2 and C 1 are already digitized. However, it appears that B 2 is currently being digitized^{[as of September, 2023]}^[1].

History^[2]

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^[3] 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.

In 1956, the manuscripts were moved to the Staadtsbibliothek, Berlin, retaining their previous shelfmarks.

Description

According to the Berlin Staatsbibliothek website, the shelfmark for the manuscripts is stylized Ms. Lynar A 1, Ms. Lynar B 2, etc.

Analysis

Pieter Dirksen^[4]

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.^[5]

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.

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.

D-B Ms. Lynar B 1 Online facsimile: digital.staatsbibliothek-berlin.de accessed 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.

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

Dirksen, Pieter (editor). Orgelmusik av familjen Düben. Stockholm: Runa Nototext, 1996. xxi-xxii.

Beckmann, Klaus, Die Norddeutsche Schule. Teil II: Blütezeit und Verfall. Mainz: Schott, 2009.

RISM^1001048774

Schierning, 32-34

Lynar B 2

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.

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.

Works

Works in D-B Mus. Ms. Lynar B 2
No.	Title	notes	Incipit
1	[Fanta]sia [mit B]indungen	Jan Pieterszoon Sweelinck
2	Fantasia A 4	Anonymus: Jan Pieterszoon Sweelinck
3	fantasia primi Toni A 4	Nun komm der Heiden Heiland	$<< \relative g' { g1 g f1*1/4 } \\ \relative g { r2 g bes c d4 } >>$ ^[10]
4	ach Gott vom him: mel sieh darein.	Heinrich Scheidemann?	$<< \relative a' { \key d \minor a1 bes2 a g } \\ \relative a' { r2 a2~ a4 g2 f4~ f ees } >>$ ^[10]
5	Herr Christ der Einig Gottes Sohn… M.S	Melchior Schildt
6	Wie schön leucht unß der Morgenstern		1 variation $<< \relative f' { f2 c' a f c' } \\ \relative c' { \key f \major r2 c f d c } >>$ 2 variatio $\relative f' { \key f \major f8 g a bes c4. bes8 a4. g8 }$ 3 variatio $<< \relative f' { f2 c' } \\ \relative bes { r8 bes a g f f' e d } >>$ 4 variatio $<< \relative f' { \time 6/4 \key f \major f4 a bes c2. } \\ \relative c' { r2. c4 d e } >>$ 5 variatio $<< \relative f' { \key f \major \clef bass f2 } \\ \relative f { f16 c' b c bes d c d } >>$ ^[10]
7	Nun freut euch lieben Christen gmein		1 variatio $<< \relative f' { f1 f2 a } \\ \relative bes { r4 bes bes c d e f2\laissezVibrer } >>$ 2 variatio $<< \relative f' { \key f \major r4 f8 g a4 a8 bes } \\ \relative f { f2 f } \\ \relative a { a4 a8 bes c2\laissezVibrer } \\ \relative f {\clef alto f2 r4 f8 g }>>$ 3 variatio $\relative bes { \clef alto \key f \major bes1 bes2 d c bes }$ 4 variatio $<< f'1 \\ \relative bes { \key f \major \clef bass r8 bes a g f ees d c } >>$ 5 variatio $<< \relative ees' { \key f \major ees8 f16 ees d16 e f d ees8 c'16 bes } \\ \relative c' { c4 bes c } >>$ ^[10]
8	psalm 116 J. P.	Jan Pieterszoon Sweelinck
9	O Lux Beata Trinitas:		$<< \relative d' { \clef bass d1 c1*1/4 } \\ \relative g { r4 g bes8 a g f ees4 }>>$ ^[10]
10	psalm 60 A 2	Anonymus: Jan Pieterszoon Sweelinck
11	O Gott du unser Vater bist	Anonymus: Jan Pieterszoon Sweelinck	1 variatio $<< \relative e' { \clef alto e1 e2 d c b } \\ \relative a { R1 a1 a2 g } >>$ 2 variatio $<<\relative g' { \clef alto \key f \major g1 } \\ \relative g { r4 g8 a bes g c4}>>$ 3 variatio $<< \relative d' { \clef alto \key f \major R1 d1 d2 d } \\ \relative g { g1 g2 g d2. e4 } >>$ ^[10]
12	P 23 Mein hütter Undt mein hirtt	Anonymus: Jan Pieterszoon Sweelinck	$<< \relative g' { \key f \major g1 g8 a bes a g4 f8 e } \\ \relative g { R1 <g bes d>1 } >>$ ^[10]
13	die 10 Gebott Gottes	Jan Pieterszoon Sweelinck	1 variatio $<< \relative c'' { c1 c2 d } \\ \relative c' { r4 c c d e f4. d8 g4 } >>$ 2 variatio $<< \relative c'' { c1*5/8 } \\ \relative a' { r8 a16 g f8 e16 d c8 } >>$ 3 variatio $<< \relative c'' { c1 } \\ \relative c' { c8 <c e>8 8 <d f> <e g> <d f> <c e> <b d> } >>$ 4 variatio $<< \relative g' { \clef alto r8 g c b a f g e } \\ \relative e { r4 e f e } \\ c'1 >>$ ^[10]
14	Es spricht den unweisen Mundt woll	Heinrich Scheidemann
15	Fuga Cromatico ex D.la.sol.re.
16	Fantasia A. 2: 3: et 4 Vocum	Anonymus: Jan Pieterszoon Sweelinck
17	Fantasia Super ut re mi fa.sol.la. A. 3. Vocum

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.

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

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. This piece can be attributed to Heinrich Scheidemann based on a few factors, including the absence of so-called "simple echo combinations". It can be dated from around 1640-1650.

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, Klaus, Die Norddeutsche Schule. Teil II: Blütezeit und Verfall. Mainz: Schott, 2009.

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

Schierning, 32-34

RISM^466000013

Lynar B 3

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.

D-B Ms. Lynar B 3 Online facsimile: digital.staatsbibliothek-berlin.de accessed 3 November, 2023, mirrored IMSLP⁵⁵⁴³³⁶.

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

Works in Lynar B 3
fol.	Title	Incipit	Notes
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 / H S M
5v-6r	Vater unser in Himmell / reich. / 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 Abels.
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

Lynar B 4

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.

D-B Ms. Lynar B 4 Online facsimile: digital.staatsbibliothek-berlin.de accessed 3 November, 2023.

This manuscript contains four pieces:

"In dir hab / ich gehoffet / Herr / auf 2 Clavier / manualiter" starting on page 1
Illegible, maybe "Jesus Christus / unser heÿlantt / auf 2 Clavir / pedaliter" on page 4
"Fantasia / M. S[?]. P." on page 10
"Fantasia / A. 3 Vocum / Transpon: per 4ton" starting on page 14 and ending on the page 16-17 opening.

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

References

RISM^1001048776

Lynar B 5

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).

D-B Ms. Lynar B 5 Online facsimile: digital.staatsbibliothek-berlin.de accessed 3 November, 2023.

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^[11].

References

RISM^1001048780

Lynar B 6

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.

D-B Ms. Lynar B 6 Online facsimile: digital.staatsbibliothek-berlin.de accessed 3 November, 2023.

Ms. Lynar B 6 contains a manualiter Toccata auf 2 clavir (WV 43) by Heinrich Scheidemann on 10 pages. This toccata is 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 209, and D-B Am.B 340 (Breig states that the copy in Ze 1 is likely the most accurate).

References

RISM^1001048781

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

Lynar B 7

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.

D-B Ms. Lynar B 7 Online facsimile: digital.staatsbibliothek-berlin.de accessed 3 November, 2023.

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 of D-B Ms. Lynar B 7
fol.	Title	Incipit	Notes
1r-2r	P 66	${ \time 4/2 \clef alto << \relative f' { f1 d2 c f f } \\ \relative f { f1 bes,2 f'~ f4 e d2 } \\ \relative c' { c1 bes2 a c d\laissezVibrer } \\ \relative a { a1 f2 s2 a2 a } >> }$ 2. V. ${ \time 4/2 \clef bass << \relative f' { f1 d2 c f } \\ \relative f, { r1 r2 f2~ f4 g } \\ \relative f { r2 f2~4 g a2~a4 bes } \\ \relative f { s1 s2 f2~f4 d8 e } >> }$
2v-3r	P 5	${ \time 4/2 \clef alto << \relative d' { \clef alto d2~ d8 e f g a2 b } \\ \relative d { r2 d2~ d4 a'2 gis4 } \\ \relative d' { s1 f4 e e2\laissezVibrer } \\ \relative a { s2 r4 a d c b2 } >> }$ 2 Vari / in Basso ${ \time 4/2 \clef alto << \relative d' { \clef alto r4 d8 e f g a b c4 a d8 c b a } \\ \relative d { d1 a'2 b } >> }$ 3 V. / im Tenor ${ \time 4/2 \clef alto << \relative a' { \clef alto r4 a4. g8 f4 e a4~ a gis } \\ \relative a, { r1 r4 a e'2 } \\ \relative f' { s4 f4. e8 d4 c8 b c d e2 } \\ \relative d { d1 a'2 b } >> }$
3v-5r	P 116	${ \time 4/2 \clef alto << \relative d'' { d1 b2 c d1 } \\ \relative g { g1 g2 e d1 } \\ \relative g' { g1 g2. g4 fis2 g\laissezVibrer } \\ \relative b { b1 d2 c~c b } >> }$ 2 Vari: ${ \time 4/2 \clef alto << \relative d'' { d2~d8 e c d b2 c } \\ \relative a { r1 r2 a8 b g a } \\ \relative g' { r2 g2~g8 a f g e2 } >> }$ 3. Vari / Corahll in / Tenor ${ \time 4/2 \clef alto << \relative g' { r1 g2 e4 fis g2 a } \\ \relative g { r2 g2~4 e2 a4~4 g2 fis4 } \\ \relative d' { d1 b2 c d1 } >> }$ 4 Variatio / a 4 ${ \time 4/2 \clef treble << \relative d'' { r2 d2~4 d c2\laissezVibrer } \\ \relative d' { d1 b2 c } \\ \relative a' { a1 b2 g4 a\laissezVibrer } \\ \relative fis' { fis1 g2 e } >> }$
5v-7r	P 100	${ \time 4/2 \clef alto << \relative a' { a1 b g2 c21/4 } \\ \relative a { a1 g g2 c,8 } \\ \relative e' { e1 g d2 g21/4 } \\ \relative c' { c1 d b2 e2*1/4 } >> }$ [2 V] ${ \time 4/2 \clef alto << \relative a' { a2~a8 fis g a b2~ b8 c b a } \\ \relative f { f4 e d2 } \\ \\ \relative f' { r2 d2~ d8 e f d e2\laissezVibrer }>> }$ 3 variation ${ \time 4/2 \clef alto << \relative e' { r4 e f2 d g2~g4 f e2 } \\ \relative d { r2 d~ d e2~ e4 d c2 } \\ \relative a { a1 b g2 c } >> }$ [4 V] ${ \time 4/2 \clef alto << \relative a' { a1 r2 d~ d4 c b2\laissezVibrer } \\ \relative a, { a2. b4 cis2 d g1 } \\ \relative a { a4 b cis d e2 fis g d } \\ \relative a { s1 a1 b2. a4 } >> }$	Written in second hand
6v-7r	Erhalt uns / Herr beij / deinen wortt	${ \time 4/2 \clef alto << \relative g' { r1 g2. a4 bes2 g } \\ \relative g { r1 r1 g2. a4 } \\ \relative c' { c2. d4 ees2 c bes4 a bes c } >> }$ 2 Variation ${ \time 4/2 \clef alto << \relative g' { g1 bes2 g } \\ \relative g, { r1 r4 g bes g } \\ \relative d' { d4 ees d8 ees c4 d1 } \\ \relative g { g4 c b8 c a4 g2 r4 g } >> }$ 3 Variation ${ \time 4/2 \clef alto << \relative g' { g1 bes21/2 } \\ \relative ees { ees8 d c b r c b a g21/2 } \\ \relative g' { g8 f ees d ees4 d8 c d1*1/4 } \\ \relative d { s1 r8 d16 e } >> }$	Written in second hand
7v-8r	P 24	${ \time 4/2 \clef alto << \relative d' { d1 a' f g } \\ \relative a { r1 r2 a2 d a b c\laissezVibrer } >> }$ 2 V. / a 3 ${ \time 4/2 \clef alto << \relative a' { r2 a2~4 b c b a g f e } \\ \relative d { d1 a' f } \\ \\ \relative d' { d2. e4 f2 e f4 e d c } >> }$

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

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

Lynar B 8

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.

D-B Ms. Lynar B 8 Online facsimile: digital.staatsbibliothek-berlin.de accessed 3 November, 2023.

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 gebrauf [?] / Anton Neünhaber." These are thought to be two verses of the same piece by Andreas Neunhaber. The second piece is in five voices and has detailed manual change indications written into the tablature.

References

RISM^1001048783

Beckmann, K. (editor). 3 Choralbearbeitunten von Anton Neunhaber und Ewald Hintz. Wiesbaden: Breitkopf & Härtel, 1974.

Lynar B 9

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.

D-B Ms. Lynar B 9 Online facsimile: digital.staatsbibliothek-berlin.de accessed 3 November, 2023.

Lynar B 9 contains two preludes on two pages. The title page lists the keys/tonality "A cis" and "F a".

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

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

References

RISM^1001048784

Lynar B 10

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.

D-B Ms. Lynar B 10 Online facsimile: digital.staatsbibliothek-berlin.de accessed 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. 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

Lynar C

Lynar C 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 [1] database under the shelfmark "Ms. Lynar C" or "Lynar B 11"^[12]. Additionally, this manuscript seems to have recieved virtually no musicological attention besides mentions in collection with the other manuscripts.

References

Schierning, 106-109.

References

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

↑ stabikat.de, accessed 24 September, 2023. -> "Online-Zugang": Das Werk, das Sie suchen, befindet sich aktuell in der Digitalisierung.
↑ Schnieders, Hans, "Fingersätze für Tasteninstrumente aus dem Umfeld Sweelincks und seiner Schüler". [2], accessed 15 September, 2023. 2.15 Lynar A1
↑ Seiffert, Max (editor), Sweelinck: Werken voor Orgel en Clavecimbel. Amsterdam: G. Alsbach & Co., 1942. xlvi
↑ Dirksen, Pieter. Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology. Aldershot: Ashgate, 2007. 9-10.
↑ Dirksen, Pieter (editor). Psalm Variations from Lynar B 7. Exempla Musica Neerlandica XVIII. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1996. VIII
↑ [3] accessed 18 July, 2023.
↑ RISM^1001079614
↑ [4] accessed 18 July, 2023.
↑ RISM^1001079620
↑ ^10.0 ^10.1 ^10.2 ^10.3 ^10.4 ^10.5 ^10.6 ^10.7 Dirksen, P., "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht
↑ Brieg, Werner (editor). Jacob Praetorius: Choralbearbeitunen für Orgel. Kassel: Bärenreiter, 1974.
↑ See [5], accessed 31 October, 2023.

[1] stabikat.de, accessed 24 September, 2023. -> "Online-Zugang": Das Werk, das Sie suchen, befindet sich aktuell in der Digitalisierung.

[2] Schnieders, Hans, "Fingersätze für Tasteninstrumente aus dem Umfeld Sweelincks und seiner Schüler". [2], accessed 15 September, 2023. 2.15 Lynar A1

[3] Seiffert, Max (editor), Sweelinck: Werken voor Orgel en Clavecimbel. Amsterdam: G. Alsbach & Co., 1942. xlvi

[dirksen-4] Dirksen, Pieter. Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology. Aldershot: Ashgate, 2007. 9-10.

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

[6] [3] accessed 18 July, 2023.

[7] RISM^1001079614

[8] [4] accessed 18 July, 2023.

[9] RISM^1001079620

[dirkb2-10] 10.0 ^10.1 ^10.2 ^10.3 ^10.4 ^10.5 ^10.6 ^10.7 Dirksen, P., "Eight Chorale Settings by Jan P. Sweelinck and his School", 1991, Vereniging voor Nederlandse Muziekgeschiedenis, Utrecht

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

[12] See [5], accessed 31 October, 2023.

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Lynar Tablatures

History[2]

Description

Analysis

Pieter Dirksen[4]

Contents

Lynar A 1[6][7]

Lynar A 2[8][9]

Lynar B 1

Analysis

Allein Gott in der Höh sei Ehr

References

Lynar B 2

Description

Works

References

Lynar B 3

References

Lynar B 4

References

Lynar B 5

References

Lynar B 6

References

Lynar B 7

Description

Contents

Analysis

References

Lynar B 8

Contents

References

Lynar B 9

Contents

References

Lynar B 10

References

Lynar C

References

References

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History^[2]

Pieter Dirksen^[4]

Lynar A 1^[6]^[7]

Lynar A 2^[8]^[9]