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Dawning, Opus 396
Uploaded by: Hoofdwerk
Composer: Cooman, Carson Organ: Utrecht - Dom, Bätz Organ Software: Hauptwerk IV Views: 455
Vater unser im Himmelreich
Uploaded by: EdoL
Composer: Telemann, Georg Philipp Organ: 1675/88 Hus/Arp Schnitger, Stade, Germany Software: Hauptwerk IV Views: 120
Ricercar on D
Uploaded by: Agnus_Dei
Composer: Kerll, Johann Kaspar Organ: 1675/88 Hus/Arp Schnitger, Stade, Germany Software: Hauptwerk IV Views: 192
Ach Gott und Herr BuxWV177
Uploaded by: EdoL
Composer: Buxtehude, Dieterich Organ: 1675/88 Hus/Arp Schnitger, Stade, Germany Software: Hauptwerk IV Views: 213
Uploaded by:
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Agnus_Dei (03/26/13)
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Composer:
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Scheidt, Samuel
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Sample Producer:
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OrganArt Media
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Sample Set:
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1675/88 Hus/Arp Schnitger, Stade, Germany
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Software: | Hauptwerk IV |
Genre: | Baroque |
Description: | Samuel Scheidt (baptized 3 November 1587 – 24 March 1654) was a German composer, organist and teacher of the early Baroque era. He was born in Halle, and after early studies there, he went to Amsterdam to study with Sweelinck, the distinguished Dutch composer, whose work had a clear influence on Scheidt's style. On his return to Halle, Scheidt became court organist, and later Kapellmeister, to the Margrave of Brandenburg. Unlike many German musicians, for example Heinrich Schütz, he remained in Germany during the Thirty Years' War, managing to survive by teaching and by taking a succession of smaller jobs until the restoration of stability allowed him to resume his post as Kapellmeister. When Samuel Scheidt lost his job because of Wallenstein, he was appointed in 1628 as musical director of three churches in Halle, including the Market Church. Scheidt was the first internationally significant German composer for the organ, and represents the flowering of the new north German style, which occurred largely as a result of the Protestant Reformation.
Scheidt's music is in two principal categories: instrumental music, including a large amount of keyboard music, mostly for organ; and sacred vocal music, some of which is a cappella and some of which uses a basso continuo or other instrumental accompaniment. In his numerous chorale preludes, Scheidt often used a "patterned variation" technique, in which each phrase of the chorale uses a different rhythmic motive, and each variation is more elaborate than the previous one, until the climax of the composition is reached. In addition to his chorale preludes, he wrote numerous fugues, suites of dances (which were often in a cyclic form, sharing a common ground bass) and fantasias. |
Performance: | Live |
Recorded in: | Stereo |
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