Cantilena anglica de Fortuna
Canzon ‘Bergamasca’
Canzon ‘Cornetto’
Canzon super ‘O Nachbar Roland’
Canzon super Cantionem Belgicam
Canzon super Cantionem Gallicam
Canzon super Intradam Aethiopicam
Samuel Scheidt was a German composer, organist, and teacher of the early Baroque era. He studied with Jan Sweelinck, the distinguished Dutch composer, whose work had a clear influence on Scheidt’s style. 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. In south Germany and some other countries of Europe, the spiritual and artistic influence of Rome remained strong, so most music continued to be derivative of Italian models. Cut off from Rome, musicians in the newly Protestant areas readily developed styles that were much different from those of their neighbors.
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. He lived from November 1587 to March 24, 1654.—Excerpted from Wikipedia
“In this book, Barbara Owen has created a rich resource of historical information coupled with strategies for interpreting that information on today’s instruments.”—Journal of the American Musical Instrument Society
Cantilena anglica de Fortuna
Canzon ‘Bergamasca’
Canzon ‘Cornetto’
Canzon super ‘O Nachbar Roland’
Canzon super Cantionem Belgicam
Canzon super Cantionem Gallicam
Canzon super Intradam Aethiopicam
Libro secundo, 1649 (101–106)
Toccata in A minor
Toccata in D minor
Toccata in G major
Toccata in C major
Toccata da sonarsi alla Leuatione in D minor (elevation toccata)
Toccata da sonarsi alla Leuatione in G minor (elevation toccata)
Libro quarto, 1656 (107–112)
Toccata in G major
Toccata in E minor
Toccata in C major
Toccata in F major
Toccata in E minor (elevation toccata)
Toccata in A minor
Fantasias (201–206)
Fantasia Sopra Ut, Re, Mi, Fa, So, La in C major
Fantasia in A minor
Fantasia in F major
Fantasia Sopra Sol, La, Re in G major
Fantasia in A minor
Fantasia in A minor
Canzonas (301–306)
Canzona in D minor
Canzona in G minor
Canzona in F major
Canzona in G major
Canzona in C major
Canzona in A minor
Johann Jakob Froberger was a German Baroque composer, keyboard virtuoso, and organist. He was among the most famous composers of the era and influenced practically every major composer in Europe by developing the genre of keyboard suite and contributing greatly to the exchange of musical traditions through his many travels. He is also remembered for his highly idiomatic and personal descriptive harpsichord pieces, which are among the earliest known examples of program music.
Only two of Froberger’s many compositions were published during his lifetime, but his music was very widely spread in manuscript copies and he was one of the very few 17th-century composers who were never entirely forgotten. His works were studied in the 18th century (although perhaps not very extensively, and certainly without influence on the emerging Classical style) by Handel, Bach and, extraordinarily, even Mozart and Beethoven. He lived from May 1616 to May 1667.—Excerpted from Wikipedia
Libro secundo, 1649 (101–106)
Toccata in A minor
Toccata in D minor
Toccata in G major
Toccata in C major
Toccata da sonarsi alla Leuatione in D minor (elevation toccata)
Toccata da sonarsi alla Leuatione in G minor (elevation toccata)
Libro quarto, 1656 (107–112)
Toccata in G major
Toccata in E minor
Toccata in C major
Toccata in F major
Toccata in E minor (elevation toccata)
Toccata in A minor
Fantasias (201–206)
Fantasia Sopra Ut, Re, Mi, Fa, So, La in C major
Fantasia in A minor
Fantasia in F major
Fantasia Sopra Sol, La, Re in G major
Fantasia in A minor
Fantasia in A minor
Canzonas (301–306)
Canzona in D minor
Canzona in G minor
Canzona in F major
Canzona in G major
Canzona in C major
Canzona in A minor
Jan Pieterszoon Sweelinck was a Dutch composer, organist, and pedagogue whose work straddled the end of the Renaissance and beginning of the Baroque eras. He was among the first major keyboard composers of Europe, and his work as a teacher helped establish the north German organ tradition. His work is widely recognized as the highest development of the Dutch keyboard school, and indeed represented a pinnacle in keyboard contrapuntal complexity and refinement before J.S. Bach. However, he was also a skilled composer for voices, and composed more than 250 vocal works. He lived from April or May, 1562, to October 16, 1621.—Excerpted from Wikipedia
Jan Pieterszoon Sweelinck was a Dutch composer, organist, and pedagogue whose work straddled the end of the Renaissance and beginning of the Baroque eras. He was among the first major keyboard composers of Europe, and his work as a teacher helped establish the north German organ tradition. His work is widely recognized as the highest development of the Dutch keyboard school, and indeed represented a pinnacle in keyboard contrapuntal complexity and refinement before J.S. Bach. However, he was also a skilled composer for voices, and composed more than 250 vocal works. He lived from April or May, 1562, to October 16, 1621.—Excerpted from Wikipedia
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