Heinrich Scheidemann
Born: 1595; Wöhrden, Holstein
Died: September 26, 1663; Hamburg, Germany
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Scheidemann was one of the leading organ composers of the early to mid seventeenth century; as a founder of the north German organ school, he was an important predecessor of Buxtehude and Bach. From 1611 to 1614, Scheidemann studied in Amsterdam with Sweelinck. It's not clear what he did during the ensuing decade, but perhaps as early as 1625 he was serving as organist at St. Kathrinen in Hamburg. He remained in this position until he died of the
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Works
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Alleluja, laudem dicite Deo nostro (1)
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Alleluja, laudem dicite Deo nostro, motet for organ (1)
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Allemand and Courant in G major (1)
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Allemand in D minor (1)
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Angelus ad pastores ait (2)
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Ballet and Variation in D minor (1)
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Ballet and Variation in F major (1)
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Ballet in D minor (1)
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Benedicam Dominum in omni temporae (1)
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Betrübet ist zu deiner (2)
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Betrübet ist zu dieser Frist, variations for organ (1)
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Canzon, WV 44 (1)
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Canzona for Organ in F major (1)
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Canzona for Organ in G major (2)
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Canzona for Organ in G major, WV 74 (1)
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Chorale(s) for Organ (1)
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Christ lag in Todesbanden (4)
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Christ lag in Todesbanden: Verse no 1 (1)
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Christ lag in Todesbanden: Verse no 2 (1)
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Christ lag in Todesbanden: Verse no 3 (1)
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Confitemini Domino (1)
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Die nobis Maria (3)
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Ego sum panis vivus (1)
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Englische Mascarata und Variatio (1)
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Englischer Mascarada "Judentanz" (1)
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Erbarm dich mein o Gott, WV 87 (1)
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Erbarm dich mein, O Herre Gott (3)
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Erbarm dich mein, O Herre Gott, for keyboard (2)
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Es ist Heil uns kommen her (1)
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Es spricht der Unweisen Mund wohl (1)
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Fantasia ex G for organ (1)
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Fantasia in G major (1)
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Fantasy for Organ in C major, WV 82 (1)
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Fantasy for Organ in D minor (1)
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Fantasy for Organ in G major, WV 86 (1)
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Französischer Allemand in D major (1)
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Fuga for organ in D minor (1)
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Fugue for Organ, WV 84 (2)
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Galliard for Harpsichord in D major (2)
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Galliarda Ex D (2)
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Galliarda in D minor (1)
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Galliarda variata (1)
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Gelobet seist du, Jesu Christ (1)
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Gelobet seist du, Jesu Christ, WV 60 (1)
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Gott sei gelobet und gebendeit (1)
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Herr Christ, der einig Gotts Sohn, for organ (1)
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Herzlich lieb hab ich dich, o Herr (1)
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Herzlich lieb hab ich dich, o Herr, for organ (1)
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In dich hab ich gehoffet, Herr (4)
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Jesu, du wolltest uns weisen (2)
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Jesu, du wolltest uns weisen, for organ (intavolation after Giovanni Giacomo Gastoldi) (1)
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Jesu, wollst uns weisen, WV 78 (2)
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Jesus Christus unser Heiland (2)
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Jesus Christus unser Heiland II (1)
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Jesus Christus, unser Heiland, for organ (1)
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Jesus Christus, unser Heiland, WV 10 (1)
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Komm heiliger Geist (1)
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Komm Heiliger Geist, chorale for organ (1)
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Kyrie summum (1)
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Kyrie summum, chorale for organ (1)
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Lobet den Herren, denn er ist sehr freundlich (3)
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Magnificat for organ on tone 2 (1)
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Magnificat im 1 Ton (2)
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Magnificat im 1 Ton, for organ, WV 14 (1)
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Magnificat im 2 Ton (2)
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Magnificat im 3 Ton (1)
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Magnificat im 4 Ton (1)
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Magnificat im 5 Ton, for organ (1)
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Magnificat im 6 Ton (1)
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Magnificat im 7 Ton (3)
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Magnificat im 7 Ton, for organ (1)
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Magnificat im 8 Ton (2)
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Magnificat in tone 3, for organ (4 verses) (1)
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Magnificat in tone 4, for organ (1)
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Magnificat in tone 8, for organ (2nd version) (1)
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Magnificat of the sixth tone, for organ (2)
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Magnificat, WV 19 (1)
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Magnificat-fantasy im 8 Ton, for organ (2)
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Mio cor se vera sei Salamanca (1)
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O Gott wir danken deiner Güt, for organ (3)
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O Gott, wir danken deiner Güt, WV 22 (2)
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O lux beata Trinitas (1)
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O Lux beata Trinitas, chorale for organ (1)
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Omnia quae fecisti nobis Domine (1)
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Paduana Lachrymae (2)
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Paduana Lachrymae, WV 106 (nach Dowland) (1)
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Pavana in F major/D minor (1)
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Praeambulum & Canzon for organ in F major (1)
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Praeambulum and Canzon in F major (1)
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Praeambulum for Organ in C major, WV 72 (1)
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Praeambulum for Organ in D minor (2)
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Praeambulum for Organ in G major (4)
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Praeambulum for Organ in G major, WV 73 (2)
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Praeambulum for Organ no 1 in D minor WV 30 (2)
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Praeambulum for Organ no 10 in F major, WV 39 (3)
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Praeambulum for Organ no 11 in F major, WV 40 (2)
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Praeambulum for Organ no 3 in D minor, WV 32 (2)
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Praeambulum for Organ no 4 in D minor, WV 33 (4)
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Praeambulum for Organ no 5 in D minor, WV 34 (4)
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Praeambulum for Organ no 6 in D minor, WV 35 (1)
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Praeambulum for Organ no 7 in D minor, WV 36 (2)
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Praeambulum(-a) for Organ (4)
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Praembulum in D minor for organ (1)
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Surrexit Pastor Bonus, for keyboard (1)
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Surrexit pastor bonus, WV 55 (1)
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Surrexit poastor bonus (1)
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Toccata for Organ in C major, WV 85 (1)
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Toccata for Organ in G major (1)
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Toccata for Organ in G major, WV 43 (8)
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Vater unser im Himmelreich (2)
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Vater unser im Himmelreich II (1)
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Vater unser im Himmelreich III (1)
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Verbum caro factum est (3)
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Vom Himmel hoch da komm ich her, WV 69 (3)
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Wir glauben all an einen Gott, WV 29 (1)
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Wir glauben all' an einen Gott (1)
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Work(s): [Unspecified] Praeambulum ex D [minor] (1)
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Biography |
by James Reel
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Scheidemann was one of the leading organ composers of the early to mid seventeenth century; as a founder of the north German organ school, he was an important predecessor of Buxtehude and Bach. From 1611 to 1614, Scheidemann studied in Amsterdam with Sweelinck. It's not clear what he did during the ensuing decade, but perhaps as early as 1625 he was serving as organist at St. Kathrinen in Hamburg. He remained in this position until he died of the plague in 1663.
Hamburg was a vibrant musical city and would remain so at least through the time of Telemann. Scheidemann maintained good relations with his colleagues in the city, made substantial money as church organist, and had his church's instrument enlarged in the mid-1630s; this was about the time he was developing a reputation as an expert on organs themeselves, as well as an able composer, performer, and teacher.
Scheidemann's compositions circulated widely; he wrote almost exclusively for the organ, although he also produced a few harpsichord pieces and very few songs. His organ works combine Sweelinck's interest in virtuoso figuration with more traditional polyphony, all carefully adapted to the resources of the north German Baroque organ. Sweelinck's influence is strongest in Scheidemann's most admired works, his chorale arrangments, with their flowing, minimally embellished use of the cantus firmus in one part while more complex things go on around it. Scheidemann's own innovations included the monodic organ chorale, which was essentially the organ version of the solo song with continuo accompaniment, and the virtuosic chorale fantasia. Many of Scheidemann's chorale preludes have such extensive fugues in the middle that they point the way to the prelude and fugue form that would reach its pinnacle in the works of Bach. Scheidemann's harpsichord music tends to be less innovative, more beholden to the florid variations of Sweelinck, although he also employed more homophonic dance forms that would characterize much of Bach's harpsichord music. |
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