Heinrich Scheidemann's Keyboard Music
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A01=Pieter Dirksen
Author_Pieter Dirksen
Cantus Firmus
Category=AV
Category=AVLA
Chorale Cycles
chorale fantasia analysis
Chorale Fantasias
Chorale Motet
Delphin Strunck
early Baroque musicology
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Erbarm Dich Mein
Hamburg musical history
Heinrich Scheidemann
Herr Christ
Herr Jesu Christ
Hieronymus Praetorius
historical performance practice
Jacob Praetorius
Jesus Christus Unser Heiland
Lieben Christen Gmein
Magnificat Cycle
Matthias Weckmann
North German organ school
Scheidemann Pieces
Scheidemann's Music
Scheidemann’s Music
seventeenth-century keyboard repertoire research
Surrexit Pastor Bonus
tablature source studies
Terminus Ante Quern
Unser Heiland
Vater Unser
Vater Unser Im Himmelreich
Vom Himmel Hoch
Wir Glauben
Wo Gott Der Herr Nicht
Product details
- ISBN 9781138254992
- Weight: 1200g
- Dimensions: 156 x 234mm
- Publication Date: 07 Dec 2016
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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One of the most remarkable tales of recent resurrections in the field of early keyboard music concerns the music of Heinrich Scheidemann (c. 1595-1663). Long considered a minor master overshadowed by such figures as his teacher Jan Pieterszoon Sweelinck or his fellow student Samuel Scheidt, a number of major source discoveries made in the second half of the twentieth century - the most important one being the discovery of the Zellerfield tablatures - have gradually raised his stature towards what it should now be, namely that of the paramount figure in North German organ music of the first half of the seventeenth century, equalled only by Buxtehude in the second half. Pieter Dirksen, one of the leading scholars on early German keyboard music, shows how Scheidemann was a central personality in the rich musical life of Hamburg and stood on friendly terms with colleagues such as Jacob and Johannes Praetorius, Ulrich Cernitz, Thomas Selle, Johann Schop and Johann Rist. The sources for Scheidemann are for the most part contemporary and stem from all periods of his career, and beyond that until one or two decades after his death. His keyboard music was never published in his lifetime but circulated widely within professional circles. Dirksen considers the transmission of Scheidemann's music as a whole in Part One, where each source is analyzed individually, and the repertoire itself is examined in Part Two. A number of specialized studies, including a detailed investigation into the background of one of the sources as well as adressing questions of organology (an account of the famous Catharinen organ as it was during Scheidemann's era) and performance practice (a study of the fingering indications and observations on registration practice) form Part Three. A wealth of appendices also detail a relative chronology of the music; a geographic overview of the transmission and two hitherto unpublished, fragmentarily transmitted Scheidemann pieces. The book will therefore a
Pieter Dirksen completed his doctorate in musicology 'cum laude' in 1996 and has published widely on baroque keyboard music. He performs as a soloist on both harpsichord and organ as a continuo player with various chamber ensembles and orchestras.
