Heinrich Scheidemann

Heinrich Scheidemann (towards 1595 - 1663) was a organist and German Compositeur . He was most famous of the organists of Germany of North during first half of the 17th century. Its influence was very important and, by its pupils, connects it to Jean-Sebastien Bach.

Its life

It was born with Wörden in the duchy from Holstein. His/her father was organist with Wörden and with Hamburg and Heinrich probably accepted its first lessons from them. It was, like many organists of Germany of the north of this time, raises Sweelinck with Amsterdam of 1611 with 1614, and probably one of its preferred since Sweelinck dedicated a motet to him towards the end of this period, before it turns over to Germany. Starting from 1629, and even perhaps before, Scheidemann were organist of the church Holy-Catherine in Hamburg - thus titular of the most prestigious instrument of the city. It remained in station during more than 30 years, until its death to Hamburg at the beginning of 1663 during a epidemic of Peste.

Music and influence

Scheidemann was famous as well as a type-setter as organist, which shows the broad diffusion of its works. There remains a greater number of compositions of Scheidemann than of any other type-setter of its time in Germany. To the difference of its fellow-members such as Praetorius, Schütz, Scheidt, and Schein which wrote in the majority of the musical genres of use, Scheidemann was devoted almost exclusively to its instrument of predilection. There remain to us also some vocal works and parts for the Clavecin, but their number is largely exceeded by the parts intended for the organ, which often comprise several movements.

The durable contribution of Scheidemann to the repertory of the organ and the Baroque music in general, is represented by its preludes of chorals which take three principal forms:

arrangagement of choral with Cantus firmus, an old type of preludes of chorals,
arrangements monodic imitating the vocal style (as a soloist) of this time, adapted in solo for the organ with Basse continues,
very elaborate imaginations of choral, composition of a new style resulting from the manner of Sweelinck and tie left the new technical possibilities the organ septentrional Germany.

In addition to its arrangements of chorals, it composed of arrangements of the Magnificat, including/understanding several parts and organized in cycles: not very used musical technique which would not return in light before the 19th century.

Works (Selection)

Magnificat I (4 Verses)
Magnificat VI (4 Verses)
Praeambulum in G major
Praeambulum in minor D
Fugue in minor D
Verbum caro factum is
Dixit Maria AD Angelum
Benedicam Dominum in omni in time
Surrexit pastor no-claims bonus
Te Deum laudamus

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