Julia Brown - SCHEIDEMANN: Organ Works, Vol. 4 [CD]

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Heinrich Scheidemann (c. 1595-1663)Organ Works, Vol. 4Born in about 1595 in Wohrden in Holstein, where his father,a native of Hamburg, had recently been appointed organist, Heinrich Scheidemannstudied between 1611 and 1614 with Sweelinck in Amsterdam. His father had movedfrom Wohrden by 1604 to take the position of organist at the Catharinenkirchein Hamburg, and the church supported his son's study, In der Hoffnung, dass erein braver K??nstler und dereinst ihr Org. werden sollte (in the hope that hemight become a fine artist and some day an organist). When his studies inAmsterdam came to an end Sweelinck wrote a farewell canon for him, with thededication Ter eeren des vromen Jongkmans Henderich Scheijtman, van Hamborgh,is dit geschreven bij mij, Jan P. Sweelinck, organist tot Amsterdam, op den12den Novemb. 1614 (For the worthy young man Heinrich Scheidemann of Hamburgthis is written by me, Jan P.Sweelinck, organist of Amsterdam, on 12th November1614). In the late 1620s, and at least by 1629, he succeeded his father asorganist at the Catharinenkirche, and in 1633 was appointed clerk of thechurch, marrying in the following year the daughter of a doctor.During his years at Hamburg Scheidemann established himselfas an important figure in the world of North German organ music. His pupilsincluded J.A.Reincken, later his assistant and successor, Werner Fabricius, whobecame organist at the Nikolaikirche in Leipzig, Wolfgang Wessnitzer of Celle,Jakob Lorentz of the Waisenhaus in Hamburg, and others of contemporarydistinction. He served as a consultant on the construction of new instrumentsin Brunswick, L??beck, Bremen and elsewhere, and saw to the enlargement of hisown instrument at the Catharinenkirche by the organ-builder GottfriedFritzsche, with the addition of a Brustwerk to make a four-manual instrumentwith the existing Hauptwerk, R??ckpositiv, and Oberwerk, pedals and 56 stops. Hedied during an epidemic of the plague in Hamburg in 1663, and his widow, inrecognition of her husband's services, received a pension from the city.Scheidemann's important Magnificat settings were discoveredin 1955 by Gustav Fock in a book of organ tablatures at Clausthal-Zellerfeld.The four organ verses were to be played at Vespers between the sung verses ofthe canticle, seemingly, in Hamburg tradition, replacing the third, fifth,seventh and ninth of these. Scheidemann's cycle of Magnificat verses uses theeight psalm tones, two of which are here included. The Magnificat I Tonipresents the psalm tone in the tenor in the first versus. This is elaborated inthe extended second versus, a chorale fantasia, with an ornate upper part ofvaried rhythms, with echo effects as it proceeds. The third versus, a choralericercare, is plainer in texture, each voice suggesting the intonation of thepsalm tone as it enters. The setting ends with a fourth versus for the manualsonly. Here the right hand introduces the psalm tone, while the left handprovides a running counterpoint, moving into a t

Primus Versus

Secundus Versus

Tertius Versus

Quartus Versus

Benedicam Domino (After Lassus)

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Praeambulum In F Major

Canzona In F Major

Nun Bitten Wir Den Heiligen Geist

Praeambulum In D Minor

Versus Primus Et Secundus

Versus Tertius Et Quartus

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Tertius Versus

Praeambulum In G Minor

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De Ore Prudentis Procedit Mel (After Lassus)

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Quartus Versus