Scheidemann, Henry

The son of the organist David Scheidemann, who worked in Wörden and from 1604 Hamburg ( ), from whom he received his first music lessons. In 1611 - 1614, together with his friend studied in Amsterdam with J.P. Svelink on a grant from St. Catherine's Cathedral. The prerequisites for this grant were the desire of the main Hamburg churches to train future organists from Svelink. He was one of the composer's favorite students, who dedicated one of the canons to him.

In 1629, he inherited from his father as the main organist of St. Catherine’s Cathedral. This took place until his death. Scheidemann gained a reputation among all the musicians of the city and was famous as an organ master. It was he who checked and accepted many organs of Northern Germany. His most significant student was I. A. Reinken .

Heinrich Scheidemann is a major representative of the North German organ school , combining the Svelink style with elements of the North German Baroque tradition. He is one of the most significant North German composers of the 17th century. In contrast to baroque composers such as M. Pretorius , S. Scheidt , and I. G. Schein , who worked in many genres, he wrote almost exclusively for the organ. In total, more than 80 organ compositions have been preserved, including choral preludes (“preambles”), choral fantasies (the largest - “Jesus Christus, unser Heiland”), the stabilization motets of other composers (seven - Orlando Lasso, three - H. L. Hassler, one by one Jerome Pretorius and Giovanni Bassano). The organ Magnificates occupy a special place in all eight tones : they “standardly” consist of four parts in which the psalm-like magnificat melody (acting as cantus firmus ) is inventively developed. Researchers suggest that parts of the organ magnificat (which are now performed as an instrumental "cycle") during worship were inserted between verses of a vocal magnificat, like organ versions .

In the music for harpsichord (more than 20 plays in total, mainly secular dances - allemands, chimes, balletti, etc.), the influence of English virginalists, on the one hand, and the technique of Svelink variations, on the other, is significant.

There are also 34 preserved Lutheran spiritual songs for voice and basso continuo (non-digital), published in collections by Johann Rista in 1651 and 1658.

Works of Scheidemann in the 21st century are usually identified by the catalog of P. Dirksen (2007) ^[2] , the abbreviation used is WV .

for body

• Magnetix of the first tone
• Magnetix of the second tone
• Magnetix of the third tone
• Magnetix of the fourth tone
• Fifth tone magnificat
• Sixth tone magnificat
• Seventh Tone Magnificat
• Eighth Tone Magnificat
• Choral fantasy "Jesus Christus, unser Heiland"
• Choral Prelude "Christ lag in Todesbanden"
• Choral prelude "Erbarm dich mein"
• Choral Prelude "Aus tiefer Not schrei ich zu dir"
• Choral Prelude "Vater unser im Himmelreich" (3 pieces)
• 12 Preludes (Praeambula): C-dur, G-dur, d-moll etc.
• Fugue d-moll
• Canzona G-dur
• Toccata G-dur
• Angelus ad pastores ait (stabilization moteta Lasso)
• Verbum caro factum est (Hassler motet integration)
• Dixit Maria ad angelum (moteta stabilization)
• Benedicam Dominum in omni tempore (moteta stabilization)
• Surrexit pastor bonus (intagulation of Moteta Lasso)

for harpsichord

• 5 allemand
• 2 balletti (WV 111 ...)
• 12 chime
• Galliard with variations
• Mascherata ^[3] (2 pieces)

• Orgelwerke 1. Choralbearbeitungen, hrsg. v. Gustav Fock. 7. Auflage. Kassel: Bärenreiter, 2006.
• Orgelwerke 2. Magnificat-Bearbeitungenhrsg. v. Gustav Fock. 3. Auflage. Kassel: Bärenreiter, 2006.

• Breig W. Die Orgelwerke von Heinrich Scheidemann // Beihefte zum Archiv für Musikwissenschaft. Bd. 3. Wiesbaden, 1967, ISBN 3-515-00218-9 ( excerpts from Google Books ).
• Breig W., Dirksen P. Scheidemann // The New Grove Dictionary of Music and Musicians. London; New York, 2001.
• Dirksen P. Heinrich Scheidemann's keyboard music. Its transmission, style and chronology. Aldershot: Ashgate, 2007; 2nd ed. New York; London: Routledge, 2016. ISBN 978-0-7546-5441-4 ( excerpts from Google Books )
• Beckmann K. Die Norddeutsche Schule. Orgelmusik im protestantischen Norddeutschland zwischen 1517 und 1755. Teil II. Blütezeit und Verfall 1620-1755. Mainz: Schott 2009.