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Samuel Scheidt (Composer) |
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Born: 1587 (baptized: November 3, 1587) - Halle, Germany
Died: March 24, 1654 - Halle, Germany |
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The German composer and organist, Samuel Scheidt, was instructed in music at the local Gymnasium, and by December 1604 had become organist at the Moritzkirche; he remained there until at least April 1607. In 1608-1609 he took time off to study with Jan Pieterszoon Sweelinck in Amsterdam. By the end of 1609 he was back in Halle as court organist to the new administrator, Margrave Christian Wilhelm of Brandenburg, There Scheidt was responsible for playing the organ during services and providing secular keyboard music. In 1619 he opened a new organ at Bayreuth in the presence of many princes and musicians, including Michael Praetorius and Heinrich Schütz .Later, he was able to work with Praetorius, Kapellmeister in absentia, and also with Schütz. In late 1619 or early 1620 he was appointed court Kapellmeister, retaining his position as organist. From 1620 to 1625 Scheidt enlarged the court musical establishment to ten instrumentalists and five vocal soloists and published a collection of motets (Cantiones sacrae, 1620); three volumes of instrumental ensemble music (Ludi musici, 1621, 1622, 1624); one volume of large-scale vocal concertos (Concertus sacri, 1622); and the most important collection of his keyboard music, the 3-volume Tabulatura nova (1624). It was also during this period that Scheidt gained a reputation as an expert in organ construction; throughout his life he was often called upon to inspect new instruments.
When the margrave left Halle for Denmark in 1625 to support the Protestant cause in the Thirty Years' War, Scheidt was able to keep his position without pay During the next several years fie made his living primarily by teaching; his most famous pupil was Adam Krieger. The city of Halle created the post of director musices for Scheidt in 1628, which carried the responsibility of supplying music for the Marktkirche, the city's most important church. He lost this post in 1630 as the result of a dispute with Christian Gueinz, Rektor of the Gymnasium. In 1636 the plague hit Halle, claiming the lives of his four surviving children. Despite these unfortunate events, Scheidt continued to publish music: the fourth and final volume of his Ludi musici appeared in 1627, the Liebliche Krafft-Blümlein was brought out in 1635, and four volumes of Geistliche Concerte were published between 1631 and 1640. Peace returned to Halle in 1638, and Scheidt fully resumed his position as court Kapellmeister .In 1642 he offered to Duke August of Brunswick a collection of more than 100 sacred madrigals for 5 voices (now lost) and a number of instrumental sinfonias designed as Preludes to vocal music. His last publication, the so-called Görlitzer Tabulatur Buch (1650), contains 100 organ chorales in 4-part harmonizations.
Scheidt was one of Germany's most distinguished composers at that time, especially in the field of keyboard music. His three volumes of Tabulatura nova (1624) are a monumental compendium of song and dance arrangements, sets of variations, fantasias, toccatas, fugues and liturgical pieces (often plainsong-based) for the Lutheran Mass and Office. Likewise his four books of Geistliche Konzerte illustrate the ways of elaborating a chorale, fusing declamatory ideas with contrapuntal writing. He also published motets and instrumental dance music. |
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Source: HOASM Website
Contributed by Aryeh Oron (December 2005) |
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Use of Chorale Melodies in his works |
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Title |
Chorale Melody |
Year |
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Ach Gott und Herr 4-pt setting from the Tabulatur=Buch, SSWV 524 |
Ach Gott und Herr |
1650 |
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Ach Gott und Herr, wie gross und schwer (chorale), STB, bc, SSWV 236 |
Ach Gott und Herr |
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Allein Gott in der Höh' sei Ehr' , for organ |
Allein Gott in der Höh sei Ehr |
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4-pt. setting of Allein Gott in der Höh sei Her, SSWV 559 |
Allein Gott in der Höh sei Ehr |
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4-pt. setting of Allein Gott in der Höh sei Her, SSWV 464 |
Allein Gott in der Höh sei Ehr |
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3-pt setting of Allein Gott in der Höh sei Ehr STB, bc, SSWV 317 |
Allein Gott in der Höh sei Ehr |
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Allein zu dir, Herr Jesu Christ , Setting for STB, bc, SSWV 230 |
Allein zu dir, Herr Jesu Christ |
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Allein zu dir, Herr Jesu Christ , 4-pt. setting, SSWV 473 |
Allein zu dir, Herr Jesu Christ |
1650 |
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Auf meinen lieben Gott a chorale for STB, bc SSWV 213, appeared printed in Geistlicher Concerten…Ander Theil |
Auf meinen lieben Gott |
1634 |
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4-pt. setting of Auf meinen lieben Gott in Das Görlitzer Tabulaturbuch |
Auf meinen lieben Gott |
1659 |
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Aus tiefer Not schrei ich zu dir , STB, bc; SSWV 233 |
Aus tiefer Not schrei ich zu dir |
1650 |
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Befiehl du deine Wege , 4-pt. setting |
Befiehl du deine Wege (I) |
1650 |
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Christ ist erstanden, Setting for STB bc from Geistlicher Concerten … dritter Theil, SSWV 308 |
Christ ist erstanden |
1635 |
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Christ ist erstanden, Setting for 1 Soprano (and bc?), SSWV 462 |
Christ ist erstanden |
1650 |
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Christ lag in Todesbanden , Setting |
Christ lag in Todesbanden |
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Christ unser Herr, 4-pt. setting, SSWV 472 |
Christ unser Herr zum Jordan kam |
1650 |
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Christ unser Herr/Ich ruf zu dir (chorale) STB, bc, SSWV 184, in Newe geistliche Concerten … prima pars |
Christ unser Herr zum Jordan kam |
1631 |
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Christ, unser Herr, zum Jordan kam (chorale), STB, bc, SSWV 320, in Geistlicher Concerten … dritter Theil |
Christ unser Herr zum Jordan kam |
1635 |
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Christum wir sollen loben schon (chorale), STB, bc, SSWV 289; S x, 40 |
Christum wir sollen loben schon |
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Christum wir sollen loben schon , 2 versions for 4 parts |
Christum wir sollen loben schon |
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Christus der ist mein Leben 4-pt. setting, SSWV 525 |
Christus, der ist mein Leben |
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Durch Adams Fall ist ganz verderbt, 4-pt. setting from Tabulatur=Buch |
Durch Adams Fall ist ganz verderbt |
1650 |
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Puer natus in Bethlehem , 4-pt. setting |
Ein Kind geborn zu Bethlehem (Puer natus in Bethlehem) |
1650 |
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Puer natus in Bethlehem for 8 voices |
Ein Kind geborn zu Bethlehem (Puer natus in Bethlehem) |
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Ein Kind geborn zu Bethlehem for 6 voices and bc |
Ein Kind geborn zu Bethlehem (Puer natus in Bethlehem) |
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Erschienen ist der herrlich Tag , a 4-pt. setting |
Erschienen ist der herrlich Tag |
1650 |
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A setting in four parts for organ Es ist das Heil uns kommen her No. 46 from Das Görlitzer Tabulaturbuch |
Es ist das Heil uns kommen her |
1650 |
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Es woll uns Gott genädig seyn , 4-pt setting, SSWV 498 |
Es woll uns Gott genädig sein |
1650 |
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Gelobet seist du, Jesu Christ for Soprano SSWV 135 |
Gelobet seist du, Jesu Christ |
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Gelobet seist du, Jesu Christ , 2 stylo simplici, 4-pt. settings, SSWV 442 (2 versions) |
Gelobet seist du, Jesu Christ |
1650 |
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Gelobet seist du, Jesu Christ (chorale), SATB, bc, SSWV 282 |
Gelobet seist du, Jesu Christ |
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Gelobet seist du, Jesu Christ motet for 8 voices contained in Die Mottette vol. I, p. 153, Hänßler, Stuttgart |
Gelobet seist du, Jesu Christ |
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Helft mir Gotts Güte preisen , Chorale Prelude for Organ |
Helft mir Gotts Güte preisen |
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Helft mir Gotts Güte preisen , Setting for Soprano, Tenor, Bass + bc SSWV 300 |
Helft mir Gotts Güte preisen |
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Herr Christ, der einig Gotts Sohn , 4-pt setting, SSWV 487 |
Herr Christ, der einge Gottessohn |
1650 |
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Herr Gott, dich loben alle wir (chorale), STB, bc, SSWV 321; S xi, 90 |
Herr Gott, dich loben alle wir |
1635 |
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Herr Gott dich loben alle , SSWV 467; S i, 12 |
Herr Gott, dich loben alle wir |
1650 |
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Herr Gott, dich loben wir , a 12 (having 12 parts) |
Herr Gott, dich loben wir [The German Tedeum] |
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Te Deum laudamus , polychoral |
Herr Gott, dich loben wir [The German Tedeum] |
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2 different 4-pt. settings from the Tabulatur=Buch |
Herr Jesu Christ, du höchstes Gut |
1650 |
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4-pt setting from the Tabulatur-Buch, with an alternate text Herr Jesu Christ, ich weiß gar wohl |
Herr Jesu Christ, du höchstes Gut |
1650 |
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4-pt Setting of Herr Jesu Christ, meins Lebens Licht II from the Tabulatur=Buch |
Herr Jesu Christ, meins Lebens Licht |
1650 |
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Komm, Heiliger Geist, Herre Gott (ant), SATB, SATB, SSWV 8, in Cantiones Sacrae 8 voices |
Komm, Heiliger Geist, Herre Gott |
1620 |
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Komm, Heiliger Geist, Herre Gott (ant), SS, 2 instrumentss (SSWV 38); in Cantiones Sacrae 8 voices |
Komm, Heiliger Geist, Herre Gott |
1620 |
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Komm, Heiliger Geist, Herre Gott , 4-pt. setting |
Komm, Heiliger Geist, Herre Gott |
1650 |
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O Jesulein süss , for chorus |
Komm, heilger Geist, mit deiner Genad |
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Kommt her zu mir, spricht Gottes Sohn , 4-pt. setting from the Görlitz Tabulaturbuch |
Kommt her zu mir, spricht Gottes Sohn |
1650 |
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4-pt setting of Lobt Gott, ihr Christen, allzugleich |
Lobt Gott, ihr Christen, allzugleich |
1650 |
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Mit Fried und Freud ich fahr dahin (chorale, Luke ii.29–32), STB, bc, SSWV 302 |
Mit Fried und Freud ich fahr dahin |
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Mit Fried und Freud Tabulatur=Buch, SSWV 452 |
Mit Fried und Freud ich fahr dahin |
1650 |
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Nun komm, der Heiden Heiland , Motet for 8 voices (Double Choir) (Cantiones sacrae Nr. 12); SSWV 12 |
Nun komm, der Heiden Heiland |
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Nun komm, der Heiden Heiland , STB and bc, SSWV 279 |
Nun komm, der Heiden Heiland |
1635 |
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Nun komm, der Heyden Heyland , 2 4-pt. settings SSWV 441 |
Nun komm, der Heiden Heiland |
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Nun laßt uns Gott dem Herren - Ein Danklied für alle Wohltaten Gottes [“A song of gratitude/hank for all of God’s merciful/good deeds”] 4-pt setting from Tabulatur=Buch |
Nun laßt uns Gott dem Herren |
1650 |
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SSWV 532, a 4-pt. setting of O großer Gott von Macht from his Tabulatur-Buch hundert geistlicher Lieder und Psalmen |
O großer Gott von Macht |
1650 |
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O Herre Gott dein göttlich Wort , SSWV 513 |
O Herre Gott, dein göttlich(s) Wort |
1650 |
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Vater unser im Himmelreich 3 Canons and a Chorale Prelude for Keyboard SSWV 104, 115, 121, 126 |
Vater unser im Himmelreich |
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4-pt Setting from the Tabulatur=Buch, SSWV 471 |
Vater unser im Himmelreich |
1650 |
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Vater unser im Himmelreich (chorale), 8vv; S iv, 144, SSWV 32 |
Vater unser im Himmelreich |
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Von Gott will ich nicht lassen , 4-pt setting |
Von Gott will ich nicht lassen |
1650 |
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Von Gott will ich nicht lassen , Setting for Soprano, Tenor, Bass + bc in Newe geistliche Concerten…prima pars, SSWV 191 |
Von Gott will ich nicht lassen |
1631 |
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Warum betrübst du dich, mein Herz 3 different 4-pt. settings |
Warum betrübst du dich, mein Herz |
1650 |
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Warum betrübst du dich, mein Herz , (setting unknown) |
Warum betrübst du dich, mein Herz |
1657 |
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Warum betrübst du dich, mein Herz for 8 voices (double choir) & bc |
Warum betrübst du dich, mein Herz |
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Warum betrübst du dich, mein Herz Chorale setting for STB, bc, SSWV 198 |
Warum betrübst du dich, mein Herz |
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Was mein Gott will, das gscheh allzeit , 4-pt. Setting |
Was Gott tut, das ist wohlgetan [different melody] |
1650 |
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Wenn mein Stündlein vorhanden ist 4-pt. setting, SSWV 518 |
Wenn mein Stündlein vorhanden ist |
1650 |
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Wo Gott der Herr nicht bei uns halt , 4-pt. Setting |
Wo Gott der Herr nicht bei uns hält |
1650 |
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Links to other Sites |
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HOASM: Samuel Scheidt
Organ Composers: Samuel Scheidt
Samuel Scheidt Discography
Samuel Scheidt - Biography, Discography (Goldberg)
Scheidt, Samuel (1587-1654) (Naxos)
Samuel Scheidt (Baroque Music)
Samuel Scheidt (Karadar)
Werner Icking Music Archive: Samuel Scheidt
Samuel Scheidt -- Encyclopædia Britannica
San Francisco Bach Choir: Samuel Scheidt
The Samuel Scheidt Biography Page on Classic Cat
Scheidt, Samuel (1587 - 1654), Germany (Estrella)
Heinrich-Schütz-Haus Bad Köstritz: Samuel Scheidt [German] |
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Bibliography |
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