Composers

Samuel Scheidt

Organ
Voice
Mixed chorus
Harpsichord
String ensemble
Trumpet
Religious music
Song
Sacred songs
Variation
Canzona
Piece
Dance
Motet
Sacred hymns
Hymn
by popularity

#

70 Symphonies, SSWV 371-440

A

Alamanda 'Bruynsmedelijn', SSWV 558Allein Gott in der Höh sei Ehr, SSWV 559Angelus ad Pastores, SSWV 77

B

Bergamasca, SSWV 560

C

Cantilena anglica de Fortuna, SSWV 134Cantiones sacrae, SSWV 1-38Canzon 'Bergamasca', SSWV 64Canzon 'Cornetto', SSWV 56Canzon super Cantionem Belgicam, SSWV 69Canzon super Cantionem Gallicam, SSWV 67Canzon super Intradam Aethiopicam, SSWV 68Canzon super 'O Nachbar Roland', SSWV 66Christe qui lux es et dies, SSWV 151Concertuum sacrorum

D

Da Jesus an dem Kreuze Stund, SSWV 113Das Görlitzer Tabulaturbuch, SSWV 441-540Deutsches Magnificat, SSWV 331

E

Echo ad manuale duplex, forte et lene, SSWV 128Ein Kind geborn zu Bethlehem, SSWV 292

F

Fantasia super 'Jo son ferito lasso', SSWV 103Fantasia super Ut. Re. Mi. Fa. Sol. La, SSWV 105

G

Galliard Battaglia, SSWV 59Geistliche Konzerte I, SSWV 182-212Gelobet seist du, Jesu Christ, SSWV 135Gelobet seist du, Jesus Christ

I

In dulci jubilo, SSWV 15

K

Komm, heiliger Geist, Herre Gott, SSWV 463Kyrie dominicale, SSWV 139

M

Magnificat primi toni, SSWV 140

N

Nun komm, der Heiden Heiland, SSWV 12

P

Passamezzo, SSWV 107Præludium in D minor, SSWV 576

R

Resonet in Laudibus, SSWV 286

T

Tabulatura Nova, SSWV 102-158Toccata in G minor, SSWV 568

V

Vater unser im Himmelreich, SSWV 104Veni Redemptor gentium, SSWV 149

W

Warum betrübst du dich, mein Herz, SSWV 106Weh, Windchen, weh, SSWV 108Wie schön leucht’ uns der Morgenstern, SSWV 569Wir gläuben all' an einen Gott, SSWV 102Wohlan, so kommet her, ihr Frommen, SSWV 328
Wikipedia
Samuel Scheidt (baptised 3 November 1587 – 24 March 1654) was a German composer, organist and teacher of the early Baroque era.
Scheidt was born in Halle, and after early studies there, he went to Amsterdam to study with Sweelinck, the distinguished Dutch composer, whose work had a clear influence on Scheidt's style. On his return to Halle, Scheidt became court organist, and later Kapellmeister, to the Margrave of Brandenburg. Unlike many German musicians, for example Heinrich Schütz, he remained in Germany during the Thirty Years' War, managing to survive by teaching and by taking a succession of smaller jobs until the restoration of stability allowed him to resume his post as Kapellmeister. When Samuel Scheidt lost his job because of Wallenstein, he was appointed in 1628 as musical director of three churches in Halle, including the Market Church.
Scheidt was the first internationally significant German composer for the organ, and represents the flowering of the new north German style, which occurred largely as a result of the Protestant Reformation. In south Germany and some other countries of Europe, the spiritual and artistic influence of Rome remained strong, so most music continued to be derivative of Italian models. Cut off from Rome, musicians in the newly Protestant areas readily developed styles that were much different from those of their neighbours.
Scheidt's music is in two principal categories: instrumental music, including a large amount of keyboard music, mostly for organ; and sacred vocal music, some of which is a cappella and some of which uses a basso continuo or other instrumental accompaniment. In his numerous chorale preludes, Scheidt often used a "patterned variation" technique, in which each phrase of the chorale uses a different rhythmic motive, and each variation is more elaborate than the previous one, until the climax of the composition is reached. In addition to his chorale preludes, he wrote numerous fugues, suites of dances (which were often in a cyclic form, sharing a common ground bass) and fantasias.