Composers

Tabulatura Nova, SSWV 102-158

Composer: Scheidt Samuel

Instruments: Organ

Tags: Piece Cantilena Magnificat Religious music Vesper Psalms Sacred songs Song Credo Mass Sacred hymns Hymn Kyrie Toccata Allemande Dance Fantasia Fugue Canon Passamezzo Variation

#Arrangements

Download free scores:

Part I. Wir glauben all' an einen Gott, SSWV 102 PDF 0 MBPart I. Fantasia super 'Io son ferito lasso', fuga quadruplici, SSWV 103 PDF 0 MBPart I. Vater unser im Himmelreich, SSWV 104 PDF 0 MBPart I. Fantasia super Ut. Re. Mi. Fa. Sol. La, SSWV 105 PDF 0 MBPart I. Warum betrübst du dich, SSWV 106 PDF 0 MBPart I. Passamezzo, SSWV 107 PDF 0 MBPart I. Wehe, Windgen, wehe, SSWV 108 PDF 0 MBPart I. Courante, SSWV 109 PDF 0 MBPart I. Courante, SSWV 110 PDF 0 MBPart I. Ach du feiner Reiter, SSWV 111 PDF 0 MBPart I. Est ce Mars, SSWV 112 PDF 0 MBPart I. Da Jesus an dem kreuze stund, SSWV 113 PDF 0 MBPart I. Fantasia super 'Ich ruf' zur dir, Herr Jesu Christ', SSWV 114 PDF 0 MBPart I. Canones aliquot (12 works) SSWV 115-126 PDF 0 MB
Complete. Complete Score PDF 44 MB
Part II. Fuga contraria, SSWV 127 PDF 0 MBPart II. Echo ad manuale duplex, forte et lene, SSWV 128 PDF 0 MBPart II. Fuga, SSWV 129 PDF 0 MBPart II. Herzlich lieb hab' ich dich, O Herr, SSWV 130 PDF 0 MBPart II. Christ lag in Todesbanden, SSWV 131 PDF 0 MBPart II. Fantasia, SSWV 132 PDF 0 MBPart II. Christe, qui lux es et dies, SSWV 133 PDF 0 MBPart II. Cantilena anglica fortunae, SSWV 134 PDF 0 MBPart II. Gelobet seist du, Jesu Christ, SSWV 135 PDF 0 MBPart II. Soll es sein, SSWV 136 PDF 0 MBPart II. Also geht's, also steht's, SSWV 137 PDF 0 MBPart II. Toccata super 'In te, Domine, speravi', SSWV 138 PDF 0 MB
Part III. Kyrie dominicale, SSWV 139 PDF 0 MBPart III. Magnificat 1-9 toni, SSWV 140-148 PDF 2 MBPart III. Veni redemptor gentium, SSWV 149 PDF 0 MBPart III. A solis ortus cardine, SSWV 150 PDF 0 MBPart III. Christe qui lux es et dies, SSWV 151 PDF 0 MBPart III. Vita Sanctorum, SSWV 152 PDF 0 MBPart III. Veni Creator Spiritus, SSWV 153 PDF 0 MBPart III. O Lux beata Trinitas, SSWV 154 PDF 0 MBPart III. Credo in unum Deum, SSWV 155 PDF 0 MBPart III. Jesus Christus unser Heiland, SSWV 156 PDF 0 MBPart III. Modus ludendi pleno organo pedaliter, SSWV 157 PDF 0 MBPart III. Modus pleno organo pedaliter: Benedicamus, SSWV 158 PDF 0 MB
Selections. Echo ad manuale duplex, forte & lene, SSWV 128 PDF 0 MBSelections. Christ lag in Todesbanden, SSWV 131 PDF 0 MB
Selections. Modus Ludendi Pleno Organo Pedaliter, SSWV 157 PDF 0 MBSelections. Modus Pleno Organo Pedaliter: Benedicamus, SSWV 158 PDF 0 MB
Selections. Modus Ludendi Pleno Organo Pedaliter, SSWV 157 PDF 0 MBSelections. Modus Pleno Organo Pedaliter: Benedicamus, SSWV 158 PDF 0 MB
Selections. Magnificat 3. toni, SSWV 142 (2nd verse, "Quia fecit") PDF 0 MB
Part I. Complete Score PDF 18 MBPart I. Listing of Contents PDF 0 MBPart I. SSWV 102-103 PDF 3 MBPart I. SSWV 104-105 PDF 4 MBPart I. SSWV 106-107 PDF 3 MBPart I. SSWV 108-112 PDF 3 MBPart I. SSWV 113-126 PDF 3 MB
Part III. Complete Score PDF 14 MBPart III. Complete Miniature Score (without facsimiles) PDF 9 MBPart III. Listing of Contents* PDF 0 MBPart III. I-II* PDF 2 MBPart III. III-IV* PDF 2 MBPart III. V-VII* PDF 1 MBPart III. VIII-X* PDF 1 MBPart III. XI-XIII* PDF 1 MB
Part II. Complete Score PDF 14 MBPart II. Listing of Contents PDF 0 MBPart II. SSWV 127-129 PDF 3 MBPart II. SSWV 130-132 PDF 2 MBPart II. SSWV 133-134 PDF 2 MBPart II. SSWV 135-136 PDF 3 MBPart II. SSWV 137-138 PDF 1 MB
Part I. Complete Score PDF 10 MBPart I. Listing of Contents PDF 0 MBPart I. SSWV 102-103 PDF 1 MBPart I. SSWV 104-105 PDF 2 MBPart I. SSWV 106-107 PDF 2 MBPart I. SSWV 113-126 PDF 2 MB
Part II. Complete Score (miniature) PDF 8 MBPart II. Listing of Contents PDF 0 MBPart II. SSWV 127-130 (miniature) PDF 2 MBPart II. SSWV 131-134 (miniature) PDF 2 MBPart II. SSWV 135-138 (miniature) PDF 2 MB

Arrangements:

Other

Magnificat 5. toni, SSWV 144 (III, 6). Viol(4) (Folop, Albert)O Lux beata Trinitas, SSWV 154 (III, 16). Viol(4) (Folop, Albert)Vita Sanctorum, Decus Angelorum, SSWV 152 (III, 14). Viol(4) (Folop, Albert)Magnificat 8. toni, SSWV 147 (III, 9). Viol(4) (Folop, Albert)
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.