In dich hab | ich gehoffet | herr. | H.S.M.||
4 Vers. | Manual. | auff 2 | Clavier·
Zellerfeld Tablature Ze2
(Caspar Calvör, Braunschweig, 1668?)
Lübbenau Tablature LyB4*
(Danzig or Stockholm?, ca 1620s?)
Lüneburg Tablature KN 208/1†
(Franz Schaumkell, Lüneburg, before ca 1655–60)
(Caspar Calvör, Braunschweig, 1668?)
Lübbenau Tablature LyB4*
(Danzig or Stockholm?, ca 1620s?)
Lüneburg Tablature KN 208/1†
(Franz Schaumkell, Lüneburg, before ca 1655–60)
Nun frewet | euch lieben | Christen gemein. |
2 clauier.
Lüneburg Tablature KN 208/1
Vater Unser | Im Himmelreich. | Scheidem: |
2 clau:
Lüneburg Tablature KN 208/1
These three miniature, presumable early, pieces for two manuals by the composer whom Pieter Dirksen considers the inventor of the genre display, somewhat in microcosm, many of the features common to Scheidemann’s chorale fantasias: each phrase of the chorale treated in turn, elaborated by coloratura writing for right and left hand in alternation and restatements at different pitch levels. Dirksen points out the gradual emergence of echo writing in these three works: there is none in ‘Vater unser’, some in the coda of ‘Nun freut euch’, and a longer echo passage in the main body of ‘In dich hab ich gehoffet’, over a statement of the first phrase in augmented note-values. I, not necessarily seeing this as a positive development (echo writing was certainly taken to extremes by several composers), find the ‘Vater unser’ a much more satisfying piece given its more consistent use of coloratura figures (the underlying material is more substantial, too; it might be difficult to write a really bad piece on such a fine melody as ‘Vater unser’). All three recordings demonstrate an exploration of my hunch that the two manuals in pieces like these should be registered fairly similarly since there is so much melodic material in the ‘accompaniments’ and so much motivic interplay between the two manual parts.
* lacks attribution
† lacks manual indications