Heinrich Scheidemann’s Keyboard Music (Paperback)

Contents:

List of illustrations
List of tables
Source sigla
Catalogue
Introduction

Part One – The Sources
1. Early sources [i]: The Wolfenbüttel autographs
2. Early sources [ii]: The ‘Sweelinck’ sources
3. Middle-period sources [i]: The Zellerfeld tablatures (Inventory – Delphin Strunck – The Jordan family – Heinrich Schütz – Caspar Calvör – Conclusion)
4. Middle-period sources [ii]
5. Late sources: Lüneburg, Pelplin and the ‘clavier’ anthologies
6. The dates found in the sources

Part Two – Chronology
7. Toccatas and ‘free’ imitative pieces
8. Harpsichord variations and dances
9. Praeambula and praeludiae
10. Chorale cycles
11. Chorale fantasias and Magnificat cycles (Early chorale fantasias – Magnificat cycles – Late chorale fantasias)
12. Intabulations
13. Scheidemann’s development as a keyboard composer

Part Three – Special Studies
14. More on the Düben tablature and its background (Content and scribal features – Background of the music – Historical importance)
15. Scheidemann’s ‘kunstreiche Manuduction auf dem Clavier’: Fingering in the Scheidemann sources
16. Ulf Grapenthin: The Catharinen organ during Scheidemann’s tenure (The Origin of the Catharinen Organ – The Scherer Family’s work at St. Catharinen – Gottfriedt Frietzsch’s work at St. Catharinen – Conclusion: Scheidemann’s organ)
17. Scheidemann in Otterndorf: Registration practice

Appendices
A. A tentative chronological classification
B. Map of Northern Germany, showing the (tentative) origin of the manuscripts
C. Two fragmentary works from Ze2: WV 24 and 25

Bibliography
Index of works by Heinrich Scheidemann
Name and subject index

From the Reviews:

“This is an excellent book, whose argument is well arranged, [and] well written.”
(Clifford Bartlett in Early Music Review)

“This book is essential reading for the study of early 17th-century north German keyboard music, but also has a wider relevance tot the history of keyboard music. … The organization of the book means that organologists can find the information of greatest interest to them in one place.”
(David J. Smith in Early Music)

“The book covers a lot of ground and background, and is generous with tables, lists, music examples and illustrations. … sources are so crucial to an understanding of keyboard music before Haydn … that such reliable, well-informed, careful and judicious reasonings as are to be found here are invaluable. … The thoroughness with which every issue is handled is most impressive.”
(Peter Williams in the Organ Yearbook)

” … an important contribution … a welcome addition to sources about early seventeenth-century keyboard literature and Heinrich Scheidemann’s music in particular. It is meticulously researched and organized, and well-written in a style in which very technical information can be clearly understood.”
(Marilyn J. Smiley in Renaissance Quarterly)

“The aim of this book is […] that Heinrich Scheidemann should be regarded as ’the paramount figure in North German organ music of the first half of the seventeenth century, equalled only by Buxtehude in the second half’. That the book does indeed put forward persuasive arguments in favour of this assertion is testimony to the author’s skilfully applied, and impressively extensive research methodology, and his painstaking collation and evaluation of evidence.”
(Gerald Gifford in The Consort)

“It is an exemplar of through-going scholarship relative to an important keyboard composer about whose work little has heretofore been written, and contains nuggets of real gold for the scholar seeking greater understanding of the music of Scheidemann’s mileu.”
(James Wallmann in The American Organist)

“The lasting value of this book is the elevation of Scheidemann … to the status of a pivotal composer of north German keyboard music … This is a major study of an important area in north German keyboard music, one that has implications for a whole range of wider contextual studies which include Sweelinck, English virginalists, Frescobaldi, Froberger, Weckmann, Buxtehude, right up to J.S. Bach.”
(David Ponsford in BIOS)

“Pieter Dirksen … offers rich fare to musicologists, organologists and performers in this dense but rewarding volume.”
(Paul Collins in Journal of the Society for Musicology in Ireland)