Background
Jan Pieterszoon Sweelinck was born in Deventer, Netherlands, in April or May 1562.
( Jan Pieterszoon Sweelinck (15621621) was among the mos...)
Jan Pieterszoon Sweelinck (15621621) was among the most famous organists of seventeenth-century Europe and an influential composer in the Dutch and North German tradition. He composed over 300 choral and instrumental pieces that bridged Renaissance and Baroque styles and helped prepare the way for the music of Buxtehude, Scheidt, and J. S. Bach. Today, the Dutch composer is best remembered for the inventive, sparkling music he wrote for organ and other keyboard instruments. This remarkable treasury includes nearly all of Sweelinck's brilliant keyboard works, most of which have survived only in widely scattered seventeenth-century manuscripts. Reproduced from a clearly printed, thoroughly edited, and reliable 1943 critical edition, this volume contains important and innovative compositions heretofore difficult to find in a reasonably priced edition. The selections are divided into four principal sections (pieces playable on either organ or other keyboard; pieces for organ; pieces for keyboard; supplementary section) and include chorale variations notable for their double and triple counterpoint; toccatas and fantasias showing the influence of the Venetian organ school; and sets of variations on secular and dance tunes. Moreover, the supplement contains three incomplete and/or modified works and a fascinating, authentic fantasia by the great English composer John Bull. The fantasia was written in memoriam shortly after Sweelinck's death and was based on a now-lost fugue by the Netherlandish master. It remains the only testament to one of Sweelinck's finest works. In Sweelinck's day, the 73 classic compositions presented here were among Europe's most popular pieces for organ and keyboard. In our own time, these lovely instrumental works retain every bit of their original intensity and vigor. Reproduced in this authoritative complete-resource edition, they will be welcomed by serious keyboard artists, who will find them as praiseworthy today as they were when first known and played in Europe over 300 years ago.
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Jan Pieterszoon Sweelinck was born in Deventer, Netherlands, in April or May 1562.
He received some musical training from his father, Pieter Swybertszoon (Sweelinck adopted his mother's surname), who was the organist of the Oude Kerk (Old Church) in Amsterdam.
He probably did not leave Amsterdam for more than a few days at a time.
Only a portion of Sweelinck's music was published during his lifetime.
The Chansons a 5 (1594) stand very much within the tradition of the late-16th-century chanson in their emphasis on counterpoint and frequent madrigalisms.
The Rimes françaises et italiennes (1619) are for a reduced number of parts.
Highly vocal, they emphasize canonic techniques.
Five of the 15 Italian pieces in the collection were based on pieces in four to six parts by Italian composers.
None of his organ works were published during his lifetime; most exist only in copies, and there are, therefore, problems of correct attribution.
Undoubtedly many works have been lost. In his keyboard music Sweelinck turned from the melodic ornamentation that dominated the current Germanic style.
The techniques he used in variations on sacred melodies were different from the ones he employed on secular melodies, probably reflecting his growing feeling for idiomatic distinction between the organ and the harpsichord.
His pupils, especially Samuel Scheidt, preserved this manner and transmitted it to Germany, where its influence lasted until the time of Johann Sebastian Bach.
( Jan Pieterszoon Sweelinck (15621621) was among the mos...)
In 1590 Sweelinck married Claesgen Puyner. They had six children.