Paul Siefert (variants: Syfert, Sivert, Sibert; 23 May 1586 – 6 May 1666) was a German composer and organist associated with the North German school.
He was born in Danzig (Gdańsk), Royal Prussia (a fief of the Crown of Poland) to his father's second wife and named after his father (died 1604), who was a procurator. The Danzig city council gave scholarships to Samuel Scheidt and him to study with Jan Pieterszoon Sweelinck in Amsterdam from 1607 to 1610; in the autumn of that year, he returned home where he became assistant organist of the Marienkirche. His application to become principal organist of the church after Cajus Schmiedtlein died in March 1611 failed due to complaints about his arrogance and style of performance.
He moved to Königsberg in 1611 to take up the post of organist of Altstadt Church, and became court organist at Warsaw in 1616. He returned to Danzig in 1623 to become principal organist, where he remained until his death; he failed in an application for the post of Kapellmeister in 1627 after the death of Andreas Hakenberger, who was succeeded by Kaspar Förster. He did not lead a serene life; he became sidelined at the Warsaw court, and had long-running feuds with Kaspar Förster, choirmaster of the Marienkirche from 1627 to 1652, and Marco Scacchi, Polish court choirmaster from 1628 to 1649.
His first book of Psalmen Davids consists of two concertos for three and four voices and twelve settings for four and five voices of material drawn from the Calvinist Goudimel-Lobwasser psalter of the Reformed Church. The form used is that of the chorale motet, the instrumental parts having little significance, mainly doubling the voices. Psalmorum Davidicorum II consists of fifteen psalms for four to eight voices, a concerto for four voices, and an eight-part instrumental canzona; the works are antecedents of the concertato chorale motet and the chorale cantata; there are instrumental preludes and ritornellos, and alternating sections of solo and tutti passages.
His keyboard works bear some similarity to Sweelinck, but are not generally of a high quality. The highly ornamented line is usually played by the right hand with the chorale underneath. This texture is interrupted by episodes exploiting effects of harmony and colour.
Johann Pachelbel was a German composer, organist, and teacher who brought the south German organ schools to their peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.
Samuel Scheidt was a German composer, organist and teacher of the early Baroque era.
Heinrich Scheidemann was a German organist and composer. He was the best-known composer for the organ in north Germany in the early to mid-17th century, and was an important forerunner of Dieterich Buxtehude and J.S. Bach.
Hans Leo Hassler was a German composer and organist of the late Renaissance and early Baroque eras, elder brother of composer Jakob Hassler. He was born in Nuremberg and died in Frankfurt am Main.
Chorale settings refer to a wide variety of musical compositions, almost entirely of Protestant origin, which use a chorale as their basis. A chorale is a simple melody, often based on Gregorian chant, written for congregations to sing hymns. Chorale settings can be vocal, instrumental, or both.
Johann Caspar Kerll was a German baroque composer and organist. He is also known as Kerl, Gherl, Giovanni Gasparo Cherll and Gaspard Kerle.
Christ lag in Todes Banden, BWV 4, is a cantata for Easter by German composer Johann Sebastian Bach, one of his earliest church cantatas. It is agreed to be an early work partly for stylistic reasons and partly because there is evidence that it was probably written for a performance in 1707. Bach went on to complete many other works in the same genre, contributing complete cantata cycles for all occasions of the liturgical year. John Eliot Gardiner describes it as Bach's "first-known attempt at painting narrative in music".
Giovanni Valentini was an Italian Baroque composer, poet and keyboard virtuoso. Overshadowed by his contemporaries, Claudio Monteverdi and Heinrich Schütz, Valentini is practically forgotten today, although he occupied one of the most prestigious musical posts of his time. He is best remembered for his innovative usage of asymmetric meters and the fact that he was Johann Kaspar Kerll's first teacher. The family name comes from deep roots in the native country of Greece. Well known for their classical music but also known for the family that branched off to the neighbouring country of Italy.
Peter Philips was an eminent English composer, organist, and Catholic priest exiled to Flanders. He was one of the greatest keyboard virtuosos of his time, and transcribed or arranged several Italian motets and madrigals by such composers as Lassus, Palestrina, and Giulio Caccini for his instruments. Some of his keyboard works are found in the Fitzwilliam Virginal Book. Philips also wrote many sacred choral works.
Alessandro Poglietti was a Baroque organist and composer of unknown origin. In the second half of the 17th century Poglietti settled in Vienna, where he attained an extremely high reputation, becoming one of Leopold I's favorite composers. Poglietti held the post of court organist for 22 years from 1661 until his death during the Turkish siege that led into the Battle of Vienna.
Johann Sebastian Bach composed the church cantata Wär Gott nicht mit uns diese Zeit, BWV 14, in Leipzig in 1735 for the fourth Sunday after Epiphany and first performed it on 30 January 1735, a few weeks after his Christmas Oratorio. The cantata, in Bach's chorale cantata format, is based on Martin Luther's hymn "Wär Gott nicht mit uns diese Zeit". Its text paraphrases Psalm 124, focussing on the thought that the believers' life depends on God's help and is lost without it.
Johann Erasmus Kindermann was a German Baroque organist and composer. He was the most important composer of the Nuremberg school in the first half of the 17th century.
The 17th century organ composers of Germany can be divided into two primary schools: the north German school and the south German school. The stylistic differences were dictated not only by teacher-pupil traditions and international influences, but also by separate organ building traditions: northern organs tend to have a tower layout with emphasis on the pedal division, while southern and Austrian instruments are typically divided around a window and emphasize manual divisions.
Gottfried Scheidt was a German composer and organist.
"In dulci jubilo" is a traditional Christmas carol. In its original setting, the carol is a macaronic text of German and Latin dating from the Middle Ages. Subsequent translations into English, such as J. M. Neale's arrangement "Good Christian Men, Rejoice" have increased its popularity, and Robert Pearsall's 1837 macaronic translation is a mainstay of the Christmas Nine Lessons and Carols repertoire. J. S. Bach's chorale prelude based on the tune is also a traditional postlude for Christmas services.
Ein feste Burg ist unser Gott, BWV 80, is a chorale cantata for Reformation Day by Johann Sebastian Bach. He reworked it from one of his Weimar cantatas, Alles, was von Gott geboren, BWV 80a. The first Leipzig version of the church cantata, BWV 80b, may have been composed as early as 1723, some five months after Bach had moved to Leipzig. Some years later he reworked the cantata one more time, writing an extended chorale fantasia as its opening movement. The text of the BWV 80a version was written by Salomon Franck and contained one stanza of Martin Luther's hymn "Ein feste Burg ist unser Gott"; for his chorale cantata versions, BWV 80b and 80, Bach added the complete text of this Lutheran hymn.
Kaspar Förster was a German singer and composer.
Aus tiefer Not schrei ich zu dir, BWV 38, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig in 1724 for the 21st Sunday after Trinity and first performed it on 29 October 1724.
Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, is a church cantata by the German composer Johann Sebastian Bach. It was composed in either 1707 or 1708, which makes it one of Bach's earliest cantatas. Some sources suggest that it could be his earliest surviving work in this form, but current thinking is that there are one or two earlier examples.