Albinoni |
Bach |
Biber |
Blow |
Buxtehude |
Caccini
Carissimi | Chambonnières | Charpentier | Corelli | Couperin | Frescobaldi
Froberger | Geminiani | Gluck | Händel | Lully | Metastasio
Monteverdi | Pachelbel | Pepusch | Pergolesi | Peri | Purcell
Rameau | Sammartini | Scarlatti | Scheidt | Schein | Schütz
Stradella | Tartini | Telemann | Torelli | Vivaldi | Zachau
Carissimi | Chambonnières | Charpentier | Corelli | Couperin | Frescobaldi
Froberger | Geminiani | Gluck | Händel | Lully | Metastasio
Monteverdi | Pachelbel | Pepusch | Pergolesi | Peri | Purcell
Rameau | Sammartini | Scarlatti | Scheidt | Schein | Schütz
Stradella | Tartini | Telemann | Torelli | Vivaldi | Zachau
Samuel Scheidt
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(b Halle 1587, d Halle 1654)
German organist and composer. Pupil of Sweelinck in Amsterdam. Organist, Moritzkirche, Halle, from c. 1603; organist and choirmaster to Margrave of Brandenburg in Halle from c. 1609, becoming court conductor 1619. Best known in his day for his vocal works, including cantiones sacrae for 8 voices (1620) and 70 Symphonien auf Conzerten-Manier with 3 voices and basso continuo (1644). Most important was his book of organ music, Tabulatura nova (1624, 3 volumes) proposing staff notation for organ instead of tablature and containing psalms, hymns, chorales, mass, etc.