Sweelinck [Swelinck, Zwelinck, Sweeling, Sweelingh, Sweling, Swelingh], Jan Pieterszoon(b Deventer, ?May 1562; d Amsterdam, 16 Oct 1621). Dutch composer, organist and teacher. He was not only a famous organist and one of the most influential and sought-after teachers of his time but also one of the leading composers, of vocal as well as of keyboard music.

1. Life.2. Sweelinck as teacher.3. Works: introduction.4. Vocal works.5. Keyboard works.WORKSBIBLIOGRAPHY

RANDALL H. TOLLEFSEN/PIETER DIRKSEN

Sweelinck, Jan Pieterszoon

1. Life.

Sweelinck was the elder son of Peter Swybbertszoon and his wife Elske Sweeling. Swybbertszoon, Sweelinck and Sweelinck’s son Dirck were successively organists of the Oude Kerk, Amsterdam, almost uninterruptedly from about 1564 to 1652, and Sweelinck’s paternal grandfather and uncle were also organists. For as yet unknown reasons Sweelinck adopted the family name of his mother, first using it on the title-page of his Chansons of 1594. From his early youth until his death he lived in Amsterdam. He never left the Low Countries and was never away from Amsterdam for longer than a few days at a time (except perhaps for a stay in Haarlem for study); the oft-repeated tale of his study in Venice with Zarlino, first related by Mattheson in 1740, is without foundation. His early general education was in the hands of Jacob Buyck, pastor at the Oude Kerk, and came to an end with the Reformation of Amsterdam in 1578. Besides his father, who probably gave him his first music lessons but who died when he was 11, his only known music teacher was Jan Willemszoon Lossy, a countertenor and shawm player at Haarlem, of whom little is known. Lossy was not an organist but may have taught Sweelinck composition. Cornelis Boskoop, briefly his father’s successor at the Oude Kerk in 1573, may have been among his organ teachers, and if Sweelinck indeed studied at Haarlem he would certainly have heard, and may have studied with, the organists Claas Albrechtszoon van Wieringen (active 1529–75) or the well-known Floris van Adrichem (organist 1575–8), both of whom improvised daily in the Bavokerk there.

Cornelis Plemp, a pupil and friend of Sweelinck, stated that his master was an organist for a period of 44 years. If this is true he would have started in 1577 at the age of 15. His tenure of the position at the Oude

Kerk, Amsterdam, can, however, be traced only from 1580, although it may have begun earlier, as the church records from 1577 to 1580 are lacking. His initial salary of 100 florins was doubled in 1586 (the year after his widowed mother died, when he took upon himself the care of his younger brother and sister). In 1590 his salary was raised to 300 florins, with the provision that, should he marry, it would be raised by another 100 or he could live rent-free; later that year he married and chose the latter. His last rise, to 360 florins, came in 1607; he still lived rent-free. Contrary to tradition, he was not engaged as both organist and carillonneur (the latter post was entrusted to the organ builder Artus Gheerdinck). Nor did his duties include the supplying of music for the regular ceremonial and social occasions of the city magistrate, as was the case in many other cities at that time, although he did provide this music on a few special occasions. This seemingly conscious restriction of his duties has been seen as an attempt by him to keep enough free time for his extensive work as a teacher, for which he became celebrated (see §2 below). But one must not underestimate the demands of his post. Since the Calvinists saw the organ as a worldly instrument and forbade its use during services, Sweelinck was actually a civil servant employed by the city of Amsterdam (which in any case owned the organs). His contract does not survive, but, on the evidence of various second-hand reports and contracts of organists in other important Dutch cities of the period, it is generally assumed that his duties were to provide music twice daily in the church – an hour in the morning and in the evening. When there was a service this musical hour came before and/or after it. Sweelinck was known for his organ and harpsichord improvisations: more than once the proud city authorities brought important visitors to the church to hear the ‘Orpheus of Amsterdam’. The instruments at his disposal in the Oude Kerk were a large organ with three manuals and pedal built originally by Hendrik Niehoff in 1539–45, and a small one with two manuals and pedal built in 1544–5 by Niehoff and Jasper Johanszoon (they are described by C.H. Edskes in Curtis, 1969; see also J. van Biezen, 1995).

Sweelinck led an uneventful, well-regulated life. His few documented absences from Amsterdam (except for his marriage) were entirely in conjunction with his professional activities. He inspected new organs at Haarlem (1594, with Philip Janszoon van Velsen and Willem Aertszoon), Middelburg (1603), Nijmegen (1605, with Van Velsen) and Dordrecht (1614, with H.J. Speuy) and the restored or repaired organs at Harderwijk (1608) – where he also wrote a canon for the mayor – Delft (1610), Dordrecht (1614), Deventer (1616) – his birthplace, which he had also visited in 1595, perhaps to give advice about the forthcoming restoration of the organ – Haarlem (1620) and Enkhuizen (1621). In 1610 he was at Rotterdam to act as adviser for planned improvements to the organ in the Laurenskerk, and he played the organ at Rhenen in 1616 during an informal visit with the organ builder Kiespenninck, who had restored the instrument five years earlier. His longest journey was in 1604 to Antwerp, where he purchased a harpsichord (possibly by Ruckers) for the city of Amsterdam.

Sweelinck was buried in the Oude Kerk. He was survived by his wife and five of his six children, of whom only the eldest, Dirck Janszoon Sweelinck, was a musician. John Bull, who was probably a personal friend, wrote a fantasia on one of his themes shortly after his death (see MB, xiv, 1960, rev. 2/1971, p.12). There are two portraits of him. One, a painting of 1606 (in NL-DHgm), is attributed to his brother Gerrit Pietersz, a talented painter and the teacher of Pieter Lastman, who in turn taught Rembrandt. The other is an engraving made in 1624 (see fig.1); its model is lost.

Sweelinck, Jan Pieterszoon

2. Sweelinck as teacher.

Sweelinck’s gifts as a teacher, for which he was famous throughout northern Europe, are an essential part of his importance for music history, for the founders of the so-called north German organ school of the 17th century (culminating in Bach) were among his pupils. His local pupils included talented dilettantes as well as a number of young professional musicians. The most important of the latter were Cornelis Janszoon Helmbreecker and his own son Dirck; others were Pieter Alewijnszoon de Vois, Jan Pieterszoon van Reynsburch, Willem Janszoon Lossy (son of his Haarlem teacher) and Claude Bernardt. After the turn of the century his reputation attracted pupils from Germany. These included Andreas Düben, Samuel and Gottfried Scheidt, Melchior Schildt and Paul Siefert, as well as Ulrich Cernitz, Jacob Praetorius (ii), Johannes Praetorius and Heinrich Scheidemann, who later held the four principal organists’ posts at Hamburg – hence the description of Sweelinck as ‘hamburgischen Organistenmacher’ (see Mattheson). The pupils of ‘Master Jan Pieterszoon of Amsterdam’ were seen as musicians against whom other organists were measured, and it was for this reason that talented young men were sent to study with him at the expense of their city councils. The costs included room and board at his house, as well as instruction, and may have totalled 200 florins a year per student. A notable by-product of Sweelinck’s pedagogical activities is his translation and adaptation of large sections from the third part of Zarlina’s Le istitutioni harmoniche (3/1573), which was preserved in a German version through the work of his Hamburg pupils.

Sweelinck, Jan Pieterszoon

3. Works: introduction.

As well as being one of the most famous organists and teachers of his time, Sweelinck was the last and most important composer of the musically rich golden era of the Netherlanders. Research into this period as a whole has brought his music and influence into better focus. He is no longer seen as the lone north European giant of his time but rather as a gifted craftsman and musician who was the equal of his European contemporaries. His influence, however, cannot be said to have extended beyond about 1650, whereas that of Frescobaldi, for instance, lasted until the end of the century. His keyboard music is now seen to be less the work of an innovator than of one who perfected forms derived from, among others, the English virginalists and transmitted them

through his pupils to north Germany. His immediate influence can be seen in the music of Samuel Scheidt and Anthoni van Noordt. His surviving output amounts to 254 vocal works, including 33 chansons, 19 madrigals, 39 motets and 153 psalms (three existing in two versions), as well as about 70 keyboard works, principally in the form of fantasias, echo fantasias, toccatas and variations. Only four pieces, all canons, are known in autograph sources. All his vocal works were printed, and one can assume that he himself corrected most of the proofs. On the other hand, none of his keyboard works was published during his lifetime; however, manuscript sources are surprisingly numerous and transmit mostly reliable texts.

Sweelinck, Jan Pieterszoon

4. Vocal works.

In none of Sweelinck’s vocal works, which predominate in his output, is there a setting of a text in his native language – they are for the most part in French – and none of those on sacred texts was written for performance during public worship services. Most are for five voices. Although the performance of one or more vocal parts by instruments is suggested only on the title-page of the Chansons, this is not to say that the rest of his vocal music is to be sung a cappella: one or more voices of the Rimes, for instance, lend themselves well to instrumental performance.

Sweelinck’s first publications were of chansons: the collection of 1594 (the year 1584 after the dedication is a typographical error) contains 18 five-part chansons, to which were added four by Cornelis Verdonck. There may have been two further collections (1592–3). Sweelinck published 12 chansons and 15 madrigals in Rimes françoises et italiennes (1612). They have an elegance and transparency – inherent in two- and three-part writing – not found in the earlier chansons, and they often include long canonic sections. At least five of the madrigals are modelled on works by Domenico Maria Ferrabosco, Andrea Gabrieli, Macque and Marenzio.

Sweelinck’s polyphonic setting of the Psalter has been justifiably called a monument of Netherlandish music unequalled in the sphere of sacred polyphony. From the outset he intended to set the entire Psalter, and the publication of his music for it spanned the whole of his creative life: his first two psalm settings appeared anonymously in a collection of 1597, his first book of psalms was published in 1604 (fig.2), and the fourth and final book appeared shortly after his death. The texts are from the French metrical Psalter of Marot and Bèze, not the Dutch version of Datheen (1566) used in most Dutch churches until 1773. This was probably because the psalms were not intended for use in public Calvinist services but rather within a circle of well-to-do musical amateurs among whom French was the preferred language. This supposition is strengthened by the dedications of the first and second books respectively to the burgomasters and aldermen of Amsterdam and to a number of Calvinist merchants of the city, the latter probably being members of the ‘compagnie des nourissons, disciples, fauteurs et

amateurs de la douce et saincte musique’ of which Sweelinck was the leader. In style and technique the psalms follow in the tradition of Clemens non Papa, Goudimel and their Venetian contemporaries. Homophony appears alongside strict counterpoint, with imitation in all voices; both the strict motet and madrigal style and the lighter chanson and villanella style can be found. Although Sweelinck explored all harmonic possibilities, chromaticism appears only sporadically. The cantus firmi – the melodies of the Genevan Psalter – provide the unifying element in each psalm. Most of the settings fall into one of three general categories: the ‘cantus firmus psalm’, where each line of the melody (in superius and/or tenor), separated by related interludes, is accompanied by a rhythmically altered form of the melody in the other voices; the ‘lied psalm’, where the uninterrupted melody appears in the superius; and the ‘echo psalm’, where the full cantus firmus is found in two separate voices, often in canon.

Sweelinck’s other important vocal collection, the Cantiones sacrae (1619), is the musical and religious antithesis of the psalms. It comprises 37 motets on texts from the Catholic liturgy and is dedicated to his young Catholic friend and pupil Cornelis Plemp; it thus raises the question as to whether Sweelinck remained a Catholic in the service of the ruling Calvinist minority. These motets show that in his compositional technique he kept abreast of the music of his time. The lack of a cantus firmus tends to make them more compact, but at the same time they have lost the transparency and vitality of the psalms. Several modern techniques are used: for example, there is more chromaticism, and the counterpoint is more harmonic and ornamental; but the basso continuo is more accurately termed a basso seguente (this is the only time that Sweelinck called for a separate instrumental part in a vocal collection). 14 of the motets have codas on the word ‘Alleluia’, some of them quite extended.

Sweelinck, Jan Pieterszoon

5. Keyboard works.

Apart from a few undistinguished pieces for lute, Sweelinck’s instrumental music is entirely for keyboard instruments and reveals a thorough knowledge of all the major keyboard traditions of his time, especially the English and the Venetian. Although it was never printed it enjoyed wide circulation through the numerous copies made by his pupils. Many works have probably been lost, but those that survive clearly demonstrate his genius.

Sweelinck’s works in the free forms – fantasias and toccatas – were developed from similar works by Italians (Andrea Gabrieli, Merulo), Spaniards (Cabezón, Milán), Portuguese (Coelho) and Englishmen (Bull, Philips), as well as from indigenous improvisatory practices. The passage-work is perhaps less brilliant than the Italians’ but has a more structural purpose, and there are no traces of colourist ornamentation. The various technical difficulties – above all the manner in which they are incorporated into the toccatas – point to a pedagogical purpose. Most of the toccatas have a homophonic or imitative introduction

followed by a section of extended passage-work, and a few include a short fugato section. Sweelinck brought a balanced construction, sharper and more concise in its musical conception, to this form, which in lesser hands could become wayward and diffuse. His fantasias are built on a single theme and are usually fugal in character, presenting the theme in augmentation and diminution and introducing a number of secondary themes developed either independently in fugato or used as counterpoints to the main theme. They are in several sections, interspersed with free interludes and imitative sections on important secondary themes, and they have a toccata-like close. They are notable for their monumental construction and strict composition. From a historical point of view they have a special place among Sweelinck’s works, for they led the way to the later development of the monothematic fugue. The echo fantasias form a separate genre. They are actually free fantasias without a basic theme; they contain homophonic sections in which there is extensive use of echo effects achieved by alteration of register (octave transposition) or colour (use of different manuals), and there are also sections which employ various canonic techniques.

Sweelinck was also attracted to variation form, in which the style of his music points clearly to the English virginalists, some of whom, notably Bull and Philips, were among his acquaintances. His variation cycles tend to form ordered units and are not a random selection of individual variations. The settings of secular melodies are characterized by the development in each variation of a new musical idea derived from the theme, which thereby often undergoes major alterations or is subjected to ornamentation. The chorale variations are built on another principle, which clearly shows the influence, through Bull, of William Blitheman. This involves using a different number of voices in each variation, placing the unchanged or slightly embellished cantus firmus each time in a different voice and providing variation through the change in contrapuntal treatment.

At least two further prints are lost: a Chyterboeck (1602 or 1608) with which Sweelinck was in some way connected – whether as composer (perhaps of only the first piece), arranger or collector, or as the composer whose works were arranged by another – and a collection of fantasias (c1630) edited by his pupil Samuel Scheidt; both are known only through auction or book fair catalogues.

Sweelinck, Jan Pieterszoon

WORKS

Editions: Jan Pieterszn. Sweelinck: Werken, ed. M. Seiffert (The Hague and Leipzig, 1894–1901/R) [S]Jan Pieterszoon Sweelinck: Werken voor orgel en clavecimbel, ed. M. Seiffert (Amsterdam, 1943, enlarged edn. of S i) [K]Jan Pieterszoon Sweelinck: Werken, ed. A. Annegarn (Amsterdam, 1958, suppl. to K) [A]Jan Pieterszoon Sweelinck: Opera omnia, editio altera, ed. R. Lagas and others, UVNM (Amsterdam, 1957–90) [O]

psalms, canticles

motets

chansons

madrigals

latin occasional

canons

keyboard

doubtful keyboard

lute

lost works

theoretical work

Sweelinck, Jan Pieterszoon: Works

psalms, canticles

50 pseaumes de David, mis en musique (C. Marot, T. de Bèze), 4–7vv (Amsterdam, 1604, 2/1624 as Premier livre des pseaumes de David, mis en musique … seconde edition) [1604]Rimes françoises et italiennes … 2, 3vv, avec une chanson, 4vv (Leiden, 1612) [1612]Livre second des pseaumes de David, nouvellement mis en musique (Marot, Bèze), 4–8vv (Amsterdam, 1613) [1613]Livre troisieme des pseaumes de David, nouvellement mis en musique (Marot, Bèze), 4–8vv (Amsterdam, 1614) [1614]Sechs-stimmige Psalmen, auss dem ersten und andern Theil seiner aussgangenen frantzösischen Psalmen (A. Lobwasser), 6vv, ed. M. Martinius (Berlin, 1616)Vierstimmige Psalmen, auss dem ersten, andern und dritten Theil seiner aussgangenen frantzösischen Psalmen (Lobwasser), 4vv, ed. M. Martinius (Berlin, 1618)Livre quatriesme et conclusionnal des pseaumes de David, nouvellement mis en musique (Marot, Bèze), 4–8vv (Haarlem, 1621) [1621]2 works in 15976

 A Dieu ma voix j’ay haussee (Ps lxxvii), 5vv, 1613; S iii, 11; O iii, 11Ainsi qu’on oit le cerf bruire (Ps xlii), 8vv, 1614; S iv, 27; O iv, 27Alors qu’affliction me presse (Ps cxx), 4vv, 1614; S iv, 4; O iv, 4Alors que de captivité (Ps cxxvi), 5vv, 1614; S iv, 6; O iv, 6Après avoir constamment attendu (Ps xl), 6vv, 1604; S ii, 38; O ii, 38A toy, mon Dieu, mon coeur monte (Ps xxv), 5vv, 1613; S iii, 12; O iii, 12A Toy, ô Dieu qui es là haut aux cieux (Ps cxxiii), 5vv, 1604; S ii, 25; O ii, 25Aux parolles que je veux dire (Ps v), 5vv, 1621; S v, 12; O v, 12Avec les tiens, Seigneur, tu as fait paix (Ps lxxxv), 5vv, 1621; S v, 19; O v, 19

Ayes pitié de moy (Ps lvii), 5vv, 1621; S v, 16; O v, 16Bienheureuse est la personne qui vit (Ps cxix), 6vv, 1614; S iv, 19; O iv, 19Bienheureux est quiconques (Ps cxxviii), 3–4vv, 1613; S iii, 5; O iii, 5Cantique de Siméon (see Or laisses, Createur)C’est en Judee proprement (Ps lxxvi), 8vv, 1621; S v, 43; O v, 43C’est en sa tres-saincte Cité (Ps xlviii), 8vv, 1621; S v, 42; O v, 42Chantez à Dieu chanson nouvelle, chantez, ô terre (Ps xcvi), 4vv, 1621; S v, 1; O v, 1Chantez à Dieu chanson nouvelle, et sa louange (Ps cxlix), 4vv, 1621; S v, 2; O v, 2Chantez à Dieu nouveau cantique (Ps xcviii), 5vv, 1613; S iii, 8; O iii, 8Chantez de Dieu le renom (Ps cxxxv), 6vv, 1613; S iii, 21; O iii, 21Chantez gayement (Ps lxxxi), 6vv, 1621; S v, 38; O v, 38Deba contre mes debatteurs (Ps xxxv), 6vv, 1614; S iv, 18; O iv, 18Dès ma jeunesse ils m’ont fait mille assauts (Ps cxxix), 5vv, 1604; S ii, 18; O ii, 18Des qu’adversité nous offense (Ps xlvi), 6vv, 1621; S v, 36; O v, 36De tout mon coeur t’exalteray (Ps ix), 4vv, 1604; S ii, 3; O ii, 3Dieu est assis en l’assemblee (Ps lxxxii), 8vv, 1614; S iv, 28; O iv, 28Dieu est regnant de grandeur tout vestu (Ps xciii), 4vv, 1621; S v, 8; O v, 8Dieu nous soit doux et favorable (Ps lxvii), 6vv, 1613; S iii, 17; O iii, 17Dieu pour fonder son tresseur habitacle (Ps lxxxvii), 5vv, 1621; S v, 26; O v, 26Di moy malheureux qui te fies (Ps lii), 5vv, 1604; S ii, 22; O ii, 22Donne secours, Seigneur, il en est heure (Ps xii), 5vv, 1613; S iii, 15; O iii, 15Donnez au Seigneur gloire (Ps cvii), 5vv, 1621; S v, 15; O v, 15D’ou vient cela, Seigneur je te suppli’ (Ps x) (i), 5vv, 15976 (anon.); S ix, 3; O v, pp.306–9D’ou vient cela, Seigneur, je te suppli’ (Ps x) (ii), 5vv, 1621 (reworking of 15976 work); S v, 14; O v, 14D’ou vient, Seigneur, que tu nous as espars (Ps lxxiv), 4vv, 1614; S iv, 2; O iv, 2Du fonds de ma pensée (Ps cxxx), 5vv, 1604; S ii, 17; O ii, 17Du malin le meschant vouloir (Ps xxxvi), 5vv, 1613; S iii, 9; O iii, 9Du Seigneur Dieu en tous endroits (Ps cxi), 8vv, 1621; S v, 41; O v, 41Du Seigneur les bontés sans fin je chanteray (Ps lxxxix), 6vv, 1614; S iv, 17; O iv, 17Enfans, qui le Seigneur servez (Ps cxiii), 8vv (2 choirs), 1614; S iv, 24; O iv, 24Enten à ce que je veux dire (Ps lxiv), 6vv, 1613; S iii, 22; O iii, 22Enten pourquoy je m’escrie (Ps lxi), 8vv, 1613; S iii, 29; O iii, 29Entre vous conseilliers qui estes (Ps lviii), 5vv, 1621; S v, 29; O v, 29Estans assis aux rives aquatiques (Ps cxxxvii), 5vv, 1604; S ii, 13; O ii, 13Exauce, ô mon Dieu, ma prière (Ps lv), 4vv, 1621; S v, 7; O v, 7Helas, Seigneur, je te pri’ sauve moy (Ps lxix), 5vv, 1604; S ii, 21; O ii, 21Il faut que de tous mes esprits (Ps cxxxviii), 4vv, 1604; S ii, 6; O ii, 6Incontinent que j’eu ouï (Ps cxxii), 4vv, 1604; S ii, 7; O ii, 7Jamais ne cesseray (Ps xxxiv), 6vv, 1614; S iv, 16; O iv, 16J’ay de ma voix à Dieu crié (Ps cxlii), 6vv, 1604; S ii, 42; O ii, 42J’ay dit en moy, de pres je viseray (Ps xxxix), 5vv, 1621; S v, 25; O v, 25J’ayme mon Dieu, car lors que j’ay crié (Ps cxvi), 5vv, 1621; S v, 18; O v, 18J’ay mis en toy mon esperance (Ps lxxi), 6vv, 1621; S v, 34; O v, 34J’ay mis en toy mon esperance (Ps xxxi), 7vv, 1621; S v, 39; O v, 39

Je t’aymeray en toute obeissance (Ps xviii), 6vv, 1621; S v, 33; O v, 33Jusques à quand as establi (Ps xiii), 6vv, 1604; S ii, 36; O ii, 36Las! en ta fureur aigue (Ps xxxviii), 5vv, 1621; S v, 21; O v, 21La terre au Seigneur appartient (Ps xxiv), 3–4vv, 1604; S ii, 2; O ii, 2Le Dieu, le fort, l’Eternel parlera (Ps l), 6vv, 1604; S ii, 34; O ii, 34Le fol malin en son coeur dit et croid (Ps xiv), 6vv, 1604; S ii, 37; O ii, 37Le fol malin en son coeur dit et croit (Ps liii), 4–7vv, 1621; S v, 40; O v, 40Les cieux en chacun lieu (Ps xix), 5vv, 1614; S iv, 9; O iv, 9Le Seigneur est la clarté qui m’addresse (Ps xxvii) (i), 5vv, 1604; S ii, 32; O ii, 32Le Seigneur est la clarté qui m’addresse (Ps xxvii) (ii), 3–5vv, 1613; S iii, 7; O iii, 7Le Seigneur ta priere entende (Ps xx), 4vv, 1604; S ii, 1; O ii, 1Les gens entrez sont en ton heritage (Ps lxxix), 5vv, 1621; S v, 20; O v, 20L’Eternel est regnant (Ps xcvii), 6vv, 1604; S ii, 44; O ii, 44Le Toutpuissant à mon Seigneur et maistre (Ps cx), 6vv, 1614; S iv, 15; O iv, 15Loué soit Dieu, ma force en tous alarmes (Ps cxliv), 6vv, 1604; S ii, 41; O ii, 41Louez Dieu, car c’est chose bonne (Ps cxlvii), 5vv, 1621; S v, 23; O v, 23Louez Dieu, car il est benin (Ps cvi), 6vv, 1604; S ii, 40; O ii, 40Louez Dieu tout hautement (Ps cxxxvi), 5vv, 1604; S ii, 31; O ii, 31Misericorde à moy, povre affligé (Ps lvi), 5vv, 1604; S ii, 26; O ii, 26Misericorde au povre vicieux (Ps li), 6vv, 1604; S ii, 39; O ii, 39Mon ame en Dieu tant seulement (Ps lxii), 7vv, 1614; S iv, 21; O iv, 21Mon coeur est dispos, ô mon Dieu (Ps cviii), 6vv, 1604; S ii, 48; O ii, 48Mon Dieu, j’ay en toy esperance (Ps vii), 6vv, 1614; S iv, 20; O iv, 20Mon Dieu, l’ennemy m’environne (Ps lix), 5vv, 1621; S v, 13; O v, 13Mon Dieu me paist sous sa puissance haute (Ps xxiii), 4–6vv, 1604; S ii, 10; O ii, 10Mon Dieu, mon Dieu, pourquoy m’as tu laissé (Ps xxii), 4vv, 1621; S v, 4; O v, 4Mon Dieu, mon Roy, haut je t’esleveray (Ps cxlv), 5vv, 1621; S v, 17; O v, 17Mon Dieu, preste moy l’oreille (Ps lxxxvi), 6vv, 1613; S iii, 26; O iii, 26Ne sois fasché, si, durant ceste vie (Ps xxxvii), 5vv, 1614; S iv, 10; O iv, 10Ne vueilles pas, ô Sire (Ps vi), 4vv, 1621; S v, 3; O v, 3Non point à nous, non point à nous, Seigneur (Ps cxv), 6–7vv, 1613; S iii, 24; O iii, 24O bienheureuse la personne (Ps cxii), 5vv, 1621; S v, 10; O v, 10O bienheureux celuy dont les commises (Ps xxxii), 5vv, 1604; S ii, 23; O ii, 23O bienheureux, qui juge sagement (Ps xli), 8vv, 1614; S iv, 29; O iv, 29O combien est plaisant et souhaittable (Ps cxxxiii), 5–6vv, 1614; S iv, 8; O iv, 8O Dieu des armees, combien (Ps lxxxiv), 5vv, 1613; S iii, 14; O iii, 14O Dieu, donne moy delivrance (Ps cxl), 5vv, 1604; S ii, 28; O ii, 28O Dieu Eternel, mon Sauveur (Ps lxxxviii), 5vv, 1621; S v, 11; O v, 11O Dieu, je n’ay Dieu fors que toy (Ps lxiii), 6vv, 1613; S iii, 19; O iii, 19O Dieu, la gloire, qui t’est deuë (Ps lxv), 6vv, 1613; S iii, 27; O iii, 27O Dieu, mon honneur et ma gloire (Ps cix), 6vv, 1621; S v, 35; O v, 35O Dieu, ne sois plus à requoy (Ps lxxxiii), 5vv, 1621; S v, 24; O v, 24O Dieu où mon espoir j’ay mis (Ps lxx), 5vv, 1614; S iv, 12; O iv, 12O Dieu, qui es ma forteresse (Ps xxviii), 3–5vv, 1613; S iii, 10; O iii, 10O Dieu qui nous as deboutés (Ps lx), 5vv, 1604; S ii, 29; O ii, 29O Dieu tout puissant, sauve moy (Ps liv), 5vv, 1604; S ii, 27; O ii, 27O Dieu, tu cognois qui je suis (Ps cxxxix), 4–5vv, 1621; S v, 28; O v, 28

O Eternel, Dieu des vengeances (Ps xciv), 5vv, 1621; S v, 22; O v, 22On a beau sa maison bastir (Ps cxxvii), 3–4vv, 1613; S iii, 4; O iii, 4O nostre Dieu et Seigneur amiable (Ps viii), 5vv, 1604; S ii, 16; O ii, 16O Pasteur d’Israël, escoute (Ps lxxx), 5vv, 1604; S ii, 15; O ii, 15O que c’est chose belle (Ps xcii), 6vv, 1604; S ii, 35; O ii, 35Oraison Dominicale (see Pere de nous)Or avons nous de nos oreilles (Ps xlix), 4vv, 1613; S iii, 3; O iii, 3Or est maintenant (Ps xcix), 6vv; 1621; S v, 32; O v, 32Or laisses, Createur (Cantique de Siméon) [Nunc dimittis], 5–6vv, 1604; S ii, 51; O ii, 51Or peut bien dire Israël maintenant (Ps cxxiv), 3–6vv, 1621; S v, 31; O v, 31Or soit loué l’Eternel (Ps cl), 8vv, 1614; S iv, 30; O iv, 30Or sus, louez Dieu tout le monde (Ps lxvi), 5vv, 1604; S ii, 30; O ii, 30[Or sus, serviteurs du Seigneur (Ps cxxxiv) (i)] (not pubd, indexed in 159710 but replaced by a chanson by Verdonck)Or sus, serviteurs du Seigneur (Ps cxxxiv) (ii), 6vv, 1604; S ii, 49; O ii, 49Or sus, serviteurs du Seigneur (Ps cxxxiv) (iii), 4vv, 1614; S iv, 5; O iv, 5Or sus tous humains (Ps xlvii), 5vv, 1613; S iii, 13; O iii, 13O Seigneur, à toy je m’escrie (Ps cxli), 5vv, 1613; S iii, 16; O iii, 16O Seigneur, loué sera ton renom (Ps lxxv), 4vv, 1613; S iii, 6; O iii, 6O Seigneur, que de gents (Ps iii) (i), 6vv, 15976 (anon.); S ix, 4; O v, pp.295–305O Seigneur, que de gents (Ps iii) (ii), 6vv, 1604 (reworking of 15976 work); S ii, 43; O ii, 43O Seigneur, que de gents (Ps iii) (iii), 4vv, 1614; S iv, 3; O iv, 3Pere de nous, qui es là haut és cieux (Oraison Dominicale) [Lord’s Prayer], 3vv, 1612, 1614; S iv, 31; O iv, 31; O vii, 45Peuples oyez et l’oreille prestez (Ps xlix), 6vv, 1604; S ii, 46; O ii, 46Pourquoy font bruit et s’assemblent les gents? (Ps ii), 5vv, 1604; S ii, 11; O ii, 11Propos exquis faut que de mon coeur sorte (Ps xlv), 5vv, 1604; S ii, 12; O ii, 12Quand Israël hors d’Egypte sortit (Ps cxiv), 4vv, 1613; S iii, 2; O iii, 2Quand je t’invoque, helas! escoute (Ps iv), 6vv, 1614; S iv, 14; O iv, 14Que Dieu se monstre seulement (Ps lxviii), 6vv, 1621; S v, 37; O iv, 1Qui au conseil des malins n’a esté (Ps i), 4vv, 1614; S iv, 1Qui en la garde du haut Dieu (Ps xci), 6vv, 1613; S iii, 25; O iii, 25Qui est-ce qui conversera (Ps xv), 3–4vv, 1604; S ii, 8; O ii, 8Rendez à Dieu louange et gloire (Ps cxviii), 6vv, 1604; S ii, 47; O ii, 47Resveillez vous, chascun fidele (Ps xxxiii), 8vv, 1613; S iii, 30; O iii, 30Revenge moy, pren la querelle (Ps xliii), 8vv, 1614; S iv, 26; O iv, 26Seigneur Dieu, oy l’oraison mienne (Ps cxliii), 6vv, 1613; S iii, 20; O iii, 20Seigneur, enten à mon bon droit (Ps xvii), 4vv, 1621; S v, 6Seigneur, enten ma requeste (Ps cii), 4vv, 1604; S ii, 5; O ii, 5Seigneur, garde mon droit (Ps xxvi), 4vv, 1604; S ii, 4; O ii, 4Seigneur, je n’ay point le coeur fier (Ps cxxxi), 8vv, 1614; S iv, 23; O iv, 23Seigneur, le Roy s’esjouïra (Ps xxi), 4vv, 1621; S v, 5; O v, 5Seigneur, pui que m’as retiré (Ps xxx), 5vv, 1621; S v, 27; O v, 27Si est-ce que Dieu est tres-doux (Ps lxxiii), 5vv, 1621; S v, 30; O v, 30Sois ententif, mon peuple, à ma doctrine (Ps lxxviii), 5vv, 1604; S ii, 14; O ii, 14Sois moy, Seigneur, ma garde et mon appuy (Ps xvi), 3–6vv, 1614; S iv, 7; O iv, 7Sus, esgayons-nous au Seigneur (Ps xcv), 6vv, 1604; S ii, 33; O ii, 33

Sus, louez Dieu, mon ame, en toute chose (Ps ciii), 3–6vv, 1614; S iv, 13Sus mon ame, qu’on benie le Souverain (Ps cxlvi), 6–7vv, 1613; S iii, 28; O iii, 28Sus, sus, mon ame, il te faut dire bien (Ps civ), 5vv, 1621; S v, 9; O v, 9Sus, qu’un chascun de nous sans cesse (Ps cv), 7vv, 1604; S ii, 50; O ii, 50Tes jugements, Dieu veritable (Ps lxxii), 5vv, 1604 [version Ehre sei Gott, 5vv, bc, 16412]; S ii, 19; O ii, 19Toutes gents louez le Seigneur (Ps cxvii), 6vv, 1604; S ii, 45; O ii, 45Tout homme qui son esperance (Ps cxxv), 6vv, 1613; S iii, 18; O iii, 18Tu as esté, Seigneur, nostre retraicte (Ps xc), 4vv, 1613; S iii, 1; O iii, 1Vers les monts j’ay levé mes yeux (Ps cxxi), 4vv, 1604; S ii, 9; O ii, 9Veuilles, Seigneur, estre recors (Ps cxxxii), 5vv, 1604; S ii, 20; O ii, 20Veu que du tout en Dieu mon coeur s’appuye (Ps xi), 6vv, 1613; S iii, 23; O iii, 23Vouloir m’est pris de mettre en escriture (Ps ci), 8vv, 1614; S iv, 25; O iv, 25Vous tous les habitans des cieux (Ps cxlviii), 7vv, 1614; S iv, 22; O iv, 22Vous tous, Princes et Seigneurs (Ps xxix), 5vv, 1604; S ii, 24; O ii, 24Vous tous qui la terre habitez (Ps c), 3–5vv, 1614; S iv, 11; O iv, 11

Sweelinck, Jan Pieterszoon: Works

motets

Canticum in honorem nuptiarum … Iohannis Stoboei … et … Reginae … Davidis Mölleri … relicta vidua, 8vv (Königsberg, 1617) [1617]Cantiones sacrae, 5vv, bc (Antwerp, 1619) [1619]Melos fausto quondam thalamo … conjugum Paris dicatum … studio et cura Iohannis Stobaei, 5vv (Danzig, 1638) [1638] Ab Oriente venerunt Magi, 5vv, bc, 1619; S vi, 3; O vi, 3Angelus ad pastores ait, 5vv, bc, 1619; S vi, 35; O vi, 35Beati omnes qui timent Dominum, 5vv, bc, 1619; S vi, 28; O vi, 28Beati pauperes spiritu, 5vv, bc, 1619; S vi, 6; O vi, 6Cantate Domino canticum novum, 5vv, bc, 1619; S vi, 8; O vi, 8De profundis clamavi ad te Domine, 5vv, bc, 1619; S vi, 20; O vi, 20Diligam te Domine, fortitudo mea, wedding motet, 8vv, 1617; S ix, 7; O vii, 55Diligam te Domine, fortitudo mea, 5vv, bc, 1619; S vi, 5; O vi, 5Domine Deus meus in te speravi [original: sperabo], 5vv, bc, 1619; S vi, 25; O vi, 56Ecce nunc benedicite Dominum, 5vv, bc, 1619; S vi, 7; O vi, 7Ecce prandium meum paravi, 5vv, bc, 1619; S vi, 2; O vi, 2Ecce virgo concipiet et pariet filium, 5vv, bc, 1619; S vi, 31; O vi, 31Euge serve bone et fidelis, 5vv, bc, 1619; S vi, 16; O vi, 16Felix auspiciis dies secondis, 5vv, 1638 [sacred contrafactum by ? J. Stobaeus of lost wedding motet]; S ix, 6; O vii, 56Gaude et laetare, Jerusalem, 5vv, bc, 1619; S vi, 18; O vi, 18Gaudete omnes et laetamini, 5vv, bc, 1619; S vi, 32; O vi, 32Hodie beata virgo Maria puerum Jesum praesentavit, 5vv, bc, 1619; S vi, 30; O vi, 30Hodie Christus natus est, 5vv, bc, 1619; S vi, 13; O vi, 13In illo tempore postquam consummati sunt, 5vv, bc, 1619; S vi, 22; O vi, 22In te Domine speravi, 5vv, bc, 1619; S vi, 4; O vi, 4Iusti autem in perpetuum vivent, 5vv, bc, 1619; S vi, 12; O vi, 12Laudate Dominum omnes gentes, 5vv, bc, 1619; S vi, 11; O vi, 11

Magnificat anima mea Dominum, 5vv, bc, 1619; S vi, 34; O vi, 34Non omnis qui dicit mihi Domine, 5vv, bc, 1619; S vi, 1; O vi, 1O Domine Jesu Christe, pastor bone, 5vv, bc, 1619; S vi, 10; O vi, 10O quam beata lancea, 5vv, bc, 1619; S vi, 21; O vi, 21O sacrum convivium, 5vv, bc, 1619; S vi, 14; O vi, 14Paracletus autem Spiritus sanctus, 5vv, bc, 1619; S vi, 23; O vi, 23Petite et accipietis, 5vv, bc, 1619; S vi, 15; O vi, 15Qui vult venire post me, 5vv, bc, 1619; S vi, 19; O vi, 19Regina coeli laetare, 3–5vv, bc, 1619; S vi, 33; O vi, 33Tanto tempore vobiscum sum, 5vv, bc, 1619; S vi, 36; O vi, 36Te Deum laudamus, 5vv, bc, 1619; S vi, 37; O vi, 37Timor Domini principium sapientiae, 5vv, bc, 1619; S vi, 29; O vi, 29Ubi duo vel tres congregati fuerint in nomine meo, 5vv, bc, 1619; S vi, 27; O vi, 27Venite exultemus Domino, 5vv, bc, 1619; S vi, 9; O vi, 9Vide homo, quae pro te patior, 5vv, bc, 1619; S vi, 17; O vi, 17Videte manus meas et pedes meos, 5vv, bc, 1619; S vi, 24; O vi, 24Viri Galilaei, quid statis aspicientes in coelum, 5vv, bc, 1619; S vi, 26; O vi, 26

Sweelinck, Jan Pieterszoon: Works

chansons

Chansons … de M. Iean Pierre Svvelingh organiste, et Cornille Verdonq nouvellement composées … accommodées tant aux instruments, comme à la voix, 5vv (Antwerp, 15945) [15945]Rimes françoises et italiennes … 2, 3vv, avec une chanson, 4vv (Leiden, 1612) [1612]Works in 159710, 160811

 Au mois de May que l’on saignoit la belle, 5vv, 15945; S vii, 17; O vii, 17Beaux yeux, par qui l’Amour entretient sa puissance, 2vv, 1612; S viii, 4; O vii, 22Bouche de Coral precieux, 5vv, 15945 [arr. 2vv, lute, 160118]; S vii, 7; O vii, 7, appxDe Jan, Jan (see Tu as tout seul)Depuis le jour que je vous vei, maistresse, 5vv, 15945; S vii, 12; O vii, 12Elle est à vous, douce maistresse, 5vv, 15945; S vii, 3; O vii, 3Face donques qui voudra amour un petit ange, 5vv, 15945; S vii, 16; O vii, 16Jamais n’avoir et tousjours desirer, 3vv, 1612; S viii, 25; O vii, 43Jan, Jan (see Tu as tout seul)Je ne fay rien que requerir, 4vv, 160811 (inc.); S ix, 10; O vii, 52Je pars, non point de vous, mais de moy seulement, 2vv, 1612; S viii, 2; O vii, 20Je sens en moy une flamme nouvelle, 5vv, 15945; S vii, 18; O vii, 18Je sens l’ardeur d’amour nouvelle, 5vv, 15945; S vii, 1; O vii, 1Jeune beauté, bon esprit, bonne grace, 5vv, 15945; S vii, 9; O vii, 9Je voy mille clairtez et mille choses belles, 3vv, 1612; S viii, 12; O vii, 30La belle que je sers, 5vv, 15945; S vii, 15; O vii, 15Las! que me sert quand la douleur me blesse, 2vv, 1612; S viii, 1; O vii, 19L’Aubespin chasse tout malheur, 5vv, 15945; S vii, 4; O vii, 4Lors que le trait par vos yeux decoché, 2vv, 1612; S viii, 3; O vii, 21Marchans qui traversez tout le rivage More, 2vv, 1612; S viii, 6; O vii, 24Mon Dieu, que j’ayme ma Deesse, 3vv, 1612; S viii, 15; O vii, 33

Plus tu cognois que je bruisle pour toy, 5vv, 15945; S vii, 10; O vii, 10Pourquoy tournez vous voz yeux gratieus de moy, 5vv, 15945; S vii, 14; O vii, 14Quand je voy ma maistresse, 5vv, 15945; S vii, 2; O vii, 2Regret, soucy et peine, 5vv, 15945; S vii, 11; O vii, 11Rozette, pour un peu d’absence, 4vv, 1612; S viii, 28; O vii, 46Si j’ayme ou non, je n’en dis rien, 5vv, 15945; S vii, 13; O vii, 13Susanne un jour d’amour sollicitée, 5vv, 15945; S vii, 8; O vii, 8Sus, je vous prie que l’on me donne, 5vv, 15945; S vii, 6; O vii, 6Tes beaux yeux causent mon amour, 4vv, 159710; S ix, 8; O vii, 47Tu as tout seul, Jan [De Jan, Jan], 5vv, 159710; S ix, 9; O vii, 48Un jour l’aveugle Amour, 3vv, 1612; S viii, 14; O vii, 32Voicy du gay Printemps l’heureux advenement, 2vv, 1612; S viii, 5; O vii, 23Vostre amour est vagabonde, 5vv, 15945; S vii, 5; O vii, 5Yeux, qui guidez mon ame en l’amoureux voyage, 3vv, 1612; S viii, 13; O vii, 31

Sweelinck, Jan Pieterszoon: Works

madrigals

Rimes françoises et italiennes … 2, 3vv, avec une chanson, 4vv (Leiden, 1612) [1612]Works in 16015, 16059, 160811, 161014

 Amor, io sent’ un respirar si dolce, 3vv, 1612 (on Macque, 158314); S viii, 23; O vii, 41Che giova posseder cittadi e regni, 2vv, 1612; S viii, 10; O vii, 28Chi vuol veder quantunque può natura, 6vv, 16015 (inc.); S ix, 13; O vii, 49Dolci labri amorosi portieri, 3vv, 1612; S viii, 21; O vii, 39Dolcissimo ben mio, speme di questo core, 3vv, 1612 (on A. Gabrieli, 158314); S viii, 24; O vii, 42Facciam, cara mia File, un concento, una musica gentile, 3vv, 1612; S viii, 17; O vii, 35Garrula rondinella, che nel spuntar del die, 2vv, 1612; S viii, 11; O vii, 29Hor che soave l’auri’n ogni canto, 4vv, 160811 (inc.); O vii, 51Io mi son giovinetta, e volentieri, 2vv, 1612 (on D.M. Ferrabosco, 154217); S viii, 8; O vii, 26Lascia Filli mia cara, 3vv, 1612; S viii, 16; O vii, 34Liquide perle Amor dagl’occhi sparse, 2vv, 1612 (on Marenzio); S viii, 7; O vii, 25Ma donna con quest’ occhi, 6vv, 16015, 16059; S ix, 12; O vii, 50Morir non puo’l mio core, 2vv, 1612; S viii, 9; O vii, 27Per te rosa gentile, 3vv, 1612; S viii, 18; O vii, 36Poi che voi non volete ch’io vi baci, 5vv, 161014; S ix, 11; O vii, 53Qual vive Salamandra in fiamma ardente, 3vv, 1612 (on Marenzio, 158314); S viii, 22; O vii, 40Ricco amante son’io, per voi tesore mio, 3vv, 1612; S viii, 26; O vii, 44Un sol bacio ti dono, ingrata, 3vv, 1612; S viii, 19; O vii, 37Vaga gioia amorosa, bocca bella, e pregiata, 3vv, 1612; S viii, 20; O vii, 38

Sweelinck, Jan Pieterszoon: Works

latin occasional

Canticum nuptiale: in honorem … Iacobi Praetorii et … Margaritae a Campis [Sponse musarum genus et sacerdos], 5vv (Hamburg, 1608) (inc.); S ix, 5; O vii, 54

Wedding motet, lost (pubd as sacred contrafactum, see ‘Motets’: Felix auspiciis dies)

Sweelinck, Jan Pieterszoon: Works

canons

[Ave maris stella], 3vv, D-Hs 5396 (autograph, 12 Nov 1614); S ix, no.14, p.77 (facs.); O vii, 58; O vii/1, p.xxviii (facs.)Beatus qui soli Deo confidit, 4vv, 16443, 2/c1657; 16574; S ix, 19; O vii, 61Miserere mei, Domine, ‘in unisono’, 4vv, LÜh 61b (autograph, 3 Dec 1618); S ix, no.16, p.79 (facs.); O vii, 59; O vii/1, pp.xxix (facs.)O Mensch, bewein’ dein Sünde gross, 3vv, Hs (incl. in Compositions Regeln) [attrib. Sweelinck by Gehrmann; S x, p.7f]Sine cerere et Baccho friget Venus (i), 4vv, Hs 5396 (autograph); S ix, no.17, p.81 (facs.); O vii, 60; O vii/1, p.xxix (facs.)Sine cerere et Baccho friget Venus (ii), 4vv, 16443, 16574; facs. in TVNM, xv (1939), facing p.256; O vii, 62Vanitas vanitatum, et omnia vanitas (i), 4vv, autograph, 24 May 1608, in Album amicorum of E. Brinck, Mayor of Harderwijk; S ix, no.15, p.81 (facs.); O vii, 57; O vii/1, p.xxviii (facs.)Vanitas vanitatum, et omnia vanitas (ii), 4vv, 16443, 16574; S ix, 18; O vii, 63

Sweelinck, Jan Pieterszoon: Works

keyboard

free forms

Echo fantasia (Dorian), A-Wm, B-Lu; S i, 9; K 14; O i/1, 11Echo fantasia (Aeolian), D-Bgk; S i, 11; K 16; O i/1, 12Echo fantasia (Ionian), Bgk, Bsb, I-Pu, Tn; S i, 12; K 17; O i/1, 13Echo fantasia (Ionian), A-Wm, D-Bsb; S i, 13; K 18; O i/1, 14Echo fantasia (Dorian), B-Lu, D-Bsb (on authenticity see Dirksen, 1986); S i, 10; K 15; O i/1, 34, 34aFantasia (Dorian), Bsb; S i, 2; K 2; O i/1, 2Fantasia (g-Dorian), GB-Cfm; S i, 3; K 3; O i/1, 3Fantasia (a-Phrygian), D-Bsb, I-Pu, Tn; S i, 4; K 5; O i/1, 4Fantasia (Mixolydian), D-Bsb; S i, 6; K 8; O i/1, 6Fantasia (g-Dorian), Bsb; K 4; O i/1, 8Fantasia (Mixolydian), Bsb; S i, 7; K 9; O i/1, 9Fantasia (g-Dorian), RU-SPit; O i/1, 10Fantasia (Ionian), I-Tn (on authenticity see Dirksen, 1997); A 1; O i/1, 36Fantasia (Dorian), Tn (on authenticity see Dirksen, 1997); A 2; O i/1, 37Fantasia (Mixolydian), Tn (on authenticity see Dirksen, 1997); A 3; O i/1, 38Fantasia chromatica (Dorian), A-Wm, Wn, D-Bgk, Bsb; S i, 1; K 1; O i/1, 1, 1aHexachord fantasia (F-Ionian), GB-Cfm, Och, I-Pu, Tn; S i, 5; K 6; O i/1, 5Fantasia (F-Ionian), D-Bsb, I-Tn; K 33, 73; O i/1, 27, 27aRicercar (Aeolian), Pu, Tn; S ix, 1; K 10; O i/1, 7Toccata (Dorian), D-Bsb, I-Pu, Tn; S i, 14; K 20; O i/1, 15Toccata (Aeolian), B-Lu, D-Bsb, Lr, GB-Cfm, I-Pu, Tn; S i, 15; K 21; O i/1, 16Toccata (Aeolian), D-Bsb, I-Pu, Tn; S i, 16; K 22; O i/1, 17Toccata (Mixolydian), D-Bgk, Bsb, I-Tn; S i, 21; K 28; O i/1, 18, 18aToccata (Ionian), A-Wm, B-Lu, D-Bsb; S i, 23; K 30; O i/1, 19, 19aToccata (Ionian), Bgk, I-Tn; S i, 24; K 31; O i/1, 20

Toccata (g-Dorian), D-Bsb; S i, 18; K 24; O i/1, 21Toccata (g-Dorian), Bsb; S i, 19; K 25; O i/1, 22Toccata (Mixolydian), Bgk, I-Tn; S i, 20; K 27; O i/1, 23Toccata (Aeolian), D-Bgk, GB-Lbl, I-Tn; S i, 22; K 29; O i/1, 24, 24aToccata (Ionian), A-Wm, D-Bsb; K 32; O i/1, 25Toccata (g-Dorian), Bsb (inc.); K 72; O i/1, 28Toccata (g-Dorian), I-Tn (on authenticity see Dirksen, 1986, and Panetta); K 26; O i/1, 30Toccata (Dorian), D-Bgk, I-Tn (on authenticity see Dirksen, 1986, and Panetta); K 26; O i/1, 31

sacred

Allein Gott in der Höh sei Ehr (4 variations by Sweelinck), D-Bsb [collab. other composers]; K 35; O i/2, 1Allein zu dir, Herr Jesu Christ, CZ; O i/2, 2Christe qui lux es et dies, A-Wm, D-Bsb, I-Tn; K 37; O i/2, 3Da pacem Domine in diebus nostris, D-Bsb; S i, 25; K 38; O i/2, 4Des boosdoenders wille seer quaet [Ps xxxvi: Du malin le mechant vouloir], I-Tn; O i/2, 10Erbarm dich mein, o Herre Gott, D-Bsb, CZ, I-Tn; K 41; O i/2, 5Ich ruf zu dir, Herr Jesu Christ, D-Bsb, H-BA; K 46; O i/2, 6Ik heb den Heer lief [Ps cxvi: J’aime mon Dieu], D-Bsb; K 51; O i/2, 11Nun freut euch, lieben Christen gmein, A-Wm, D-Bsb; K 48; O i/2, 7O mijn God, wilt mij nu bevrijden [Ps cxl: O Dieu, donne-moy delivrance], Bsb, GB-Cfm; S i, 26; K 52; O i/2, 12Puer nobis nascitur [Ons is geboren een kindekijn], D-Bsb; K 53; S i/2, 8Wij geloven in eenen God alleen [Wir glauben all an einem Gott], A-Wm, D-Bsb, I-Tn; K 56; O i/2, 13

secular

Almande Chapelle, D-CEbm (on authenticity see Dirksen, 1986); ed. in EMN, ii (1965), 2Engelse fortuin [Von der Fortuna werd ich getrieben], Bgk, I-Tn; S i, 35; K 64; O i/3, 2Est-ce Mars, A-Wm, D-Bsb; S i, 31; K 58; O i/3, 3Ik voer al over Rijn [Ich fuhr mich über Rheine], Bsb; S i, 30; K 59; O i/3, 4Mein junges Leben hat ein End, Bsb; S i, 27; K 60; O i/3, 6Onder een linde groen [Unter der Linden grüne], Bgk, Bsb; S i, 28; K 63; O i/3, 8Pavana hispanica, Bgk, S-Uu (both incl. 4 variations by Scheidt); S i, 36; S ix, 2; K 68; O i/3, 9Pavana Lachrymae, H-BA; K 66; O i/3, 10Pavana Philippi, D-Bsb; S i, 29; K 69; O i/3, 11Poolse almande [Soll es sein], Bsb, H-BA; S i, 32; K 62; O i/3, 12

anon. attrib. Sweelinck

Echo fantasia (Ionian), D-Bsb (attrib. Sweelinck by Seiffert, see Dirksen, 1986); K 19Fantasia (F-Ionian), Bsb (attrib. Sweelinck by Seiffert, see Dirksen, 1986); K 7Fantasia (Aeolian), Bsb (attrib. Sweelinck by Seiffert and Leonhardt; O i/1); K 11; O i/1, 32Toccata (Dorian), Bsb (attrib. Sweelinck, see Dirksen, 1986); ed. in Samuel

Scheidt: Werke, v, 2Toccata (Mixolydian), B-Lu (attrib. Sweelinck, see Dirksen, 1986); ed. in Archives des Maîtres de l’orgue, x (1909), 43 Heer, die ons hebt verstoten al [Ps lx: O Dieu, qui nous as deboutez], D-Bsb (attrib. Sweelinck, see Breig, 1960, and Curtis, 1969); O i/2, 16Jesus Christus, unser Heiland, CZ (attrib. Sweelinck, see Dirksen, 1997); ed. in Heinrich Scheidemann: Orgelwerke, i, 17Mein Hüter und mein Hirt [Ps xxiii], Bsb (attrib. Sweelinck, see Curtis, 1969, and Dirksen, 1986); ed. in EMN, xvi (1991), 2O God die onse Vader bist, Bsb (attrib. Sweelinck, see Dirksen, 1986); ed. in EMN, xvi (1991), 1 Hoe schoon lichtet de morghen ster [Wie schön leucht uns der Morgenstern], Bsb (attrib. Sweelinck, see Breig, 1960; attrib. Sweelinck or Dirck Sweelinck, see Curtis, 1969; attrib. D. Sweelinck by Noske, O i/3); ed. in EMN, xvi (1991), 4Almande Gratie [More Palatino], A-Wm (attrib. Sweelinck by Seiffert and Noske, see K and O i/3); K 61; O i/3, 7De vluchtige nimph [Windeken daer het bosch af drilt], D-Bsb, W (3 variations attrib. Sweelinck, see Curtis, 1963, Breig, 1969, and Dirksen, 1986); ed. W. Breig, Lied- und Tanzvariationen der Sweelinck-Schule (Mainz, 1970), 7

Sweelinck, Jan Pieterszoon: Works

doubtful keyboard

free forms

Capriccio (Aeolian), Bsb (probably not by Sweelinck, see Dirksen, 1997); S i, 33; K 70; O i/1, 29Fantasia ut sol fa mi (Ionian), Bsb (also attrib. Bull, see Dart, 1959; last 8 bars = those of Fantasia in K 13 and may be by Sweelinck, see O i/1); K 12; O i/1, 33Ricercar (Dorian), I-Tn (attrib. J. Peterle; probably not by Sweelinck, see O i/1 and Dirksen, 1997); O i/1, 35Ricercar (Dorian), Tn (attrib. ‘J.P.S.’; probably not by Sweelinck, see O i/1 and Dirksen, 1997); A 4; O i/1, 39Toccata (Dorian), Tn (attrib. ‘J.P.S.’; probably not by Sweelinck, see O i/1 and Dirksen, 1997); A 5; O i/1, 40

sacred

Herzlich lieb hab ich dich, O Herr, H-BA (? by S. Scheidt, see Dirksen, 1997); K 45; O i/2, 14Onse Vader in hemelrijck [Vater unser im Himmelreich], D-CZ, H-BA (probably not by Sweelinck, see Dirksen, 1997); K 54; O i/2, 9, 15

secular

Bergamasca, D-CEbm (attrib. ‘M.G.P.S’, probably not by Sweelinck, see Curtis, 1969); ed. in EMN, ii (1965), 1Malle Sijmen, RU-SPit (probably not by Sweelinck, see Dirksen, 1997); O i/3, 5Passamezzo moderno, H-BA (? by Scheidt, see Dirksen, 1997); K 67; O i/3, 13

Sweelinck, Jan Pieterszoon: Works

lute

Psalm v, NL-Lt (inc.); O i/3, 14

Psalm xxiii, Lt (inc.); O i/3, 15

arr. from vocal works, all NL-Lt

Bienheureux est quiconques; De tout mon coeur t’exalteray; La terre au Seigneur appartient; Le Seigneur ta priere entende; Mon Dieu me paist sous sa puissance haute; Ne vueilles pas, ô Sire; Pourquoy font bruit et s’assemblent les gents?: see ‘Psalms, Canticles’

anon. attrib. Sweelinck

Psalm xxiii, Lt; O i/3, 16Courante, GB-Cfm (attrib. ‘Pietreson’, possibly by Sweelinck, see O i/3); O i/3, 17Volte (i), Cfm (attrib. ‘Pietreson’, possibly by Sweelinck, see O i/3); O i/3, 18Volte (ii), Cfm (attrib. ‘Pietreson’, possibly by Sweelinck, see O i/3); O i/3, 19Volte (iii), Cfm (attrib. ‘Pietreson’, possibly by Sweelinck, see O i/3); O i/3, 20

Sweelinck, Jan Pieterszoon: Works

lost works

Chansons, 4, 5vv (Antwerp, 1592) (mentioned in Draudius: Bibliotheca exotica, Frankfurt, 1625, but possibly = 15945)Chansons, 5vv (Antwerp, 1593) (mentioned in Draudius: Bibliotheca exotica, Frankfurt, 1610, but possibly = 15945)Nieuw Chyterboeck, genaemt Den corten wegwijser die ’t hert verheugt (Amsterdam, 1602/1608) (mentioned in Draudius: Bibliotheca exotica, Frankfurt, 1610, 1625, and in catalogues of 1647 and 1759; see Tollefsen, 98, 109)Tabulatura: Fantasien mit 3 Stimmen der alle 8 Tonos, von J.P. Sweelinck Organisten zu Amsterdam komponiert, und von Samuele Scheid Hallense kolligirt (Halle, c1630) (see A. Göhler: Verzeichnis der in den Frankfurter und Leipziger Messkatalogen der Jahre 1564 bis 1759 angezeigten Musikalien, i, Leipzig, 1902, p.915) Fantasia, model for Bull’s Fantasia op de fuge van M. Jan Pietersz.; S i, 34; K 71; MB xiv, 4

Sweelinck, Jan Pieterszoon: Works

theoretical work

Compositions Regeln, A-Wm (frag.), D-Bsb, Hs (Sweelinck’s adaptation of parts of Zarlino, Le istitutioni harmoniche, 3/1573); S x [partial edn]

Sweelinck, Jan Pieterszoon

BIBLIOGRAPHY

biography and criticism

G. Baudartius: Memoryen ofte cort verhael, ii (Arnhem, 1625), 163 J. Mattheson: Grundlage einer Ehren-Pforte (Hamburg, 1740); ed. M.

Schneider (Berlin, 1910/R), 69, 328–33 J.J. Dodt van Flensburg: ‘Jan Pietersz. Zwelinck’, Algemeene Konst en

Letterbode voor het jaar 1840, i/25 (1840), 396–8 F.C. Kist: ‘J.P. Swelinck’, Nederlandsch Muzikaal Tijdschrift, iv (1842),

181–3, 191–3 H. Tiedeman: ‘Jan Pieterszoon Sweelinck: een biographische schets’,

UVNM, i (1869); enlarged in UVNM, vi (1876)

R. Eitner: ‘Jan Pieters (oder Pieterszoon) Sweelinck’, MMg, ii (1870), 76–8

P. Scheltema: ‘Dr Cornelis Gijbertszoon Plemp en zijne beschrijving van Amsterdam’, Aemstels Oudheid, vi (1872), 1–15

P. Scheltema: ‘Jan Pietersz. Swelingh’, Aemstels Oudheid, vi (1872), 177–97

C.M. Dozy: ‘Jan Pietersz. Sweelinck en andere organisten der 16e eeuw’, Oud-Holland, iii (1885), 277–302

M. Seiffert: ‘J.P. Sweelinck und seine direkten deutschen Schüler’, VMw, vii (1891), 145–260; summary in TVNM, iv/1 (1892), 1–16

M. Seiffert: ‘Matthias Weckmann und das Collegium musicum in Hamburg’, SIMG, ii (1900–01), 76–132

B. van den Sigtenhorst Meyer: ‘De familie Sweelinck’, TVNM, xiv (1932–5), 111–25; xv (1936–9), 234–51

B. van den Sigtenhorst Meyer: ‘Jan Willemszoon Lossy, Sweelinck’s leermeester, 1545–1629’, TVNM, xiv (1932–5), 237–51

B. van den Sigtenhorst Meyer: Jan P. Sweelinck en zijn instrumentale muziek (The Hague, 1934, enlarged 2/1946)

B. van den Sigtenhorst Meyer: Jan P. Sweelinck (Amsterdam, [1941]) H.A. Bruinsma: ‘The Organ Controversy in the Netherlands

Reformation to 1640’, JAMS, vii (1954), 205–12 A.C.F. Koch: ‘Sweelinck’s afkomst’, Verslagen en mededelingen van

der Vereeniging tot beoefening van Overijsselsch regt en geschiedenis, lxxii (1957), 77–81

F. Noske: ‘Sweelinck na vier eeuwen’, TVNM, xix (1960–63), 125–30 M.A. Vente: ‘Sweelinckiana’, TVNM, xix (1960–63), 186–91 B. Dubbe: ‘Bijdrage tot de geschiedenis van het muziekleven te

Deventer tot het eind van de 18de eeuw’, Verslagen en mededelingen van der Vereeniging tot beoefening Overijsselsch regt en geschiedenis, lxxvi (1961), 111–55

D. Philips: ‘Banden tussen de familie Sweelinck en Veenendaalse geslachten’, Maandblad van Oud Utrecht, xxxv (1962), 101

R.H. Tollefsen: ‘Jan Pietersz. Sweelinck: a Bio-Bibliography, 1604–1842’, TVNM, xxii (1971–2), 87–125 [quotes from or summarizes, and evaluates many early items not included in this bibliography]

F. Noske: Sweelinck (Oxford, 1988)

keyboard and organ music

M. Seiffert: Geschichte der Klaviermusik, i (Leipzig, 1899/R) C. van den Borren: Les origines de la musique de clavier dans les

Pays-Bas (nord et sud) jusque vers 1630 (Brussels, 1914) L. Schrade: ‘Ein Beitrag zur Geschichte der Tokkata’, ZMw, viii (1925–

6), 610–35 O. Gombosi: ‘Ein neuer Sweelinck-Fund’, TVNM, xiv (1932–5), 1–13 G. Frotscher: Geschichte des Orgel-Spiels und der Orgel-Komposition

(Berlin, 1935–6, enlarged 3/1966) M. Reimann: ‘Zur Deutung des Begriffs Fantasia’, AMw, x (1953), 253–

74 M. Reimann: ‘Pasticcios und Parodien in norddeutschen

Klaviertabulaturen’, Mf, viii (1955), 265–71

A. Voigts: Die Toccaten Jan Pieterszoon Sweelincks: ein Beitrag zur frühen Instrumentalmusik (diss., U. of Münster, 1955)

G. Gerdes: Die Choralvariationen J.P. Sweelincks und seiner Schüler (diss., U. of Freiburg, 1956)

T. Dart: ‘Sweelinck’s “Fantazia on a Theme used by John Bull”’, TVNM, xviii (1956–9), 167–9

J.H. van der Meer: ‘The Keyboard Works in the Vienna Bull Manuscript’, TVNM, xviii (1956–9), 72–105

R.L. Tusler: ‘Style Differences in the Organ and Clavicembalo Works of Jan Pieterszoon Sweelinck’, TVNM, xviii (1956–9), 149–66; see also J.H. van der Meer, xix (1960–63), 67–79; F. Noske, ibid., 80–83; and A. van Gool, ibid., 203–4

R.L. Tusler: The Organ Music of Jan Pieterszoon Sweelinck (Bilthoven, 1958)

M.A. Vente: Die Brabanter Orgel (Amsterdam, 1958, enlarged 2/1963) W. Breig: ‘Der Umfang des choralgebunden Orgelwerkes von Jan

Pieterszoon Sweelinck’, AMw, xvii (1960), 258–76 L. Schierning: Die Überlieferung der deutschen Orgel- und

Klaviermusik aus der ersten Hälfte des 17. Jahrhunderts (Kassel, 1961)

O. Mischiati: ‘L’intavolatura d’organo tedesca della Biblioteca nazionale di Torino’, L’organo, iv (1963), 1–154

M. Reimann: ‘Die Autoren der Fuge Nr. 23 in Lüneburg KN-2081 und der Fantasia Ut sol fa mi in Lübbenau, Ms Lynar A1’, Mf, xvi (1963), 166–7

F.W. Riedel: Das Musikarchiv im Minoritenkonvent zu Wien (Kassel, 1963)

J.H. Schmidt: ‘Eine unbekannte Quelle zur Klaviermusik des 17. Jahrhunderts: das Celler Klavierbuch 1662’, AMw, xxii (1965), 1–11

W. Apel: Geschichte der Orgel- und Klaviermusik bis 1700 (Kassel, 1967; Eng. trans., rev., 1972)

W. Breig: Die Orgelwerke von Heinrich Scheidemann (Wiesbaden, 1967)

W. Breig: ‘Die Lübbenauer Tabulaturen Lynar A 1 und A 2’, AMw, xxv (1968), 96–117, 223–36

F.E. Perkins: Keyboard and Instrumental Settings of Genevan Psalm Melodies in the Lübbenau Manuscripts (diss., U. of Washington, 1968)

W. Breig: ‘Zu den handschriftlich überlieferten Liedvariationen von Samuel Scheidt’, Mf, xxii (1969), 318–28

A. Curtis: Sweelinck’s Keyboard Music: a Study of English Elements in Seventeenth-Century Dutch Composition (Leiden and London, 1969, 3/1987)

M.A. Vente: ‘Sweelincks Orgelreisen’, TVNM, xxii (1971–2), 126–37 A. Vernooy: Lo sviluppo della fuga nelle fantasie di Jan Pieterszoon

Sweelinck (diss., Papal Institute for Church Music, Rome, 1972) B. Bijtelaar: De orgels van de Oude Kerk in Amsterdam (Amsterdam,

1975) M.C. Bradshaw: ‘The Toccatas of Jan Pieterszoon Sweelinck’, TVNM,

xxv/2 (1975), 38–60

W. Breig: ‘Die Claviermusik Sweelincks und seiner Schüler im Lichte neuerer Forschungen und Editionen’, Mf, xxx (1977), 482–92

D. Kämper: ‘Zur Vorgeschichte der Fantasie Sweelincks’, GfMKB [Berlin 1974], ed. H. Kühn and P. Nitsche (Kassel, 1980), 275–7

W. Cunningham: The Keyboard Music of John Bull (Ann Arbor, 1984) W. Breig: ‘Die Virginalisten und die deutsche Claviermusik der Schütz-

Generation’, Deutsch-englische Musikbeziehungen, ed. W. Konold (Munich, 1985), 51–74

M. Souter: ‘Formative Influences on Sweelinck’s Keyboard Style: a Preliminary Outline of a Case for Reassessment’, JBIOS, x (1986), 20–31

P. Dirksen: ‘Sweelinck’s Opera dubia: a Contribution to the Study of his Keyboard Music’, TVNM, xxxvi (1986), 80–135

P. van Dijk: ‘Uitvoeringspraktijk rondom Sweelinck’, Het Orgel (1990), special issue, 83–101

D. Teepe: Die Entwicklung der Fantasie für Tasteninstrumente im 16. und 17. Jahrhundert: eine gattungsgeschichtliche Studie (Kassel, 1991), 162–98

V. Panetta: ‘Toccatas Carrying Conflicting Attributions to Sweelinck and Hassler’, TVNM, lxii (1992), 90–130

P. Dirksen: ‘Sweelinck’s Keyboard Style and Scheidemann’s Intavolations’, Proceedings of the Göteborg International Organ Academy 1994, ed. S. Jullander and H. Davidsson (Göteborg, 1995), 85–97

J. van Biezen: Het Nederlandse orgel in de Renaissance en de Barok, in het bijzonder de school van Jan van Covelens (Utrecht, 1995)

P. Dirksen: The Keyboard Music of Jan Pieterszoon Sweelinck (Utrecht, 1997)

other studies

R. Eitner: ‘Ueber die acht, respektive zwölf Tonarten und über den Gebrauch der Versetzungszeichen im XVI. und XVII. Jahrhunderte nach Joh. Peter Sweelinck’, MMg, iii (1871), 133–51

A. Goovaerts: Histoire et bibliographie de la typographie musicale dans les Pays-Bas (Antwerp and Brussels, 1880/R)

C. van den Borren: ‘Quelques notes sur les chansons françaises et les madrigaux italiens de J.P. Sweelinck’, Gedenkboek aangeboden aan Dr. D. F. Scheurleer (The Hague, 1925), 73–87

B. van den Sigtenhorst Meyer: ‘Een volledig exemplaar van het “Livre septième”’, TVNM, xv (1936–9), 252–63

B. van den Sigtenhorst Meyer: De vocale muziek van Jan P. Sweelinck (The Hague, 1948)

F. Noske: ‘Luitcomposities van Jan Pieterszoon Sweelinck’, Orgaan van de Koninklijke Nederlandsche Toonkunstenaars-Vereeniging, xii (1957), 46–8

T.A. Anderson: The Metrical Psalmody of Jan Pieterszoon Sweelinck (diss., U. of Iowa, 1968)

J.D. Bowman: Sweelinck’s ‘Schwanengesang’: a Study of Style and Tradition in the ‘Cantiones sacre’ (1619) of Jan Pieterszoon Sweelinck (diss., U. of Cincinatti, 1972)

P. Walker: ‘From Renaissance “Fuga” to Baroque Fugue: the Role of the “Sweelinck Theory Manuscripts”’, Schütz-Jb, vii–viii (1985–6), 93–104