Samuel Scheidt, the great master of the German Baroque, was born in Halle in 1587, son of the overseer of the local salt mine. With the exception of three years studying in Amsterdam with Sweelinck (1605-1608) his life
was spent in Halle. He was appointed organist at the Moritzkirche in 1608, a position he held until the church burned in 1637. His great technical skill in organ building led to consulting trips to other German towns such as
Bayreuth, Leipzig and Altenburg. By 1620 he was Kapellmeister to Christian Wilhelm, Margrave of Brandenburg, and Protestant Administrator of the Archbishopric of Magdeberg. In this capactiy he directed a great vocal and instrumental ensemble and composed prolifically. In 1627 he married Helena Magdalena Keller, eventually fathering seven children.
Although the Thirty Years War devastated court sponsored music, Scheidt was well supported by the citizens of Halle,who created the postiiton of city director of music to keep him in their town. He held this position from
1628 to 1630when he resigned because of a quarrel.
The 1630's were difficult times for Scheidt and the other citizens of Halle. The city was successively occupied by the Kaiser,Swedes, and Saxons. Scheidt lost all of his possessions with the sacking of Magdeberg by the
Swedes in 1631 and four of his children with the bubonic plague in 1636.
Music has a universal appeal, however, and Scheidt was reinstated by the new administrator of the Archbishopric in 1642. His association with the court was somewhat less formal than before the war, as Duke August of Saxon was more enamored with music of the type written by Heinrich Schutz. Although little is known of his late life, Scheidt left a sizeable sum for purchase of an organ for the reconstructed Moritzkirche when he died on March 30, 1654.
To his contemporaries, Scheidt was known as an organist and vocal composer, collaborating on occasion with Praetorius and Schutz. To modern musicologists he is best known for the Tabulatura Nova of 1624, a true revolution in organ notation. His large collection of music suitable for brass is largely forgotten.
"Canzon Cornetto" is taken from Paduana, Galliarda, Couranta, Allemande, Intrada, Canzonetto of 1621. "Canzon Cornetto", requires absolute precision for effective performance. Rhythm must be precise not only in meter, which must be absolutely constant, but in note placement. Each note must have a precise attack and must be carefully placed so that the main beat is clearly delineated. Remember that the main half note beat is related
to the human heart beat. Choir pictures of this period show choir members with their hands on the leader's carotid pulse, as if to obtain a tempo. Adopting a half note tempo significantly faster or slower than the human heart beat will result in loss of the subtle complexities of the inner rhythms of this compositi
This work is part of our Denver Brass Signature Series.
