Jan Pieterszoon Sweelinck

Jan Pieterszoon Sweelinck (April or May, 1562 – October 16, 1621) was a Dutch composer, organist, and pedagogue whose work straddled the end of the Renaissance and beginning of the Baroque eras. He was among the first major keyboard composers of Europe, and his work as a teacher helped establish the north German organ tradition.

Life

Sweelinck was born in Deventer, Netherlands, in April or May 1562. He was the eldest son of organist Peter Swybbertszoon and Elske Jansdochter Sweeling, daughter of a surgeon. [Stephen Westrop, liner notes for "Christopher Herrick: Sweelinck: Organ Music", Hyperion CDA67421/2] Soon after Sweelinck's birth, the family moved to Amsterdam, where from about 1564, Swybbertszoon served as organist of the Oude Kerk (Sweelinck's paternal grandfather and uncle also were organists).Sadie, Stanley. 1980. "The New Grove Dictionary of Music and Musicians". Vol.8. Macmillan Publishers Limited, London. Pg. 406–407] Jan Pieterszoon must have received first lessons in music from his father. Unfortunately, the latter died in 1573. He subsequently received general education under Jacob Buyck, [Randall H. Tollefsen, Pieter Dirksen. "Jan Pieterszoon Sweelinck", Grove Music Online, ed. L. Macy] Catholic pastor of the Oude Kerk (these lessons stopped in 1578 after the Reformation of Amsterdam and the subsequent conversion to Calvinism; Buyck chose to leave the city). Little is known about his music education after the death of his father; his music teachers may have included Jan Willemszoon Lossy, a little-known countertenor and shawm player at Haarlem, and/or Cornelis Boskoop, Sweelinck's father successor at the Oude Kerk. If Sweelinck indeed studied in Haarlem, he was probably influenced to some degree by the organists of St.-Bavokerk, Claas Albrechtszoon van Wieringen and Floris van Adrichem, both of whom improvised daily in the Bavokerk.

According to Cornelis Plemp, a pupil and friend of Sweelinck's, he started his 44-year career as organist of the Oude Kerk in 1577, when he was just 15. This date, however, is uncertain, because the church records from 1577–80 are missing and Sweelinck can only be traced in Oude Kerk from 1580 onwards; he occupied the post for the rest of his life. Sweelinck's widowed mother died in 1585, and Jan Pieterszoon took responsibility for his younger brother and sister. His salary of 100 florins was doubled the next year, presumably to help matters. In addition, he was offered an additional 100 guildersNoske, Fritz. 1988. "Oxford Studies of Composers", vol. 22: Sweelinck. Oxford England: Oxford University Press. Pg. 10] in the event that he married, which happened in 1590 when he married Claesgen Dircxdochter Puyner from Medemblik. He was also offered the choice between a further 100 guilders and free accommodations in a house belonging to the town, the latter of which he chose. Sweelinck's first published works date from around 1592–94: three volumes of chansons, the last of which is the only remaining volume published in 1694 [Noske, Fritz. 1988. "Oxford Studies of Composers", vol. 22: Sweelinck. Oxford England: Oxford University Press. Pg.12] (for reasons unknown, the composer chose to change his last name to a variant of his mother's, instead of using Swybbertszoon; "Sweelinck" first appears on the title-page of the 1594 publication). Sweelinck then set to publishing psalm settings, aiming to set the entire Psalter. These works appeared in four large volumes published in 1604, 1613, 1614 and 1621. The last volume was published posthumously and, presumably, in unfinished form. Sweelinck died of unknown causes on October 16, 1621 [Noske, Fritz. 1988. "Oxford Studies of Composers", vol. 22: Sweelinck. Oxford England: Oxford University Press. Pg. 17] and was buried in the Oude Kerk. He was survived by his wife and five of their six children; the eldest of them, Dirck Janszoon, succeeded his father as organist of Oude Kerk.

The composer most probably spent his entire life in Amsterdam, only occasionally visiting other cities in connection with his professional activities: he was asked to inspect organs, give opinions and advice on organ building and restoration, etc. These duties resulted in short visits to Delft, Dordrecht (1614), Enkhuizen, Haarlem (1594), Harderwijk (1608), Middleburg (1603), Nijmegen (1605), Rotterdam (1610), Rhenen (1616), as well as Deventer (1595, 1616) his birthplace. [Randall H. Tollefsen, Pieter Dirksen. "Jan Pieterszoon Sweelinck", Grove Music Online, ed. L. Macy] Sweelinck's longest voyage was to Antwerp in 1604, when he was commissioned by the Amsterdam authorities to buy a harpsichord for the city. No documents were found to support a long-standing rumor first recounted by Mattheson that Sweelinck visited Venice, and similarly there is no evidence that he ever crossed the English Channel. His popularity as a composer, performer and teacher increased steadily during his lifetime. Contemporaries nicknamed him "Orpheus of Amsterdam" and even the city authorities frequently brought important visitors to hear Sweelinck's improvisations.

Influence

Sweelinck's only duties in Amsterdam were those of an organist. He did not, as was customary, play the carillon or the harpsichord on formal occasions; nor was he regularly required to produce compositions. Calvinist services did not include organ playing due to the belief that it was worldly. [Sadie, Stanley. 1980. "The New Grove Dictionary of Music and Musicians". Vol. 8. Macmillan Publishers Limited, London. Pg.401] Sweelinck was employed instead by the city itself. As he worked for Protestant magistrates the remainder of his life, it is likely that he was an adherent of Calvinism. In the 1590s three of his children were baptized in the Oude Kerk. [Noske, Fritz. 1988. "Oxford Studies of Composers", vol. 22: Sweelinck. Oxford England: Oxford University Press. pg. 9] His employment allowed him time for teaching, for which he was to become as famous as for his compositions. Sweelinck's pupils included the core of what was to become the north German organ school: Jacob Praetorius II, Heinrich Scheidemann, Paul Siefert, Melchior Schildt and Samuel and Gottfried Scheidt. ["Oxford Studies of Composers", vol. 22: Sweelinck. Oxford England: Oxford University Press. Pg. 14–15] Students of Sweelinck were seen as musicians against whom other organists were measured. Sweelinck was known in Germany as the "maker of organists." Sociable and respected, he was in great demand as a teacher. [Noske, Fritz. 1988. "Oxford Studies of Composers", vol. 22: Sweelinck. Oxford England: Oxford University Press. Pg. 16] His Dutch pupils were undoubtedly many, but none of them became composers of note. Sweelinck, however, influenced the development of the Dutch organ school, as is shown in the work of later composers such as Anthoni van Noordt. Sweelinck, in the course of his career, had set music to the liturgies of Roman Catholicism, Calvinism and Lutheranism.Noske, Fritz. 1988. "Oxford Studies of Composers", vol. 22: Sweelinck. Oxford England: Oxford University Press. Pg. 66.] He was the most important composer of the musically rich "golden era" of the Netherlands.

Sweelinck's influence spread as far as Sweden and England, carried to the former by Andreas Düben and to the latter by English composers such as Peter Philips, who probably met Sweelinck in 1593. Sweelinck, and Dutch composers in general, had evident links to the English school of composition. Sweelinck's music appears in the Fitzwilliam Virginal Book, which mostly contains the work of English composers. He wrote variations on John Dowland's famous Lachrimae Pavane. John Bull, who was probably a personal friend, wrote a set of variations on a theme by Sweelinck after the death of the Dutch composer.

Works

Sweelinck represents the highest development of the Dutch keyboard school, and indeed represented a pinnacle in keyboard contrapuntal complexity and refinement before J.S. Bach. However, he was a skilled composer for voices as well, and composed more than 250 works for voice (chansons, madrigals, motets and Psalms). Some of Sweelinck's innovations were of profound musical importance, including the fugue—he was the first to write an organ fugue which began simply, with one subject, successively adding texture and complexity until a final climax and resolution, an idea which was perfected at the end of the Baroque era by Bach. It is also generally thought that many of Sweelinck's keyboard works were intended as a studies for his pupils. [Noske, Fritz. 1988. "Oxford Studies of Composers", vol. 22: Sweelinck. Oxford England: Oxford University Press. Pg. 98] He was also the first to use the pedal as a real fugal part. [Baker’s biographical dictionary of musicians, 7th Edition. “Sweelinck, Jan Pieterszoon.”] Stylistically Sweelinck's music also brings together the richness, complexity and spatial sense of Andrea and Giovanni Gabrieli, with whom he was familiar from his time in Venice, and the ornamentation and intimate forms of the English keyboard composers. In some of his works Sweelinck appears as a composer of the baroque style, with the exception of his chansons which are mostly resemble the French Renaissance tradition. [Reese, Gustave. 1959. "Music in the Renaissance." New York: W. W. Norton & Co.] In formal development, especially in the use of countersubject, stretto, and organ point (pedal point), his music looks ahead to Bach (who was quite possibly familiar with Sweelinck’s music). [Noske, Fritz. 1988. "Oxford Studies of Composers", vol. 22: Sweelinck. Oxford England: Oxford University Press. Pg. 130]

Sweelinck was a master improviser, and acquired the informal title of the "Orpheus of Amsterdam." More than 70 of his keyboard works have survived, and many of them may be similar to the improvisations that residents of Amsterdam around 1600 were likely to have heard. In the course of his life, Sweelinck was involved with the musical liturgies of three distinctly different church types: the Roman Catholic, the Calvinist, and the Lutheran—all of which are reflected in his work. Even his vocal music, which is more conservative than his keyboard writing, shows a striking rhythmic complexity and an unusual richness of contrapuntal devices.

Media

References

Further reading

* Gustave Reese, "Music in the Renaissance". New York, W.W. Norton & Co., 1954. ISBN 0-393-09530-4
* Manfred Bukofzer, "Music in the Baroque Era". New York, W.W. Norton & Co., 1947. ISBN 0-393-09745-5
* "The Concise Edition of Baker's Biographical Dictionary of Musicians", 8th ed. Revised by Nicolas Slonimsky. New York, Schirmer Books, 1993. ISBN 0-02-872416-X
* Pieter Dirksen, "The Keyboard Music of Jan Pieterszoon Sweelinck – Its Style, Significance and Influence." (Utrecht, 1997). ISBN 90-6375-159-1
* Sweelinck Studies, "Proceedings of the Sweelinck Symposium", Utrecht 1999, (Utrecht 2001) Edited by Pieter Dirksen. ISBN 90-72786-09-2

External links

*ChoralWiki
* [http://www.classical.net/music/comp.lst/sweelinck.html Jan Pieterszoon Sweelinck]
* [http://www.virtuallybaroque.com/list2r.htm Works by Sweelinck performed on virtual organs]
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