- Johann Ulrich Steigleder
Johann Ulrich Steigleder (
March 22 ,1593 –October 10 ,1635 ) was a GermanBaroque composer andorganist . He was the most celebrated member of the Steigleder family, which also included Adam Steigleder (1561-1633), his father, and Utz Steigleder (d. 1581), his grandfather.Steigleder was born in
Schwäbisch Hall on March 22, 1593. He was instructed in music by his father Adam, whose teacher was the then-famousSimon Lohet . In 1613 he became organist of Stephanskirche inLindau , onLake Constance ; then in 1617 he left Lindau for Stuttgart, where he became organist of theabbey church the same year. In 1627 Steigleder was appointed ducal organist at theWürttemberg court. While in Stuttgart, he may have taught, among others,Johann Jakob Froberger . He died of plague in 1635 in the midst of theThirty Years' War .Steigleder's most important works are his two published collections of organ pieces. The first, "Ricercar tabulatura" of 1624 (published at Stuttgart), introduced a number of important innovations. It was the first German music collection to be published using engraved
copper plates (the title page indicates that the composer did the engraving himself). It was also, together with Scheidt's "Tabulatura nova", one of the first German printed collections to adopt five-line notation with notes instead of letter notation. Finally, Steigleder was among the first to make the transition from modal indications such as "primi toni", "secundi toni", etc. to keys in keyboard music. "Ricercar tabulatura" consists of 12ricercar s that explore a wide range of techniques and models, from simple monothematic works to pieces with double subjects, several sections, etc.; some are inspired by Sweelinck in their structure and/or use ofdiminution andaugmentation . One of the ricercars contains a long interlude built on imitation ofcuckoo 's call, like Frescobaldi's and Kerll'scapriccio s "sopra Cucu".Steigleder's "Tabulaturbuch" (
Strasbourg , 1627) consists of 40 variations on the chorale "Vater unser im Himmelreich". This collection was intended for the church organist, and Steigleder specifically states that the performer may choose how many variations to play, which ones and in what sequence. Certain variations call for a supporting instrument or singer to reinforce the chorale melody. Steigleder employs a vast array of techniques from simple 2 voice settings todouble counterpoint , extensive multi-sectional fantasies and toccatas, various canons,hocket , and many more.In part because of his early death Steigleder did not exert much influence over the development of keyboard music in Europe. Thematic connections with his work, however, were found in Froberger's music.
References
* G.B. Sharp, Dorothea Schröder. "Steigleder.", "Grove Music Online", ed. L. Macy, [http://www.grovemusic.com/ grovemusic.com] .
* Willi Apel. "The History of Keyboard Music to 1700", Indiana University Press (November 1997). pp. 398-406.
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