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.
WORKS
BIBLIOGRAPHY
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 Sweelincks son Dirck were
successively organists of the Oude Kerk, Amsterdam, almost
uninterruptedly from about 1564 to 1652, and Sweelincks 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 fathers 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 152975) or the well-known
Floris van Adrichem (organist 15758), 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 153945, and a small one with two manuals and pedal built in
15445 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.
Sweelincks 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 Dben, 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 Sweelincks pedagogical
activities is his translation and adaptation of large sections from the third
part of Zarlinas 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 Sweelincks 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.
Sweelincks 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 (15923). Sweelinck
published 12 chansons and 15 madrigals in Rimes franoises 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.
Sweelincks 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 Bze, 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.
Sweelincks 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, Sweelincks
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.
Sweelincks works in the free forms fantasias and toccatas were
developed from similar works by Italians (Andrea Gabrieli, Merulo),
Spaniards (Cabezn, Miln), 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 Sweelincks
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,
18941901/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,
195790) [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 Bze), 47vv
(Amsterdam, 1604, 2/1624 as Premier livre des pseaumes de David, mis en
musique seconde edition) [1604]
Rimes franoises et italiennes 2, 3vv, avec une chanson, 4vv (Leiden, 1612)
[1612]
Livre second des pseaumes de David, nouvellement mis en musique (Marot,
Bze), 48vv (Amsterdam, 1613) [1613]
Livre troisieme des pseaumes de David, nouvellement mis en musique (Marot,
Bze), 48vv (Amsterdam, 1614) [1614]
Sechs-stimmige Psalmen, auss dem ersten und andern Theil seiner
aussgangenen frantzsischen Psalmen (A. Lobwasser), 6vv, ed. M. Martinius
(Berlin, 1616)
Vierstimmige Psalmen, auss dem ersten, andern und dritten Theil seiner
aussgangenen frantzsischen Psalmen (Lobwasser), 4vv, ed. M. Martinius
(Berlin, 1618)
Livre quatriesme et conclusionnal des pseaumes de David, nouvellement mis en
musique (Marot, Bze), 48vv (Haarlem, 1621) [1621]
2 works in 1597
6


A Dieu ma voix jay haussee (Ps lxxvii), 5vv, 1613; S iii, 11; O iii, 11
Ainsi quon oit le cerf bruire (Ps xlii), 8vv, 1614; S iv, 27; O iv, 27
Alors quaffliction me presse (Ps cxx), 4vv, 1614; S iv, 4; O iv, 4
Alors que de captivit (Ps cxxvi), 5vv, 1614; S iv, 6; O iv, 6
Aprs avoir constamment attendu (Ps xl), 6vv, 1604; S ii, 38; O ii, 38
A toy, mon Dieu, mon coeur monte (Ps xxv), 5vv, 1613; S iii, 12; O iii, 12
A Toy, Dieu qui es l haut aux cieux (Ps cxxiii), 5vv, 1604; S ii, 25; O ii, 25
Aux parolles que je veux dire (Ps v), 5vv, 1621; S v, 12; O v, 12
Avec les tiens, Seigneur, tu as fait paix (Ps lxxxv), 5vv, 1621; S v, 19; O v, 19
Ayes piti de moy (Ps lvii), 5vv, 1621; S v, 16; O v, 16
Bienheureuse est la personne qui vit (Ps cxix), 6vv, 1614; S iv, 19; O iv, 19
Bienheureux est quiconques (Ps cxxviii), 34vv, 1613; S iii, 5; O iii, 5
Cantique de Simon (see Or laisses, Createur)
Cest en Judee proprement (Ps lxxvi), 8vv, 1621; S v, 43; O v, 43
Cest en sa tres-saincte Cit (Ps xlviii), 8vv, 1621; S v, 42; O v, 42
Chantez Dieu chanson nouvelle, chantez, terre (Ps xcvi), 4vv, 1621; S v, 1; O
v, 1
Chantez Dieu chanson nouvelle, et sa louange (Ps cxlix), 4vv, 1621; S v, 2; O
v, 2
Chantez Dieu nouveau cantique (Ps xcviii), 5vv, 1613; S iii, 8; O iii, 8
Chantez de Dieu le renom (Ps cxxxv), 6vv, 1613; S iii, 21; O iii, 21
Chantez gayement (Ps lxxxi), 6vv, 1621; S v, 38; O v, 38
Deba contre mes debatteurs (Ps xxxv), 6vv, 1614; S iv, 18; O iv, 18
Ds ma jeunesse ils mont fait mille assauts (Ps cxxix), 5vv, 1604; S ii, 18; O ii,
18
Des quadversit nous offense (Ps xlvi), 6vv, 1621; S v, 36; O v, 36
De tout mon coeur texalteray (Ps ix), 4vv, 1604; S ii, 3; O ii, 3
Dieu est assis en lassemblee (Ps lxxxii), 8vv, 1614; S iv, 28; O iv, 28
Dieu est regnant de grandeur tout vestu (Ps xciii), 4vv, 1621; S v, 8; O v, 8
Dieu nous soit doux et favorable (Ps lxvii), 6vv, 1613; S iii, 17; O iii, 17
Dieu pour fonder son tresseur habitacle (Ps lxxxvii), 5vv, 1621; S v, 26; O v, 26
Di moy malheureux qui te fies (Ps lii), 5vv, 1604; S ii, 22; O ii, 22
Donne secours, Seigneur, il en est heure (Ps xii), 5vv, 1613; S iii, 15; O iii, 15
Donnez au Seigneur gloire (Ps cvii), 5vv, 1621; S v, 15; O v, 15
Dou vient cela, Seigneur je te suppli (Ps x) (i), 5vv, 1597
6
(anon.); S ix, 3; O v,
pp.3069
Dou vient cela, Seigneur, je te suppli (Ps x) (ii), 5vv, 1621 (reworking of 1597
6

work); S v, 14; O v, 14
Dou vient, Seigneur, que tu nous as espars (Ps lxxiv), 4vv, 1614; S iv, 2; O iv, 2
Du fonds de ma pense (Ps cxxx), 5vv, 1604; S ii, 17; O ii, 17
Du malin le meschant vouloir (Ps xxxvi), 5vv, 1613; S iii, 9; O iii, 9
Du Seigneur Dieu en tous endroits (Ps cxi), 8vv, 1621; S v, 41; O v, 41
Du Seigneur les bonts sans fin je chanteray (Ps lxxxix), 6vv, 1614; S iv, 17; O
iv, 17
Enfans, qui le Seigneur servez (Ps cxiii), 8vv (2 choirs), 1614; S iv, 24; O iv, 24
Enten ce que je veux dire (Ps lxiv), 6vv, 1613; S iii, 22; O iii, 22
Enten pourquoy je mescrie (Ps lxi), 8vv, 1613; S iii, 29; O iii, 29
Entre vous conseilliers qui estes (Ps lviii), 5vv, 1621; S v, 29; O v, 29
Estans assis aux rives aquatiques (Ps cxxxvii), 5vv, 1604; S ii, 13; O ii, 13
Exauce, mon Dieu, ma prire (Ps lv), 4vv, 1621; S v, 7; O v, 7
Helas, Seigneur, je te pri sauve moy (Ps lxix), 5vv, 1604; S ii, 21; O ii, 21
Il faut que de tous mes esprits (Ps cxxxviii), 4vv, 1604; S ii, 6; O ii, 6
Incontinent que jeu ou (Ps cxxii), 4vv, 1604; S ii, 7; O ii, 7
Jamais ne cesseray (Ps xxxiv), 6vv, 1614; S iv, 16; O iv, 16
Jay de ma voix Dieu cri (Ps cxlii), 6vv, 1604; S ii, 42; O ii, 42
Jay dit en moy, de pres je viseray (Ps xxxix), 5vv, 1621; S v, 25; O v, 25
Jayme mon Dieu, car lors que jay cri (Ps cxvi), 5vv, 1621; S v, 18; O v, 18
Jay mis en toy mon esperance (Ps lxxi), 6vv, 1621; S v, 34; O v, 34
Jay mis en toy mon esperance (Ps xxxi), 7vv, 1621; S v, 39; O v, 39
Je taymeray en toute obeissance (Ps xviii), 6vv, 1621; S v, 33; O v, 33
Jusques quand as establi (Ps xiii), 6vv, 1604; S ii, 36; O ii, 36
Las! en ta fureur aigue (Ps xxxviii), 5vv, 1621; S v, 21; O v, 21
La terre au Seigneur appartient (Ps xxiv), 34vv, 1604; S ii, 2; O ii, 2
Le Dieu, le fort, lEternel parlera (Ps l), 6vv, 1604; S ii, 34; O ii, 34
Le fol malin en son coeur dit et croid (Ps xiv), 6vv, 1604; S ii, 37; O ii, 37
Le fol malin en son coeur dit et croit (Ps liii), 47vv, 1621; S v, 40; O v, 40
Les cieux en chacun lieu (Ps xix), 5vv, 1614; S iv, 9; O iv, 9
Le Seigneur est la clart qui maddresse (Ps xxvii) (i), 5vv, 1604; S ii, 32; O ii, 32
Le Seigneur est la clart qui maddresse (Ps xxvii) (ii), 35vv, 1613; S iii, 7; O iii,
7
Le Seigneur ta priere entende (Ps xx), 4vv, 1604; S ii, 1; O ii, 1
Les gens entrez sont en ton heritage (Ps lxxix), 5vv, 1621; S v, 20; O v, 20
LEternel est regnant (Ps xcvii), 6vv, 1604; S ii, 44; O ii, 44
Le Toutpuissant mon Seigneur et maistre (Ps cx), 6vv, 1614; S iv, 15; O iv, 15
Lou soit Dieu, ma force en tous alarmes (Ps cxliv), 6vv, 1604; S ii, 41; O ii, 41
Louez Dieu, car cest chose bonne (Ps cxlvii), 5vv, 1621; S v, 23; O v, 23
Louez Dieu, car il est benin (Ps cvi), 6vv, 1604; S ii, 40; O ii, 40
Louez Dieu tout hautement (Ps cxxxvi), 5vv, 1604; S ii, 31; O ii, 31
Misericorde moy, povre afflig (Ps lvi), 5vv, 1604; S ii, 26; O ii, 26
Misericorde au povre vicieux (Ps li), 6vv, 1604; S ii, 39; O ii, 39
Mon ame en Dieu tant seulement (Ps lxii), 7vv, 1614; S iv, 21; O iv, 21
Mon coeur est dispos, mon Dieu (Ps cviii), 6vv, 1604; S ii, 48; O ii, 48
Mon Dieu, jay en toy esperance (Ps vii), 6vv, 1614; S iv, 20; O iv, 20
Mon Dieu, lennemy menvironne (Ps lix), 5vv, 1621; S v, 13; O v, 13
Mon Dieu me paist sous sa puissance haute (Ps xxiii), 46vv, 1604; S ii, 10; O ii,
10
Mon Dieu, mon Dieu, pourquoy mas tu laiss (Ps xxii), 4vv, 1621; S v, 4; O v, 4
Mon Dieu, mon Roy, haut je tesleveray (Ps cxlv), 5vv, 1621; S v, 17; O v, 17
Mon Dieu, preste moy loreille (Ps lxxxvi), 6vv, 1613; S iii, 26; O iii, 26
Ne sois fasch, si, durant ceste vie (Ps xxxvii), 5vv, 1614; S iv, 10; O iv, 10
Ne vueilles pas, Sire (Ps vi), 4vv, 1621; S v, 3; O v, 3
Non point nous, non point nous, Seigneur (Ps cxv), 67vv, 1613; S iii, 24; O
iii, 24
O bienheureuse la personne (Ps cxii), 5vv, 1621; S v, 10; O v, 10
O bienheureux celuy dont les commises (Ps xxxii), 5vv, 1604; S ii, 23; O ii, 23
O bienheureux, qui juge sagement (Ps xli), 8vv, 1614; S iv, 29; O iv, 29
O combien est plaisant et souhaittable (Ps cxxxiii), 56vv, 1614; S iv, 8; O iv, 8
O Dieu des armees, combien (Ps lxxxiv), 5vv, 1613; S iii, 14; O iii, 14
O Dieu, donne moy delivrance (Ps cxl), 5vv, 1604; S ii, 28; O ii, 28
O Dieu Eternel, mon Sauveur (Ps lxxxviii), 5vv, 1621; S v, 11; O v, 11
O Dieu, je nay Dieu fors que toy (Ps lxiii), 6vv, 1613; S iii, 19; O iii, 19
O Dieu, la gloire, qui test deu (Ps lxv), 6vv, 1613; S iii, 27; O iii, 27
O Dieu, mon honneur et ma gloire (Ps cix), 6vv, 1621; S v, 35; O v, 35
O Dieu, ne sois plus requoy (Ps lxxxiii), 5vv, 1621; S v, 24; O v, 24
O Dieu o mon espoir jay mis (Ps lxx), 5vv, 1614; S iv, 12; O iv, 12
O Dieu, qui es ma forteresse (Ps xxviii), 35vv, 1613; S iii, 10; O iii, 10
O Dieu qui nous as debouts (Ps lx), 5vv, 1604; S ii, 29; O ii, 29
O Dieu tout puissant, sauve moy (Ps liv), 5vv, 1604; S ii, 27; O ii, 27
O Dieu, tu cognois qui je suis (Ps cxxxix), 45vv, 1621; S v, 28; O v, 28
O Eternel, Dieu des vengeances (Ps xciv), 5vv, 1621; S v, 22; O v, 22
On a beau sa maison bastir (Ps cxxvii), 34vv, 1613; S iii, 4; O iii, 4
O nostre Dieu et Seigneur amiable (Ps viii), 5vv, 1604; S ii, 16; O ii, 16
O Pasteur dIsral, escoute (Ps lxxx), 5vv, 1604; S ii, 15; O ii, 15
O que cest chose belle (Ps xcii), 6vv, 1604; S ii, 35; O ii, 35
Oraison Dominicale (see Pere de nous)
Or avons nous de nos oreilles (Ps xlix), 4vv, 1613; S iii, 3; O iii, 3
Or est maintenant (Ps xcix), 6vv; 1621; S v, 32; O v, 32
Or laisses, Createur (Cantique de Simon) [Nunc dimittis], 56vv, 1604; S ii, 51;
O ii, 51
Or peut bien dire Isral maintenant (Ps cxxiv), 36vv, 1621; S v, 31; O v, 31
Or soit lou lEternel (Ps cl), 8vv, 1614; S iv, 30; O iv, 30
Or 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 1597
10
but
replaced by a chanson by Verdonck)
Or sus, serviteurs du Seigneur (Ps cxxxiv) (ii), 6vv, 1604; S ii, 49; O ii, 49
Or sus, serviteurs du Seigneur (Ps cxxxiv) (iii), 4vv, 1614; S iv, 5; O iv, 5
Or sus tous humains (Ps xlvii), 5vv, 1613; S iii, 13; O iii, 13
O Seigneur, toy je mescrie (Ps cxli), 5vv, 1613; S iii, 16; O iii, 16
O Seigneur, lou sera ton renom (Ps lxxv), 4vv, 1613; S iii, 6; O iii, 6
O Seigneur, que de gents (Ps iii) (i), 6vv, 1597
6
(anon.); S ix, 4; O v, pp.295305
O Seigneur, que de gents (Ps iii) (ii), 6vv, 1604 (reworking of 1597
6
work); S ii,
43; O ii, 43
O Seigneur, que de gents (Ps iii) (iii), 4vv, 1614; S iv, 3; O iv, 3
Pere de nous, qui es l haut s cieux (Oraison Dominicale) [Lords Prayer], 3vv,
1612, 1614; S iv, 31; O iv, 31; O vii, 45
Peuples oyez et loreille prestez (Ps xlix), 6vv, 1604; S ii, 46; O ii, 46
Pourquoy font bruit et sassemblent les gents? (Ps ii), 5vv, 1604; S ii, 11; O ii, 11
Propos exquis faut que de mon coeur sorte (Ps xlv), 5vv, 1604; S ii, 12; O ii, 12
Quand Isral hors dEgypte sortit (Ps cxiv), 4vv, 1613; S iii, 2; O iii, 2
Quand je tinvoque, helas! escoute (Ps iv), 6vv, 1614; S iv, 14; O iv, 14
Que Dieu se monstre seulement (Ps lxviii), 6vv, 1621; S v, 37; O iv, 1
Qui au conseil des malins na est (Ps i), 4vv, 1614; S iv, 1
Qui en la garde du haut Dieu (Ps xci), 6vv, 1613; S iii, 25; O iii, 25
Qui est-ce qui conversera (Ps xv), 34vv, 1604; S ii, 8; O ii, 8
Rendez Dieu louange et gloire (Ps cxviii), 6vv, 1604; S ii, 47; O ii, 47
Resveillez vous, chascun fidele (Ps xxxiii), 8vv, 1613; S iii, 30; O iii, 30
Revenge moy, pren la querelle (Ps xliii), 8vv, 1614; S iv, 26; O iv, 26
Seigneur Dieu, oy loraison mienne (Ps cxliii), 6vv, 1613; S iii, 20; O iii, 20
Seigneur, enten mon bon droit (Ps xvii), 4vv, 1621; S v, 6
Seigneur, enten ma requeste (Ps cii), 4vv, 1604; S ii, 5; O ii, 5
Seigneur, garde mon droit (Ps xxvi), 4vv, 1604; S ii, 4; O ii, 4
Seigneur, je nay point le coeur fier (Ps cxxxi), 8vv, 1614; S iv, 23; O iv, 23
Seigneur, le Roy sesjoura (Ps xxi), 4vv, 1621; S v, 5; O v, 5
Seigneur, pui que mas retir (Ps xxx), 5vv, 1621; S v, 27; O v, 27
Si est-ce que Dieu est tres-doux (Ps lxxiii), 5vv, 1621; S v, 30; O v, 30
Sois ententif, mon peuple, ma doctrine (Ps lxxviii), 5vv, 1604; S ii, 14; O ii, 14
Sois moy, Seigneur, ma garde et mon appuy (Ps xvi), 36vv, 1614; S iv, 7; O iv,
7
Sus, esgayons-nous au Seigneur (Ps xcv), 6vv, 1604; S ii, 33; O ii, 33
Sus, louez Dieu, mon ame, en toute chose (Ps ciii), 36vv, 1614; S iv, 13
Sus mon ame, quon benie le Souverain (Ps cxlvi), 67vv, 1613; S iii, 28; O iii, 28
Sus, sus, mon ame, il te faut dire bien (Ps civ), 5vv, 1621; S v, 9; O v, 9
Sus, quun chascun de nous sans cesse (Ps cv), 7vv, 1604; S ii, 50; O ii, 50
Tes jugements, Dieu veritable (Ps lxxii), 5vv, 1604 [version Ehre sei Gott, 5vv,
bc, 1641
2
]; S ii, 19; O ii, 19
Toutes gents louez le Seigneur (Ps cxvii), 6vv, 1604; S ii, 45; O ii, 45
Tout homme qui son esperance (Ps cxxv), 6vv, 1613; S iii, 18; O iii, 18
Tu as est, Seigneur, nostre retraicte (Ps xc), 4vv, 1613; S iii, 1; O iii, 1
Vers les monts jay lev mes yeux (Ps cxxi), 4vv, 1604; S ii, 9; O ii, 9
Veuilles, Seigneur, estre recors (Ps cxxxii), 5vv, 1604; S ii, 20; O ii, 20
Veu que du tout en Dieu mon coeur sappuye (Ps xi), 6vv, 1613; S iii, 23; O iii, 23
Vouloir mest pris de mettre en escriture (Ps ci), 8vv, 1614; S iv, 25; O iv, 25
Vous tous les habitans des cieux (Ps cxlviii), 7vv, 1614; S iv, 22; O iv, 22
Vous tous, Princes et Seigneurs (Ps xxix), 5vv, 1604; S ii, 24; O ii, 24
Vous tous qui la terre habitez (Ps c), 35vv, 1614; S iv, 11; O iv, 11
Sweelinck, Jan Pieterszoon: Works
motets
Canticum in honorem nuptiarum Iohannis Stoboei et Reginae Davidis
Mlleri relicta vidua, 8vv (Knigsberg, 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, 3
Angelus ad pastores ait, 5vv, bc, 1619; S vi, 35; O vi, 35
Beati omnes qui timent Dominum, 5vv, bc, 1619; S vi, 28; O vi, 28
Beati pauperes spiritu, 5vv, bc, 1619; S vi, 6; O vi, 6
Cantate Domino canticum novum, 5vv, bc, 1619; S vi, 8; O vi, 8
De profundis clamavi ad te Domine, 5vv, bc, 1619; S vi, 20; O vi, 20
Diligam te Domine, fortitudo mea, wedding motet, 8vv, 1617; S ix, 7; O vii, 55
Diligam te Domine, fortitudo mea, 5vv, bc, 1619; S vi, 5; O vi, 5
Domine Deus meus in te speravi [original: sperabo], 5vv, bc, 1619; S vi, 25; O vi,
56
Ecce nunc benedicite Dominum, 5vv, bc, 1619; S vi, 7; O vi, 7
Ecce prandium meum paravi, 5vv, bc, 1619; S vi, 2; O vi, 2
Ecce virgo concipiet et pariet filium, 5vv, bc, 1619; S vi, 31; O vi, 31
Euge serve bone et fidelis, 5vv, bc, 1619; S vi, 16; O vi, 16
Felix auspiciis dies secondis, 5vv, 1638 [sacred contrafactum by ? J. Stobaeus of
lost wedding motet]; S ix, 6; O vii, 56
Gaude et laetare, Jerusalem, 5vv, bc, 1619; S vi, 18; O vi, 18
Gaudete omnes et laetamini, 5vv, bc, 1619; S vi, 32; O vi, 32
Hodie beata virgo Maria puerum Jesum praesentavit, 5vv, bc, 1619; S vi, 30; O
vi, 30
Hodie Christus natus est, 5vv, bc, 1619; S vi, 13; O vi, 13
In illo tempore postquam consummati sunt, 5vv, bc, 1619; S vi, 22; O vi, 22
In te Domine speravi, 5vv, bc, 1619; S vi, 4; O vi, 4
Iusti autem in perpetuum vivent, 5vv, bc, 1619; S vi, 12; O vi, 12
Laudate Dominum omnes gentes, 5vv, bc, 1619; S vi, 11; O vi, 11
Magnificat anima mea Dominum, 5vv, bc, 1619; S vi, 34; O vi, 34
Non omnis qui dicit mihi Domine, 5vv, bc, 1619; S vi, 1; O vi, 1
O Domine Jesu Christe, pastor bone, 5vv, bc, 1619; S vi, 10; O vi, 10
O quam beata lancea, 5vv, bc, 1619; S vi, 21; O vi, 21
O sacrum convivium, 5vv, bc, 1619; S vi, 14; O vi, 14
Paracletus autem Spiritus sanctus, 5vv, bc, 1619; S vi, 23; O vi, 23
Petite et accipietis, 5vv, bc, 1619; S vi, 15; O vi, 15
Qui vult venire post me, 5vv, bc, 1619; S vi, 19; O vi, 19
Regina coeli laetare, 35vv, bc, 1619; S vi, 33; O vi, 33
Tanto tempore vobiscum sum, 5vv, bc, 1619; S vi, 36; O vi, 36
Te Deum laudamus, 5vv, bc, 1619; S vi, 37; O vi, 37
Timor Domini principium sapientiae, 5vv, bc, 1619; S vi, 29; O vi, 29
Ubi duo vel tres congregati fuerint in nomine meo, 5vv, bc, 1619; S vi, 27; O vi,
27
Venite exultemus Domino, 5vv, bc, 1619; S vi, 9; O vi, 9
Vide homo, quae pro te patior, 5vv, bc, 1619; S vi, 17; O vi, 17
Videte manus meas et pedes meos, 5vv, bc, 1619; S vi, 24; O vi, 24
Viri 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 composes accommodes tant aux instruments, comme la
voix, 5vv (Antwerp, 1594
5
) [1594
5
]
Rimes franoises et italiennes 2, 3vv, avec une chanson, 4vv (Leiden, 1612)
[1612]
Works in 1597
10
, 1608
11


Au mois de May que lon saignoit la belle, 5vv, 1594
5
; S vii, 17; O vii, 17
Beaux yeux, par qui lAmour entretient sa puissance, 2vv, 1612; S viii, 4; O vii, 22
Bouche de Coral precieux, 5vv, 1594
5
[arr. 2vv, lute, 1601
18
]; S vii, 7; O vii, 7,
appx
De Jan, Jan (see Tu as tout seul)
Depuis le jour que je vous vei, maistresse, 5vv, 1594
5
; S vii, 12; O vii, 12
Elle est vous, douce maistresse, 5vv, 1594
5
; S vii, 3; O vii, 3
Face donques qui voudra amour un petit ange, 5vv, 1594
5
; S vii, 16; O vii, 16
Jamais navoir et tousjours desirer, 3vv, 1612; S viii, 25; O vii, 43
Jan, Jan (see Tu as tout seul)
Je ne fay rien que requerir, 4vv, 1608
11
(inc.); S ix, 10; O vii, 52
Je pars, non point de vous, mais de moy seulement, 2vv, 1612; S viii, 2; O vii, 20
Je sens en moy une flamme nouvelle, 5vv, 1594
5
; S vii, 18; O vii, 18
Je sens lardeur damour nouvelle, 5vv, 1594
5
; S vii, 1; O vii, 1
Jeune beaut, bon esprit, bonne grace, 5vv, 1594
5
; S vii, 9; O vii, 9
Je voy mille clairtez et mille choses belles, 3vv, 1612; S viii, 12; O vii, 30
La belle que je sers, 5vv, 1594
5
; S vii, 15; O vii, 15
Las! que me sert quand la douleur me blesse, 2vv, 1612; S viii, 1; O vii, 19
LAubespin chasse tout malheur, 5vv, 1594
5
; S vii, 4; O vii, 4
Lors que le trait par vos yeux decoch, 2vv, 1612; S viii, 3; O vii, 21
Marchans qui traversez tout le rivage More, 2vv, 1612; S viii, 6; O vii, 24
Mon Dieu, que jayme ma Deesse, 3vv, 1612; S viii, 15; O vii, 33
Plus tu cognois que je bruisle pour toy, 5vv, 1594
5
; S vii, 10; O vii, 10
Pourquoy tournez vous voz yeux gratieus de moy, 5vv, 1594
5
; S vii, 14; O vii, 14
Quand je voy ma maistresse, 5vv, 1594
5
; S vii, 2; O vii, 2
Regret, soucy et peine, 5vv, 1594
5
; S vii, 11; O vii, 11
Rozette, pour un peu dabsence, 4vv, 1612; S viii, 28; O vii, 46
Si jayme ou non, je nen dis rien, 5vv, 1594
5
; S vii, 13; O vii, 13
Susanne un jour damour sollicite, 5vv, 1594
5
; S vii, 8; O vii, 8
Sus, je vous prie que lon me donne, 5vv, 1594
5
; S vii, 6; O vii, 6
Tes beaux yeux causent mon amour, 4vv, 1597
10
; S ix, 8; O vii, 47
Tu as tout seul, Jan [De Jan, Jan], 5vv, 1597
10
; S ix, 9; O vii, 48
Un jour laveugle Amour, 3vv, 1612; S viii, 14; O vii, 32
Voicy du gay Printemps lheureux advenement, 2vv, 1612; S viii, 5; O vii, 23
Vostre amour est vagabonde, 5vv, 1594
5
; S vii, 5; O vii, 5
Yeux, qui guidez mon ame en lamoureux voyage, 3vv, 1612; S viii, 13; O vii, 31
Sweelinck, Jan Pieterszoon: Works
madrigals
Rimes franoises et italiennes 2, 3vv, avec une chanson, 4vv (Leiden, 1612)
[1612]
Works in 1601
5
, 1605
9
, 1608
11
, 1610
14


Amor, io sent un respirar si dolce, 3vv, 1612 (on Macque, 1583
14
); S viii, 23; O
vii, 41
Che giova posseder cittadi e regni, 2vv, 1612; S viii, 10; O vii, 28
Chi vuol veder quantunque pu natura, 6vv, 1601
5
(inc.); S ix, 13; O vii, 49
Dolci labri amorosi portieri, 3vv, 1612; S viii, 21; O vii, 39
Dolcissimo ben mio, speme di questo core, 3vv, 1612 (on A. Gabrieli, 1583
14
); S
viii, 24; O vii, 42
Facciam, cara mia File, un concento, una musica gentile, 3vv, 1612; S viii, 17; O
vii, 35
Garrula rondinella, che nel spuntar del die, 2vv, 1612; S viii, 11; O vii, 29
Hor che soave laurin ogni canto, 4vv, 1608
11
(inc.); O vii, 51
Io mi son giovinetta, e volentieri, 2vv, 1612 (on D.M. Ferrabosco, 1542
17
); S viii,
8; O vii, 26
Lascia Filli mia cara, 3vv, 1612; S viii, 16; O vii, 34
Liquide perle Amor daglocchi sparse, 2vv, 1612 (on Marenzio); S viii, 7; O vii, 25
Ma donna con quest occhi, 6vv, 1601
5
, 1605
9
; S ix, 12; O vii, 50
Morir non puol mio core, 2vv, 1612; S viii, 9; O vii, 27
Per te rosa gentile, 3vv, 1612; S viii, 18; O vii, 36
Poi che voi non volete chio vi baci, 5vv, 1610
14
; S ix, 11; O vii, 53
Qual vive Salamandra in fiamma ardente, 3vv, 1612 (on Marenzio, 1583
14
); S viii,
22; O vii, 40
Ricco amante sonio, per voi tesore mio, 3vv, 1612; S viii, 26; O vii, 44
Un sol bacio ti dono, ingrata, 3vv, 1612; S viii, 19; O vii, 37
Vaga 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, 1644
3
, 2/c1657; 1657
4
; S ix, 19; O vii, 61
Miserere mei, Domine, in unisono, 4vv, Lh 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 Snde 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, 1644
3
, 1657
4
; facs. in TVNM, xv
(1939), facing p.256; O vii, 62
Vanitas 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, 1644
3
, 1657
4
; 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, 11
Echo fantasia (Aeolian), D-Bgk; S i, 11; K 16; O i/1, 12
Echo fantasia (Ionian), Bgk, Bsb, I-Pu, Tn; S i, 12; K 17; O i/1, 13
Echo fantasia (Ionian), A-Wm, D-Bsb; S i, 13; K 18; O i/1, 14
Echo fantasia (Dorian), B-Lu, D-Bsb (on authenticity see Dirksen, 1986); S i, 10;
K 15; O i/1, 34, 34a
Fantasia (Dorian), Bsb; S i, 2; K 2; O i/1, 2
Fantasia (g-Dorian), GB-Cfm; S i, 3; K 3; O i/1, 3
Fantasia (a-Phrygian), D-Bsb, I-Pu, Tn; S i, 4; K 5; O i/1, 4
Fantasia (Mixolydian), D-Bsb; S i, 6; K 8; O i/1, 6
Fantasia (g-Dorian), Bsb; K 4; O i/1, 8
Fantasia (Mixolydian), Bsb; S i, 7; K 9; O i/1, 9
Fantasia (g-Dorian), RU-SPit; O i/1, 10
Fantasia (Ionian), I-Tn (on authenticity see Dirksen, 1997); A 1; O i/1, 36
Fantasia (Dorian), Tn (on authenticity see Dirksen, 1997); A 2; O i/1, 37
Fantasia (Mixolydian), Tn (on authenticity see Dirksen, 1997); A 3; O i/1, 38
Fantasia chromatica (Dorian), A-Wm, Wn, D-Bgk, Bsb; S i, 1; K 1; O i/1, 1, 1a
Hexachord fantasia (F-Ionian), GB-Cfm, Och, I-Pu, Tn; S i, 5; K 6; O i/1, 5
Fantasia (F-Ionian), D-Bsb, I-Tn; K 33, 73; O i/1, 27, 27a
Ricercar (Aeolian), Pu, Tn; S ix, 1; K 10; O i/1, 7
Toccata (Dorian), D-Bsb, I-Pu, Tn; S i, 14; K 20; O i/1, 15
Toccata (Aeolian), B-Lu, D-Bsb, Lr, GB-Cfm, I-Pu, Tn; S i, 15; K 21; O i/1, 16
Toccata (Aeolian), D-Bsb, I-Pu, Tn; S i, 16; K 22; O i/1, 17
Toccata (Mixolydian), D-Bgk, Bsb, I-Tn; S i, 21; K 28; O i/1, 18, 18a
Toccata (Ionian), A-Wm, B-Lu, D-Bsb; S i, 23; K 30; O i/1, 19, 19a
Toccata (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, 21
Toccata (g-Dorian), Bsb; S i, 19; K 25; O i/1, 22
Toccata (Mixolydian), Bgk, I-Tn; S i, 20; K 27; O i/1, 23
Toccata (Aeolian), D-Bgk, GB-Lbl, I-Tn; S i, 22; K 29; O i/1, 24, 24a
Toccata (Ionian), A-Wm, D-Bsb; K 32; O i/1, 25
Toccata (g-Dorian), Bsb (inc.); K 72; O i/1, 28
Toccata (g-Dorian), I-Tn (on authenticity see Dirksen, 1986, and Panetta); K 26;
O i/1, 30
Toccata (Dorian), D-Bgk, I-Tn (on authenticity see Dirksen, 1986, and Panetta);
K 26; O i/1, 31
sacred
Allein Gott in der Hh sei Ehr (4 variations by Sweelinck), D-Bsb [collab. other
composers]; K 35; O i/2, 1
Allein zu dir, Herr Jesu Christ, CZ; O i/2, 2
Christe qui lux es et dies, A-Wm, D-Bsb, I-Tn; K 37; O i/2, 3
Da pacem Domine in diebus nostris, D-Bsb; S i, 25; K 38; O i/2, 4
Des boosdoenders wille seer quaet [Ps xxxvi: Du malin le mechant vouloir], I-Tn;
O i/2, 10
Erbarm dich mein, o Herre Gott, D-Bsb, CZ, I-Tn; K 41; O i/2, 5
Ich ruf zu dir, Herr Jesu Christ, D-Bsb, H-BA; K 46; O i/2, 6
Ik heb den Heer lief [Ps cxvi: Jaime mon Dieu], D-Bsb; K 51; O i/2, 11
Nun freut euch, lieben Christen gmein, A-Wm, D-Bsb; K 48; O i/2, 7
O mijn God, wilt mij nu bevrijden [Ps cxl: O Dieu, donne-moy delivrance], Bsb,
GB-Cfm; S i, 26; K 52; O i/2, 12
Puer nobis nascitur [Ons is geboren een kindekijn], D-Bsb; K 53; S i/2, 8
Wij 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), 2
Engelse fortuin [Von der Fortuna werd ich getrieben], Bgk, I-Tn; S i, 35; K 64; O
i/3, 2
Est-ce Mars, A-Wm, D-Bsb; S i, 31; K 58; O i/3, 3
Ik voer al over Rijn [Ich fuhr mich ber Rheine], Bsb; S i, 30; K 59; O i/3, 4
Mein junges Leben hat ein End, Bsb; S i, 27; K 60; O i/3, 6
Onder een linde groen [Unter der Linden grne], Bgk, Bsb; S i, 28; K 63; O i/3, 8
Pavana hispanica, Bgk, S-Uu (both incl. 4 variations by Scheidt); S i, 36; S ix, 2;
K 68; O i/3, 9
Pavana Lachrymae, H-BA; K 66; O i/3, 10
Pavana Philippi, D-Bsb; S i, 29; K 69; O i/3, 11
Poolse 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
19
Fantasia (F-Ionian), Bsb (attrib. Sweelinck by Seiffert, see Dirksen, 1986); K 7
Fantasia (Aeolian), Bsb (attrib. Sweelinck by Seiffert and Leonhardt; O i/1); K 11;
O i/1, 32
Toccata (Dorian), Bsb (attrib. Sweelinck, see Dirksen, 1986); ed. in Samuel
Scheidt: Werke, v, 2
Toccata (Mixolydian), B-Lu (attrib. Sweelinck, see Dirksen, 1986); ed. in Archives
des Matres de lorgue, 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, 16
Jesus Christus, unser Heiland, CZ (attrib. Sweelinck, see Dirksen, 1997); ed. in
Heinrich Scheidemann: Orgelwerke, i, 17
Mein Hter und mein Hirt [Ps xxiii], Bsb (attrib. Sweelinck, see Curtis, 1969, and
Dirksen, 1986); ed. in EMN, xvi (1991), 2
O God die onse Vader bist, Bsb (attrib. Sweelinck, see Dirksen, 1986); ed. in
EMN, xvi (1991), 1

Hoe schoon lichtet de morghen ster [Wie schn 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), 4
Almande Gratie [More Palatino], A-Wm (attrib. Sweelinck by Seiffert and Noske,
see K and O i/3); K 61; O i/3, 7
De 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, 29
Fantasia 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, 33
Ricercar (Dorian), I-Tn (attrib. J. Peterle; probably not by Sweelinck, see O i/1
and Dirksen, 1997); O i/1, 35
Ricercar (Dorian), Tn (attrib. J.P.S.; probably not by Sweelinck, see O i/1 and
Dirksen, 1997); A 4; O i/1, 39
Toccata (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, 14
Onse 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), 1
Malle Sijmen, RU-SPit (probably not by Sweelinck, see Dirksen, 1997); O i/3, 5
Passamezzo 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 texalteray; La terre au Seigneur
appartient; Le Seigneur ta priere entende; Mon Dieu me paist sous sa puissance
haute; Ne vueilles pas, Sire; Pourquoy font bruit et sassemblent les gents?:
see Psalms, Canticles
anon. attrib. Sweelinck
Psalm xxiii, Lt; O i/3, 16
Courante, GB-Cfm (attrib. Pietreson, possibly by Sweelinck, see O i/3); O i/3, 17
Volte (i), Cfm (attrib. Pietreson, possibly by Sweelinck, see O i/3); O i/3, 18
Volte (ii), Cfm (attrib. Pietreson, possibly by Sweelinck, see O i/3); O i/3, 19
Volte (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 = 1594
5
)
Chansons, 5vv (Antwerp, 1593) (mentioned in Draudius: Bibliotheca exotica,
Frankfurt, 1610, but possibly = 1594
5
)
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. Ghler: Verzeichnis der in den Frankfurter und
Leipziger Messkatalogen der Jahre 1564 bis 1759 angezeigten Musikalien, i,
Leipzig, 1902, p.915)

Fantasia, model for Bulls 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 (Sweelincks 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.
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F.C. Kist: J.P. Swelinck, Nederlandsch Muzikaal Tijdschrift, iv (1842),
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768
P. Scheltema: Dr Cornelis Gijbertszoon Plemp en zijne beschrijving
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der Vereeniging tot beoefening van Overijsselsch regt en
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geslachten, Maandblad van Oud Utrecht, xxxv (1962), 101
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F. Noske: Sweelinck (Oxford, 1988)
keyboard and organ music
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C. van den Borren: Les origines de la musique de clavier dans les
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L. Schrade: Ein Beitrag zur Geschichte der Tokkata, ZMw, viii (1925
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O. Gombosi: Ein neuer Sweelinck-Fund, TVNM, xiv (19325), 113
G. Frotscher: Geschichte des Orgel-Spiels und der Orgel-Komposition
(Berlin, 19356, 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), 26571
A. Voigts: Die Toccaten Jan Pieterszoon Sweelincks: ein Beitrag zur
frhen Instrumentalmusik (diss., U. of Mnster, 1955)
G. Gerdes: Die Choralvariationen J.P. Sweelincks und seiner Schler
(diss., U. of Freiburg, 1956)
T. Dart: Sweelincks Fantazia on a Theme used by John Bull, TVNM,
xviii (19569), 1679
J.H. van der Meer: The Keyboard Works in the Vienna Bull
Manuscript, TVNM, xviii (19569), 72105
R.L. Tusler: Style Differences in the Organ and Clavicembalo Works of
Jan Pieterszoon Sweelinck, TVNM, xviii (19569), 14966; see
also J.H. van der Meer, xix (196063), 6779; F. Noske, ibid., 80
83; and A. van Gool, ibid., 2034
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), 25876
L. Schierning: Die berlieferung der deutschen Orgel- und
Klaviermusik aus der ersten Hlfte des 17. Jahrhunderts (Kassel,
1961)
O. Mischiati: Lintavolatura dorgano tedesca della Biblioteca nazionale
di Torino, Lorgano, iv (1963), 1154
M. Reimann: Die Autoren der Fuge Nr. 23 in Lneburg KN-208
1
und
der Fantasia Ut sol fa mi in Lbbenau, Ms Lynar A1, Mf, xvi (1963),
1667
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), 111
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 Lbbenauer Tabulaturen Lynar A 1 und A 2, AMw, xxv
(1968), 96117, 22336
F.E. Perkins: Keyboard and Instrumental Settings of Genevan Psalm
Melodies in the Lbbenau Manuscripts (diss., U. of Washington,
1968)
W. Breig: Zu den handschriftlich berlieferten Liedvariationen von
Samuel Scheidt, Mf, xxii (1969), 31828
A. Curtis: Sweelincks 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 (19712), 12637
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), 3860
W. Breig: Die Claviermusik Sweelincks und seiner Schler im Lichte
neuerer Forschungen und Editionen, Mf, xxx (1977), 48292
D. Kmper: Zur Vorgeschichte der Fantasie Sweelincks, GfMKB [Berlin
1974], ed. H. Khn and P. Nitsche (Kassel, 1980), 2757
W. Cunningham: The Keyboard Music of John Bull (Ann Arbor, 1984)
W. Breig: Die Virginalisten und die deutsche Claviermusik der Schtz-
Generation, Deutsch-englische Musikbeziehungen, ed. W. Konold
(Munich, 1985), 5174
M. Souter: Formative Influences on Sweelincks Keyboard Style: a
Preliminary Outline of a Case for Reassessment, JBIOS, x (1986),
2031
P. Dirksen: Sweelincks Opera dubia: a Contribution to the Study of his
Keyboard Music, TVNM, xxxvi (1986), 80135
P. van Dijk: Uitvoeringspraktijk rondom Sweelinck, Het Orgel (1990),
special issue, 83101
D. Teepe: Die Entwicklung der Fantasie fr Tasteninstrumente im 16.
und 17. Jahrhundert: eine gattungsgeschichtliche Studie (Kassel,
1991), 16298
V. Panetta: Toccatas Carrying Conflicting Attributions to Sweelinck and
Hassler, TVNM, lxii (1992), 90130
P. Dirksen: Sweelincks Keyboard Style and Scheidemanns
Intavolations, Proceedings of the Gteborg International Organ
Academy 1994, ed. S. Jullander and H. Davidsson (Gteborg,
1995), 8597
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 zwlf Tonarten und ber den
Gebrauch der Versetzungszeichen im XVI. und XVII. Jahrhunderte
nach Joh. Peter Sweelinck, MMg, iii (1871), 13351
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 franaises et les
madrigaux italiens de J.P. Sweelinck, Gedenkboek aangeboden
aan Dr. D. F. Scheurleer (The Hague, 1925), 7387
B. van den Sigtenhorst Meyer: Een volledig exemplaar van het Livre
septime, TVNM, xv (19369), 25263
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), 468
T.A. Anderson: The Metrical Psalmody of Jan Pieterszoon Sweelinck
(diss., U. of Iowa, 1968)
J.D. Bowman: Sweelincks 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, Schtz-Jb, viiviii (19856),
93104