• Adam Krieger
• Andrew Thomas Kuster
• Ann Arbor
• Anton Colander
• Arien
• Bad Köstritz
• Beat (music)
• Becker Psalter
• Cadence (music)
• Carlo Farina
• Caspar Kittel
• Choir
• Christoph Bernhard
• Christoph Kittel
• Classical rhetoric
• Claudio Monteverdi
• Clemens Thieme
• Composer
• Concertato
• Contrapuntal
• Copenhagen
• Dafne (Opitz-Schütz)
• David Pohle
• Dresden
• Dresden Frauenkirche
• Freiburg im Breisgau
• Friedrich Werner
• Giovanni Gabrieli
• Harmonie
• Heinrich Albert
• Heinrich Schütz
• Imitation
• Johann Jakob Loewe
• Johann Kaspar Horn
• Johann Klemm
• Johann Nauwach
• Johann Theile
• Johann Vierdanck
• Johannes Brahms
• Julian calendar
• Kassel
• Law
• Leipzig
• Lutheran Church
• Madrigal (music)
• Manfred Bukofzer
• Marburg
• Matthias Weckmann
• Music
• Musica poetica
• Musical mode
• Opera
• Organ (music)
• Organist
• Ph. D.
• Philipp Stolle
• Prince-elector
• Psalms of David
• Saxony
• Secular
• Sinfonia
• Stroke
• Symphoniae sacrae
• Thesis
• Thirty Years' War
• Tonality
• Torgau
• Venice
• Washington, D.C.
• Weißenfels
• Wikipedia Persondata
• Wolfenbüttel
• 
  

• 
  Ann Arbor
  Ann Arbor is a city in the U.S. state of Michigan and the county seat of Washtenaw County. The 2010 census places the population at 113,934, making it the sixth largest city in Michigan. The Ann Arbor Metropolitan Statistical Area (MSA) had a population of 344,791 as of 2010. The city is also part of the larger Detroit – Ann Arbor – Flint, MI CSA.
  Ann Arbor was founded in 1824, with one theory stating that it is named after the spouses of the city's founders and for the stands of trees in the area. The University of Michigan moved from Detroit to Ann Arbor in 1837, and the city showed steady growth throughout the 19th and 20th centuries, with a decline during the Depression of 1873. During the 1960s and 1970s, the city gained a reputation as an important center for liberal politics. Ann Arbor also became a focal-point for left-wing activism and served as a hub for the civil-rights movement and anti-Vietnam War movement, as well as the student movement.
  Ann Arbor is home to the University of Michigan, a world renowned institution of higher education. The university shapes Ann Arbor's economy significantly as it employs about 30,000 workers, including about 12,000 in the medical center. The city's economy is also centered on high technology, with several companies drawn to the area by the university's research and development money, and by its graduates. In the year 2010, Forbes listed Ann Arbor as one of the most liveable cities in the United States of America.
  
  wn.com/Ann_Arbor
• 
  Copenhagen
  Copenhagen ( /ˈkoʊpənheɪɡən/ or /ˈkoʊpənhɑːɡən/; Danish: København pronounced [kʰøb̥m̩ˈhɑʊ̯ˀn] ( listen), Latin: Hafnia) is the capital of Denmark and its most populous city, with an urban population of 1,213,822 (as of 1 January 2012 (2012 -01-01)^[update]) and a metropolitan population of 1,935,746 (as of 1 April 2012 (2012 -04-01)^[update]). With the completion of the transnational Øresund Bridge in 2000, Copenhagen has become the centre of the increasingly integrating Øresund Region. Within this region, Copenhagen and the Swedish city of Malmö are growing into a combined metropolitan area. Copenhagen is situated on the islands of Zealand and Amager.
  First documented in the 11th century, Copenhagen became the capital of Denmark in the beginning of the 15th century. During the 17th century, under the reign of Christian IV, it became a significant regional centre.
  Copenhagen is a major regional centre of culture, business, media, and science, as indicated by several international surveys and rankings (see International rankings below). Life science, information technology and shipping are important sectors, and research & development plays a major role in the city's economy. Its strategic location and excellent infrastructure, with the largest airport in Scandinavia,Kastrup, located 14 minutes by train from the city centre, have made it a regional hub and a popular location for regional headquarters and conventions.
  
  wn.com/Copenhagen
• 
  Dresden Frauenkirche
  The Dresden Frauenkirche (German: Dresdner Frauenkirche, IPA: [ˈfʁaʊənˌkɪʁçə], Church of Our Lady) is a Lutheran church in Dresden Germany.
  Built in the 18th century, the church was destroyed in the firebombing of Dresden during World War II. It was reconstructed as a landmark symbol of reconciliation between former warring enemies. The reconstruction of its exterior was completed in 2004, its interior in 2005 and, after 13 years of rebuilding, the church was reconsecrated on 30 October 2005 with festive services lasting through the Protestant observance of Reformation Day on 31 October.
  Once a month, an Anglican Evensong in English is held in the Church of Our Lady, with clergy sent from St. George's Anglican Chaplaincy in Berlin.
  A first Kirche zu unser liuben Vrouwen was built in the 11th century in romanesque architecture. It was outside the city walls and surrounded by a grave yard. The Frauenkirche was seat of an archpriest in the Diocese Meißen until Reformation, when it became a Protestant church. This first Frauenkirche was torn down in 1727 and replaced by a new church due to capacity requests. The modern Frauenkirche was built as a Lutheran (Protestant) parish church by the citizenry. Even though Saxony's Prince-elector, Frederick August I, reconverted to Roman Catholicism to become King of Poland, he supported the construction to have an impressive cupola in the Dresden townscape.
  
  wn.com/Dresden_Frauenkirche
• 
  Marburg
  Marburg is a city in the state of Hesse, Germany, on the River Lahn. It is the main town of the Marburg-Biedenkopf district and its population, as of March 2010, was 79,911.
  Like many settlements, Marburg developed at the crossroads of two important early medieval highways: the trade route linking Cologne and Prague and the trade route from the North Sea to the Alps and on to Italy, the former crossing the river Lahn here. The settlement was protected and customs were raised by a small castle built during the 9th or 10th century by the Giso. Marburg has been a town since 1140, as proven by coins. From the Gisos, it fell around that time to the Landgraves of Thuringia, residing on the Wartburg above Eisenach.
  In 1228 the widowed princess-landgravine of Thuringia, Elisabeth, chose Marburg as her dowager seat, as she did not get along well with her brother-in-law, the new Landgrave. The countess dedicated her life to the sick and would become after her early death in 1231, aged 24, one of the most eminent female saints, St. Elisabeth of Hungary. She was canonized in 1235.
  
  wn.com/Marburg
• 
  Opera
  Opera (English plural: operas; Italian plural: opere) is an art form in which singers and musicians perform a dramatic work combining text (called a libretto) and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble.
  Opera is part of the Western classical music tradition. It started in Italy at the end of the 16th century (with Jacopo Peri's lost Dafne, produced in Florence around 1597) and soon spread through the rest of Europe: Schütz in Germany, Lully in France, and Purcell in England all helped to establish their national traditions in the 17th century. In the 18th century, Italian opera continued to dominate most of Europe, except France, attracting foreign composers such as Handel. Opera seria was the most prestigious form of Italian opera, until Gluck reacted against its artificiality with his "reform" operas in the 1760s. Today the most renowned figure of late 18th century opera is Mozart, who began with opera seria but is most famous for his Italian comic operas, especially The Marriage of Figaro, Don Giovanni, and Così fan tutte, as well as The Magic Flute, a landmark in the German tradition.
  
  wn.com/Opera
• 
  Saxony
  The Free State of Saxony (German: Freistaat Sachsen [ˈfʁaɪʃtaːt ˈzaksən]; Upper Sorbian: Swobodny stat Sakska) is a landlocked state of Germany, bordering Brandenburg, Saxony Anhalt, Thuringia, Bavaria, the Czech Republic and Poland. It is the tenth-largest German state in area, with (18,413 square kilometres (7,109 sq mi), and the sixth most-populous (4.3 million) of Germany's sixteen states.
  Located in the middle of an erstwhile German-speaking part of Europe, the history of the state of Saxony spans more than a millennium. It has been a medieval duchy, an electorate of the Holy Roman Empire, a kingdom, a republic from 1918 to 1952 and then again from 1990.
  The area of the modern state of Saxony should not be confused with Old Saxony, the area inhabited by Saxons. Old Saxony corresponds approximately to the modern German states of Lower Saxony, Saxony-Anhalt and the Westphalian part of North Rhine-Westphalia.
  Sachsen is divided into three Direktionsbezirke — Chemnitz, Dresden, Leipzig — which are subdivided into 10 districts:
  
  wn.com/Saxony
• 
  Venice
  Venice (Italian: Venezia [veˈnɛttsja] ( listen), Venetian: Venexia [veˈnɛsja]; (Latin: Venetia) is a city in northeast Italy sited on a group of 118 small islands separated by canals and linked by bridges. It is located in the marshy Venetian Lagoon which stretches along the shoreline between the mouths of the Po and the Piave Rivers. Venice is renowned for the beauty of its setting, its architecture and its artworks. The city in its entirety is listed as World Heritage Site, along with its lagoon.
  Venice is the capital of the Veneto region. In 2009, there were 270,098 people residing in Venice's comune (the population estimate of 272,000 inhabitants includes the population of the whole Comune of Venezia; around 60,000 in the historic city of Venice (Centro storico); 176,000 in Terraferma (the Mainland), mostly in the large frazioni of Mestre and Marghera; 31,000 live on other islands in the lagoon). Together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area (PATREVE) (population 1,600,000).
  
  wn.com/Venice
• 
  Washington, D.C.
  Washington, D.C., formally the District of Columbia and commonly referred to as Washington, "the District", or simply D.C., is the capital of the United States. On July 16, 1790, the United States Congress approved the creation of a federal district to become the national capital as permitted by the U.S. Constitution. The District is therefore not a part of any U.S. state. It was formed from land along the Potomac River donated by the states of Maryland and Virginia; however, the Virginia portion was returned by Congress in 1846.
  A new capital city named after George Washington was founded in 1791 to the east of the preexisting port of Georgetown. Congress consolidated the City of Washington, Georgetown, and the remaining unincorporated area within the District under a single municipal government in 1871. The city shares its name with the U.S. state of Washington, located on the country's Pacific coast.
  Washington, D.C., had an estimated population of 617,996 in 2011. The city was the 24th most populous place in the United States as of 2010. Commuters from the surrounding Maryland and Virginia suburbs raise the city's population to over one million during the workweek. The Washington Metropolitan Area, of which the District is a part, has a population of nearly 5.6 million, the seventh-largest metropolitan area in the country.
  
  wn.com/Washington,_D.C.

• 
  Adam Krieger
  Adam Krieger (7 January 1634 – 30 June 1666) was a German composer. Born in Driesen, Neumark, he studied organ with Samuel Scheidt in Halle. He succeeded Johann Rosenmüller as organist at Leipzig's Nikolaikirche (1655–57) and founded the city's Collegium Musicum before settling for the rest of his career in Dresden.
  Krieger composed and versified numerous songs. His fame rests on his pioneering role in the development of the solo Lied. His first collection of songs appeared in 1657; they are marked by simple folk-like melodies. His second collection of Arien (1667) survives and has been edited in vol. 19 of Denkmäler deutscher Tonkunst. His most famous song is "Nun sich der Tag geendet hat," which may be found in the hymnal of the Lutheran church.
  
  
  
  wn.com/Adam_Krieger
• Andrew Thomas Kuster
  Andrew Thomas Kuster is an American conductor, musical scholar, and performer.
  Andrew Kuster (b. 1969) was born in Madison, Wisconsin, the son of Thomas and Judy Kuster. He grew up in New Ulm, Minnesota. After attending Bethany Lutheran College in Mankato, Minnesota, he earned a Bachelor of Music in Composition from St. Olaf College in Northfield, Minnesota. At St. Olaf he studied composition with Arthur Campbell^{[disambiguation needed ]} and performed with the St. Olaf Choir under Kenneth Jennings and Anton Armstrong. He earned a Master of Music in Composition from Mankato State University, Minnesota, where he studied with Steve Heitzeg. In 2000, he received the Doctor of Musical Arts degree in the Literature and Performance of Choral Music from the University of Colorado at Boulder, where he studied with Joan Catoni Conlon, Lawrence Kaptein, Lynn Whitten, William Kearns, and Alan Luhring. He worked as a text reviewer for the Text Creation Partnership at the University of Michigan and as staff editor for the Kurt Weill Foundation in New York City. He is a member of the American Choral Directors Association Research and Publications Committee. From 1997 to 2011 he was married to the composer Kristin Kuster. Currently, he lives in Ann Arbor, Michigan.
  
  wn.com/Andrew_Thomas_Kuster
• Carlo Farina
  Carlo Farina (ca. 1600 – July 1639) was an Italian composer, conductor and violinist of the Baroque era.
  Farina was born at Mantova. He presumably received his first lessons from his father, who was sonatore di viola at the court of the Gonzaga in Mantova. Later he got further education probably by Salomone Rossi and Giovanni Battista Buonamente. From 1626 to 1629, he worked as concertmaster in Dresden. In Dresden he worked with Heinrich Schütz, who interested him in composing. From 1629 to 1631, he was a prominent member of the electoral court orchestra in Bonn, until he returned to Italy, where he worked in Parma and later in Lucca until 1635. In 1635 he held position at the court of the Prince of Massa and between 1636 and 1637 in Dantzig. From 1638 he lived in Vienna, where he died of plague probably a year later.
  He is considered to be one of the earliest violin virtuosos and he had many contributions to violin technique. For example, in his work Capriccio Stravagante (1627) he used violin to imitate animal sounds like dogs barking or cats fighting. He is generally credited with the invention of the double-stop.
  
  wn.com/Carlo_Farina
• 
  Claudio Monteverdi
  Claudio Giovanni Antonio Monteverdi (Italian pronunciation: [ˈklaudjo monteˈverdi]; 15 May 1567 (baptized) – 29 November 1643) was an Italian composer, gambist, and singer.
  Monteverdi's work, often regarded as revolutionary, marked the transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition – the heritage of Renaissance polyphony and the new basso continuo technique of the Baroque. Monteverdi wrote one of the earliest operas, L'Orfeo, an innovative work that is still regularly performed. He was recognized as an innovative composer and enjoyed considerable fame in his lifetime.
  Claudio Monteverdi was born in 1567 in Cremona, a town in Northern Italy. His father was Baldassare Monteverdi, a doctor, apothecary and surgeon. He was the oldest of five children. During his childhood, he was taught by Marc'Antonio Ingegneri, the maestro di cappella at the Cathedral of Cremona. The Maestro di capella’s job was to conduct important worship services in accordance with the liturgy books of the Catholic Church. Monteverdi learned about music by being part of the cathedral choir. He also studied at the University of Cremona. His first music was written for publication, including some motets and sacred madrigals, in 1582 and 1583. His first five publications were: Sacrae cantiunculae, 1582 (collection of miniature motets); Madrigali Spirituali, 1583 (a volume of which only the bass partbook is extant); Canzonette a tre voci, 1584 (a collection of three-voice canzonettes); and the five-part madrigals Book I, 1587, and Book II, 1590. Monteverdi worked for the court of Mantua first as a singer and violist, then as music director. He worked at the court of Vincenzo I of Gonzaga in Mantua as a vocalist and viol player. In 1602, he was working as the court conductor.
  
  wn.com/Claudio_Monteverdi
• Friedrich Werner
  Friedrich Werner (Gottleuba, Pirna, 3 October 1621 - 1660s?) was a German cornettist under Heinrich Schütz at the Dresden court. He was the brother of the Danzig cantor Christoph Werner (1617-1650).
  
  
  
  wn.com/Friedrich_Werner
• Giovanni Gabrieli
  Giovanni Gabrieli (c. 1554/1557 – 12 August 1612) was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.
  Gabrieli was born in Venice. He was one of five children, and his father came from the region of Carnia and went to Venice shortly before Giovanni's birth. While not much is known about Giovanni's early life, he probably studied with his uncle, the composer Andrea Gabrieli; he may indeed have been brought up by him, as is implied by the dedication to his 1587 book of concerti, in which he described himself as "little less than a son" to his uncle. He also went to Munich to study with the renowned Orlando de Lassus at the court of Duke Albert V; most likely he stayed there until about 1579. Lassus was to be one of the principal influences on the development of his musical style.
  By 1584 he had returned to Venice, where he became principal organist at San Marco di Venezia, also known as Saint Mark's Basilica, in 1585, after Claudio Merulo left the post; following his uncle's death the following year he took the post of principal composer as well. Also after his uncle's death he began editing much of the older man's music, which would otherwise have been lost; Andrea evidently had had little inclination to publish his own music, but Giovanni's opinion of it was sufficiently high that he devoted much of his own time to compiling and editing it for publication.
  
  wn.com/Giovanni_Gabrieli
• 
  Heinrich Albert
  Heinrich Friedrich Albert (February 12, 1874, Magdeburg, Province of Saxony – November 1, 1960) was a German lawyer who served as commercial attaché to the Imperial German Ambassador to the United States Johann Heinrich von Bernstorff during World War I. He was also the paymaster for German espionage and sabotage operations in the United States. In addition, he also arranged for forged passorts and documents for German-Americans who wanted to return to fight for the German armed forces.
  Albert and Naval Intelligence Captain Franz von Rintelen established a cover firm called the Bridgeport Projectile Company to purchase and destroy munitions that would otherwise be shipped to the Allied Forces. This operation has become known as the Great Phenol Plot.
  He was exposed as a spy because of his association with George Sylvester Viereck, the editor of The Fatherland, a pro-German publication, who was himself under surveillance. He left his briefcase, which contained sensitive documents, on a tram, and it was picked up by a counter-intelligence officer who was tailing him. The papers were published in the New York World. However, no official actions was taken against Albert, and he did not return to Germany until the U.S. entered the war.
  
  wn.com/Heinrich_Albert
• 
  Heinrich Schütz
  Heinrich Schütz (8 October (JC), 1585 – 6 November 1672) was a German composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach and often considered to be one of the most important composers of the 17th century along with Claudio Monteverdi. He wrote what is traditionally considered to be the first German opera, Dafne (Opitz-Schütz), performed at Torgau in 1627, of which the music has since been lost. He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July with Johann Sebastian Bach and George Frideric Handel. He was buried in the Dresden Frauenkirche but his tomb has been destroyed.
  He was born in Köstritz, the eldest son of Christoph Schütz and Euphrosyne Bieger. In 1590 the family moved to Weißenfels, where his father Christoph managed the inn "Zum Ring". When Schütz lived with his parents, his musical talents were discovered by Moritz von Hessen-Kassel in 1599. After being a choir-boy he went on to study law at Marburg before going to Venice from 1609–1612 to study music with Giovanni Gabrieli. Gabrieli is the only person Schütz ever referred to as being his teacher. He also inherited a ring from Gabrieli shortly before the latter's death. He subsequently had a short stint as organist at Kassel before moving to Dresden in 1615 to work as court composer to the Elector of Saxony. In 1619 Schütz married Magdalena Wildeck who had been born in 1601. She bore two daughters before her death in 1625: Anna Justina born in 1621 and Euphrosyne born in 1623.
  
  wn.com/Heinrich_Schütz
• 
  Johann Theile
  Johann Theile (29 July 1646 – 24 June 1724) was a German composer of the Baroque era, famous for the opera Adam und Eva, Der erschaffene, gefallene und aufgerichtete Mensch, first performed in Hamburg on January 2, 1678.
  After studying law in Leipzig and Halle, Theile took instruction in composition in Weißenfels. His teacher there was the great Heinrich Schütz, the most prominent German composer of the 17th century. Theile is believed to have been one of his last pupils, and is considered one of the most gifted among them. Between 1673 and 1675 he held the position of Court Kapellmeister for Duke Christian Albrecht of Schleswig-Holstein-Gottorp. Some years later he held the position of Kapellmeister in Wolfenbüttel, where he commenced a musical apprenticeship to Johann Rosenmüller, who by this time had permanently returned to Northern Germany after having spent most of his career in Italy. He also worked in Naumburg, where he likewise held the position of Kapellmeister; Berlin, where he was active as a music teacher to the royal court; as well as Lübeck and Stettin, where he also served a music instructor. In 1673 he wrote his Matthäuspassion[1] (St. Matthew Passion) in Lübeck.
  
  wn.com/Johann_Theile
• 
  Johannes Brahms
  Johannes Brahms (pronounced [joːˈhanəs ˈbʁaːms]; 7 May 1833  – 3 April 1897) was a German composer and pianist, and one of the leading musicians of the Romantic period. Born in Hamburg, Brahms spent much of his professional life in Vienna, Austria, where he was a leader of the musical scene. In his lifetime, Brahms's popularity and influence were considerable; following a comment by the nineteenth-century conductor Hans von Bülow, he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the Three Bs.
  Brahms composed for piano, chamber ensembles, symphony orchestra, and for voice and chorus. A virtuoso pianist, he premiered many of his own works; he also worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim. Many of his works have become staples of the modern concert repertoire. Brahms, an uncompromising perfectionist, destroyed many of his works and left some of them unpublished.
  Brahms is often considered both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Baroque and Classical masters. He was a master of counterpoint, the complex and highly disciplined art for which Johann Sebastian Bach is famous, and also of development, a compositional ethos pioneered by Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. Brahms aimed to honour the "purity" of these venerable "German" structures and advance them into a Romantic idiom, in the process creating bold new approaches to harmony and melody. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers.
  
  wn.com/Johannes_Brahms
• Manfred Bukofzer
  Manfred Bukofzer (March 27, 1910 – December 7, 1955) was a German-American musicologist and humanist. He studied at Heidelberg University and the Stern conservatory in Berlin, but left Germany in 1933, going to Basle, where he received his doctorate. In 1939 he moved to the United States where he remained, becoming a U.S. citizen. He taught at the University of California, Berkeley from 1941 until his premature death.
  Bukofzer is best known as a historian of early music, particularly of the Baroque era. His book Music in the Baroque Era is still one of the standard reference works on the topic, though some modern historians assert that it has a Germanic bias, for instance in minimizing the importance of opera (Italian by origin) during the development of musical style in the 17th century.
  In addition to Baroque music, Bukofzer was a specialist in English music and music theory of the 14th through 16th centuries. His other scholarly interests included jazz and ethnomusicology.
  
  wn.com/Manfred_Bukofzer
• Matthias Weckmann
  Matthias Weckmann (Weckman) (probably 1616–24 February 1674) was a German musician and composer of the Baroque period. He was born in Niederdorla (Thuringia) and died in Hamburg.
  His musical training took place in Dresden (as a chorister at the Saxon Court, under the direction of Heinrich Schütz), then in Hamburg where he worked with the famous organist Jacob Praetorius at the Saint Peter's church (Petrikirche).
  He was introduced to the Italian concertato, polychoral and monodic styles — because Schütz had journeyed in Italy when a young man and he had met Giovanni Gabrieli and Monteverdi — as well as the style of Sweelinck's pupils, some of whom had settled in Hamburg. Weckmann travelled to Denmark in 1637 with Schütz, became organist in Dresden at the Electoral Court of Saxony from 1638 to 1642, and returned to Denmark until 1647 (during the Thirty Years' War).
  During a new (and his last) stay in Dresden from 1649 to 1655, he met Johann Jakob Froberger during a musical competition which had been organized by the Elector. They remained friends and in correspondence with each other. In 1655, after a competition, he was named titular organist at Saint James church (Jakobkirche) in Hamburg, and spent his remaining life there. He founded a renowned orchestral ensemble, the so-called Collegium Musicum in Hamburg. This was the most productive period of his life: his compositions of this time include a collection of 1663, which set sacred texts mentioning the terrible plague which killed his first wife and many of his colleagues in Hamburg that year, including Heinrich Scheidemann.
  
  wn.com/Matthias_Weckmann

• SWV 279 Concert in Form einer teutschen Begräbnis-Missa
• SWV 280 Motette "Herr, wenn ich nur dich habe"
• SWV 281 Canticum B. Simeonis
• Psalm 51 SWV 148 "Erbarme dich mein"
• Psalm 6 SWV 24 "Ach Herr, straf mich nicht"
• Psalm 143 SWV 248 "Herr mein Gebet"
• Psalm 130 SWV 25 "Aus der Tiefe"
• Psalm 102 SWV 200 "Hör mein Gebet"

• Histoire de la Resurrection - SWV 50 - 1.Introductio: Die Auferstehung unsers Herren Jesu Christi
• Histoire de la Resurrection - SWV 50 - 2.Da der Sabbat vergangen war, Maria Magdalena
• Histoire de la Resurrection - SWV 50 - 3.Maria aber stund vor dem Grabe und weinet draussen
• Histoire de la Resurrection - SWV 50 - 4.Da sie aber hingen, siehe, da kamen etliche
• Histoire de la Resurrection - SWV 50 - 5.Und siehe, zweene aus ihnen gingen an demselbigen Tage
• Histoire de la Resurrection - SWV 50 - 6.Und sie stunden zu derselbigen Stunde auf
• Histoire de la Resurrection - SWV 50 - 7.Es war aber am Abend desselbigen Sabbats
• Histoire de la Resurrection - SWV 50 - 8.Conclusio: Gott sei dank! Viktoria!
• Concert in Form einer teutschen Bergaebnis-Missa - SWV 279 - Nacket bin ich von Mutterleibe kommen
• Concert in Form einer teutschen Bergaebnis-Missa - SWV 279 - Also hat Gott die Welt geliebt
• Concert in Form einer teutschen Bergaebnis-Missa - SWV 279 - Unser Wandel ist im Himmel
• Concert in Form einer teutschen Bergaebnis-Missa - SWV 279 - Unser Leben waehret siebenzig Jahr
• Motette: Herr, wenn ich nur dich habe - SWV 280
• Canticum B. Simeonis: Herr, nun laessest du deinen Diener in Frieden fahren - SWV 281

• Musicalische Exequien SWV 279 Teil I: Concert in Form einer teutschen Begrabnis-Missa
• Musicalische Exequien SWV 280 Teil II: "Motette Herr wenn ich nur dich habe"
• Musicalische Exequien SWV 281 Teil III: Canticum Simeonis
• Kleine Geistliche Konzerte SWV 283: "Bringt her dem Herren"
• Kleine Geistliche Konzerte SWV 310: "Ich liege und schlafe"
• Kleine Geistliche Konzerte SWV 309: "O misericodissime Jesu"
• Kleine Geistliche Konzerte SWV 285: "O susser O freundlicher"
• Symphoniae Sacrae II SWV 360: "Zweierlei bitte ich Herr von dir"
• Symphoniae Sacrae II SWV 356: "Es steh Gott auf"

• Psalm 119 "Schwanengesang": Aleph und Beth. Wohl denen, die ohne Wandel leben, SWV 482
• Psalm 119 "Schwanengesang": Gimel und Daleth. Tue wohl deinem Knechte, daß ich lebe, SWV 483
• Psalm 119 "Schwanengesang": He und Vav. Zeige mir, Herr, den Weg deiner Rechte, SWV 484
• Psalm 119 "Schwanengesang": Dsaïn und Chet. Gedenke deinem Knechte an dein Wort, SWV 485
• Psalm 119 "Schwanengesang": Thet und Jod. Du tust Guts deinem Knechte, SWV 486
• Psalm 119 "Schwanengesang": Caph und Lamed. Meine Seele verlanget nach deinem Heil, SWV 487
• Psalm 119 "Schwanengesang": Mem und Nun. Wie habe ich dein Gesetze so lieb, SWV 488

• Herr, der du bist vormals genädig gewest
• Symphoniae Sacrae III, 1650: Ich hebe meine Augen auf zu den Bergen, SWV 399
• Petits Concerts Spirituels II, 1639: O misericordissime Jesu, SWV 309
• Symphoniae Sacrae III, 1650 Hütet euch, dass eure Herzen nicht beschweret werden, SWV 413
• Erbarm dich mein, o Herre Gott, SWV 447
• Symphoniae Sacrae III, 1650: Herr, wie lang willst du mein so gar vergessen, SWV 416
• Petits Concerts Spirituels II, 1639: O Jesu, nomen dulce, SWV 308
• Symphoniae Sacrae III, 1650: Wo der Herr nicht das Haus bauet, SWV 400
• Cantiones Sacrae, 1625: O bone, o dulcis, o benigne Jesu, SWV 53
• Magnificat, SWV 468 (Manuscrit d'Uppsala, 1665)

• Symphoniæ Sacræ III, Op. 12: I. Der Herr ist mein Hirt, SWV 398
• Symphoniæ Sacræ III, Op. 12: II. Ich hebe meine Augen auf, SWV 399
• Symphoniæ Sacræ III, Op. 12: III. Wo der Herr nicht das Haus bauet, SWV 400
• Symphoniæ Sacræ III, Op. 12: IV. Mein Sohn, warum hast Du uns das getan, SWV 401
• Symphoniæ Sacræ III, Op. 12: V. O, Herr, hilf, SWV 402
• Symphoniæ Sacræ III, Op. 12: VI. Siehe, es erschien der Engel des Herren, SWV 403
• Symphoniæ Sacræ III, Op. 12: VII. Feget den alten Sauerteig aus, SWV 404
• Symphoniæ Sacræ III, Op. 12: VIII. O süßer Jesu Christ, SWV 405
• Symphoniæ Sacræ III, Op. 12: IX. O Jesu süß, wer dein gedenkt, SWV 406
• Symphoniæ Sacræ III, Op. 12: X. Lasset uns doch den Herren, unsern Gott, loben, SWV 407

• Il primo libro de Madrigali: O primavera, gioventù de l'anno, SWV 1 (Prima parte)
• Il primo libro de Madrigali: O dolcezze amarissime d'amore, SWV 2 (Seconda parte)
• Il primo libro de Madrigali: Selve beate, se sospirando, SWV 3
• Il primo libro de Madrigali: Alma afflitta, che fai, SWV 4
• Il primo libro de Madrigali: Così morir debb'io, SWV 5
• Il primo libro de Madrigali: D'orrida selce alpina, SWV 6
• Il primo libro de Madrigali: Ride la primavera, SWV 7
• Il primo libro de Madrigali: Fuggi o mio core, SWV 8
• Il primo libro de Madrigali: Feritevi, ferite, viperette mordaci, SWV 9
• Il primo libro de Madrigali: Flamma ch'allacia, SWV 10
• Il primo libro de Madrigali: Quella damma son io, SWV 11
• Il primo libro de Madrigali: Mi saluta costei, SWV 12
• Il primo libro de Madrigali: Io moro, eccho ch'io moro, SWV 13
• Il primo libro de Madrigali: Sospir che del bel petto, SWV 14
• Il primo libro de Madrigali: Dunque addio, care selve, SWV 15
• Il primo libro de Madrigali: Tornate, o cari baci, SWV 16
• Il primo libro de Madrigali: Di marmo siete voi, SWV 17
• Il primo libro de Madrigali: Giunto è pur, Lidia, SWV 18
• Il primo libro de Madrigali: Vasto mar, nel cui seno, SWV 19

• O lieber Herre Gott, SWV 381
• O Jesu, nomen dulce, SWV 308
• Quemadmodum desiderat, SWV 336
• Historia der Auferstehung Jesu Christi: I. Eingangschor
• Historia der Auferstehung Jesu Christi: II. 1. Szene
• Historia der Auferstehung Jesu Christi: III. Zwischenspiel
• Historia der Auferstehung Jesu Christi: IV. 2. Szene
• Historia der Auferstehung Jesu Christi: V. Zwischenspiel
• Historia der Auferstehung Jesu Christi: VI. 3. Szene
• Historia der Auferstehung Jesu Christi: VII. Schlusschor
• Ich liege und schlafe, SWV 310
• Ich will den Herren loben, SWV 306
• Deutches Magnificat, SWV 494

• Stabat Mater Op. 58: I. Stabat mater dolorosa (Andante con moto)
• Stabat Mater Op. 58: II. Quis est homo, qui non fleret (Andante sostenuto)
• Stabat Mater Op. 58: III. Eja, mater dolorosa (Andante Con moto)
• Stabat Mater Op. 58: IV. Fac, ut ardeat cor meum (largo)
• Stabat Mater Op. 58: V. Tui nati vulnerati (Andante con moto quasi allegretto)
• Stabat Mater Op. 58: VI. Fac me vere tecum flere (Andante con moto)
• Stabat Mater Op. 58: VII. Virgo virginium praeclara (Largo)
• Stabat Mater Op. 58: VIII. Fac, ut portem christi mortem (Larghetto)

• Kleine geistliche Konzerte, Part I: Eile, mich, Gott, zu erretten, SWV 282
• Kleine geistliche Konzerte, Part I: Bringt her dem Herren, ihr Gewaltigen, SWV 283
• Kleine geistliche Konzerte, Part I: Ich danke dem Herrn, SWV 284
• Kleine geistliche Konzerte, Part I: O süßer, o freundlicher Herr Jesu Christ, SWV 285
• Kleine geistliche Konzerte, Part I: De Herr ist groß, SWV 286
• Kleine geistliche Konzerte, Part I: O lieber Herre Gott, SWV 287
• Kleine geistliche Konzerte, Part I: Ihr Heiligen, lobsinget dem Herrn, SWV 288
• Kleine geistliche Konzerte, Part I: Erhöre mich, wenn ich dich rufe, SWV 289
• Kleine geistliche Konzerte, Part I: Wohl dem, der nicht wandelt, SWV 290
• Kleine geistliche Konzerte, Part I: Schaffe in mir, Gott, ein reines Herz, SWV 291
• Kleine geistliche Konzerte, Part I: Der Herr schauet vom Himmel, SWV 292
• Kleine geistliche Konzerte, Part I: Lobet den Herren, der zu Zion wohnet, SWV 293
• Kleine geistliche Konzerte, Part I: Eins bitte ich vom Herren, SWV 294
• Kleine geistliche Konzerte, Part I: O Hilf, Christe, SWV 295
• Kleine geistliche Konzerte, Part I: Fürchte dich nicht, SWV 296
• Kleine geistliche Konzerte, Part I: O Herr, hilf, SWV 297
• Kleine geistliche Konzerte, Part I: Das Blut Jesu Christi, SWV 298
• Kleine geistliche Konzerte, Part I: Die Gottseligkeit ist zu allen Dingen nütz, SWV 299
• Kleine geistliche Konzerte, Part I: Himmel und Erde vergehen, SWV 300
• Kleine geistliche Konzerte, Part I: Nun komm, der Heiden Heiland, SWV 301
• Kleine geistliche Konzerte, Part I: Ein Kind ist uns geboren, SWV 302
• Kleine geistliche Konzerte, Part I: Wir glauben all an einen Gott, SWV 303
• Kleine geistliche Konzerte, Part I: Siehe, mein Fürsprecher, SWV 304

• Eile mich, Gott, zu erretten, Op. 8 Nº 1
• Auf dem Gebirge, Op. 11 Nº 28
• Ich bin eine rufende Stimme, Op. 11 Nº 15
• An den Wassern zu Babel, Op. 2 Nº 16
• Wo Gott der Herr nicht bei uns hält, SWV 467
• Die mit Tränen säen, Op. 2 Nº 21
• Erbarm dich mein, o Herre Gott, SWV 447
• Tröstet, tröstet mein Volk, Op. 11 Nº 14
• Die sieben Worte Jesu Christi, SWV 478
• Also hat Gott die Welt geliebt, Op. 11 Nº 12
• O süsser, o freundlicher, Op. 8 Nº 4
• Ich bin die Auferstehung, Op. 9 Nº 19
• Christ ist erstanden, SWV 470

• Die Himmel erzählen die Ehre Gottes, SWV 386
• Ich bin eine rufende Stimme, SWV 383
• Tröstet, tröstet mein Volk, SWV 382
• O lieber Herre Gott, SWV 381
• Sehet an den Feigenbaum, SWV 394
• Es wird das Szepter von Juda nicht entwendet, SWV 369 / Er wird sein Kleid in Wein waschen, SWV 370
• Ein Kind ist uns geboren, SWV 384
• Es ist erschienen die heilsame Gnade Gottes, SWV 371
• Der Engel sprach zu den Hirten, SWV 395
• Das Wort ward Fleisch und wohnet unter uns, SWV 385
• Auf dem Gebirge hat man ein Geschrei gehöret, SWV 396
• Viel werden kommen von Morgen und von Abend, SWV 375
• Sammlet zuvor das Unkraut, SWV 376
• Herr, auf dich traue ich, SWV 377
• Ich weiss, dass mein Erlöser lebt, SWV 393
• Ich bin ein rechter Weinstock, SWV 389
• Das ist je gewisslich wahr, SWV 388

• Psalmen Davids, SWV 46 "Zion spricht: der herr hat mich verlassen"
• Psalmen Davids, SWV 24 "Ach herr, straf mich nicht in deinem zorn"
• Psalmen Davids, SWV 26 "Ich freue mich des, das mir geredt ist"
• Psalmen Davids, SWV 29 "Wie lieblich sind deine wohnungen"
• Psalmen Davids, SWV 23 "Warum toben die heiden"
• Psalmen Davids, SWV 37 "An den wassern zu babel sassen wir"
• Psalmen Davids, SWV 33 "Der herr ist mein hirt"
• Psalmen Davids, SWV 45 "Danket dem herrn, denn er ist freundlich"
• Psalmen Davids, SWV 42 "Die mit traenen saeen"
• Psalmen Davids, SWV 47 "Jauchzet dem herren, alle welt"
• Psalmen Davids, SWV 30 "Wohl dem, der den herren fuerchtet"
• Psalmen Davids, SWV 36 "Jauchzet dem herren, alle welt"
• Psalmen Davids, SWV 40 "Ist nicht ephraim mein teurer sohn"

• Deutsches Magnificat, SWV 494
• Herr, nun lässest du deinen Diener, SWV 432
• Herr, nun lässest du deinen Diener, SWV 352a
• Herr, nun lässest du deinen Diener, SWV 433
• Vater unser, der du bist im Himmel, SWV 411
• Musikalische Exequien: I. Konzert in Form einer deutschen Begräbnis-Missa, SWV 279
• Musikalische Exequien: II. Motette "Herr, wenn ich nur Dich habe", SWV 280
• Musikalische Exequien: III. Canticum B. Simeonis "Herr, nun lässest du deinen Diener", SWV 281

• St. John Passion, SWV 481: Das Leiden unsers Herren Jesu
• St. John Passion, SWV 481: Wen suchet ihr?
• St. John Passion, SWV 481: Jesus antwortet
• St. John Passion, SWV 481: Bist du nicht auch dieses Menschen Jünger einer?
• St. John Passion, SWV 481: Bist du nicht seiner Jünger einer?
• St. John Passion, SWV 481: Wäre dieser nicht ein Übeltäter
• St. John Passion, SWV 481: Auf daß erfüllet würde das Wort Jesu
• St. John Passion, SWV 481: Da schrieen sie wieder allesamt
• St. John Passion, SWV 481: Sei gegrüßet, lieber Judenkönig
• St. John Passion, SWV 481: Kreuzige ihn
• St. John Passion, SWV 481: Die Juden antworteten ihm
• St. John Passion, SWV 481: Von dem an trachtete Pilatus
• St. John Passion, SWV 481: Die Hohenpriester antworteten
• St. John Passion, SWV 481: Da sprachen die Hohenpriester
• St. John Passion, SWV 481: Auf daß erfüllet würde die Schrift
• St. John Passion, SWV 481: O hilf, Christe, Gottes Sohn
• Ist nicht Ephraim mein teurer Sohn, SWV 40
• Nicht uns, Herr, sondern deinem Namen gib Ehre, SWV 43
• Die mit Tränen säen, SWV 42
• Wohl dem, der den Herren fürchtet, SWV 44

• Lukas-Passion, SWV 480: Introitus. Das Leiden unsers Herren Jesu Christi
• Lukas-Passion, SWV 480: Es war aber nahe das Fest der süßen Brot
• Lukas-Passion, SWV 480: Wo willt du, daß wir es bereiten?
• Lukas-Passion, SWV 480: Er sprach zu ihnen
• Lukas-Passion, SWV 480: Nie keinen
• Lukas-Passion, SWV 480: Da sprach er zu ihnen
• Lukas-Passion, SWV 480: Herr, siehe, hier sind zwei Schwert
• Lukas-Passion, SWV 480: Er aber sprach ztu ihnen
• Lukas-Passion, SWV 480: Herr sollen wir mit dem Schwert dreinschlagen?
• Lukas-Passion, SWV 480: Un einer aus ihnen
• Lukas-Passion, SWV 480: Weissage, wer ist, der dich schlug?
• Lukas-Passion, SWV 480: Un viel andere Lästerungen
• Lukas-Passion, SWV 480: Bist du Christus, sage es uns
• Lukas-Passion, SWV 480: Er sprach aber zu ihnen
• Lukas-Passion, SWV 480: Bist du denn Gottes Sohn?
• Lukas-Passion, SWV 480: Er sprach zu ihnen
• Lukas-Passion, SWV 480: Was dürfen wir weiter Zeugnis?
• Lukas-Passion, SWV 480: Und der ganze Haufe stund auf
• Lukas-Passion, SWV 480: Diesen finden wir
• Lukas-Passion, SWV 480: Pilatus aber fragte ihn und sprach
• Lukas-Passion, SWV 480: Er hat das Volk erreget
• Lukas-Passion, SWV 480: Da aber Pilatus Galiläam hörete
• Lukas-Passion, SWV 480: Hinweg mit diesem
• Lukas-Passion, SWV 480: Welcher war um einen Aufruhr
• Lukas-Passion, SWV 480: Kreuzige ihn
• Lukas-Passion, SWV 480: Er aber sprach zum dritten Mal
• Lukas-Passion, SWV 480: Er hat anderen geholfen
• Lukas-Passion, SWV 480: Es verspotteten ihn auch
• Lukas-Passion, SWV 480: Bist du der Juden König
• Lukas-Passion, SWV 480: Es war auch oben über ihm geschrieben
• Lukas-Passion, SWV 480: Beschluß. Wer Gottes Marter in Ehren hat

• Geistliche Chormusik, Op. 11, SWV 377 "Herr, auf dich traue ich"
• Geistliche Chormusik, Op. 11, SWV 381 "O lieber Herre Gott"
• Kleine geistliche Konzerte, SWV 291 "Schaffe mir, Gott, ein reines Herz"
• Geistliche Chormusik, Op. 11, SWV 378 "Die mit Tränen säen"
• Kleine geistliche Konzerte, SWV 392 "Der Herr schauet vom Himmel"
• Kleine geistliche Konzerte, SWV 316 "Wann unsre Augen schlafen ein"
• Kleine geistliche Konzerte, SWV 182 "Eile, mich, Gott, zu erretten"
• Geistliche Chormusik, Op. 11, SWV 379 "So fahr ich hin zu Jesu Christ"
• Geistliche Chormusik, Op. 11, SWV 386 "Die Himmel erzählen die Ehre Gottes"
• Geistliche Chormusik, Op. 11, SWV 390 "Unser Wandel ist im Himmel"
• Geistliche Chormusik, Op. 11, SWV 383 "Ich bin eine rufende Stimme"
• Kleine geistliche Konzerte, SWV 285 "O süßer, O freundlicher"
• Geistliche Chormusik, Op. 11, SWV 387 "Herzlich lieb hab ich dich, o Herr"
• Kleine geistliche Konzerte, SWV 310 "Ich liege und schlafe"
• Geistliche Chormusik, Op. 11, SWV 391 "Selig sind die Toten"
• Geistliche Chormusik, Op. 11, SWV 388 "Das ist je gewisslich wahr"

• Cantiones Sacrae, Op. 4 Nr. 1: O bone, o dulcis, o benigne Jesu
• Cantiones Sacrae, Op. 4 Nr. 2: Et ne desicias humiliter te petentem
• Cantiones Sacrae, Op. 4 Nr. 3: Deus misereatur nostri, et benedicat nobis
• Cantiones Sacrae, Op. 4 Nr. 4: Quid commisisti, o dulcissime puer
• Cantiones Sacrae, Op. 4 Nr. 5: Ego sum tui plaga doloris
• Cantiones Sacrae, Op. 4 Nr. 6: Ego enim inique eg
• Cantiones Sacrae, Op. 4 Nr. 7: Quo, nate Dei, quo tua descendit
• Cantiones Sacrae, Op. 4 Nr. 8: Calicem salutaris accipiam
• Cantiones Sacrae, Op. 4 Nr. 9: Verba mea auribus percipe, Domine
• Cantiones Sacrae, Op. 4 Nr. 10: Quoniam ad te clamabo, Domine
• Cantiones Sacrae, Op. 4 Nr. 11: Ego dormio, et cor meum vigilat
• Cantiones Sacrae, Op. 4 Nr. 12 Vulnerasti cor meum vigilat
• Cantiones Sacrae, Op. 4 Nr. 13: Heu mihi, Domine, quia peccavi nimis
• Cantiones Sacrae, Op. 4 Nr. 14: In te, Domine, speravi
• Cantiones Sacrae, Op. 4 Nr. 15: Dulcissime et benignissime Christe
• Cantiones Sacrae, Op. 4 Nr. 16: Sicut Moses serpentem in deserto exaltavit
• Cantiones Sacrae, Op. 4 Nr. 17: Spes mea, Christe Deus, hominum tu dulcis amator
• Cantiones Sacrae, Op. 4 Nr. 18: Turbabor, sed non perturbabor
• Cantiones Sacrae, Op. 4 Nr. 19: Ad Dominum cum tribularer calmavi
• Cantiones Sacrae, Op. 4 Nr. 20: Quid detur tibi aut quid apponatur tibi

• Es wir das Scepter von Juda nicht entwendet werden (SWV 369)
• Es wird sein Kleid in Wein waschen (SWV 370)
• Es ist erschienen die heilsame Gnade Gottes SWV 371
• Verleih uns Frieden gnädiglich (SWV 372)
• Gib unsern Fürst und aller Obrigkeit (SWV 373)
• Unser keiner lebet ihm selber SWV 374
• Viel werden kommen von Morgen und von Abend (SWV 375)
• Sammlet zuvor das Unkraut (SWV 376)
• Herr, auf dich traue ich (SWV 377)
• Die mit Tränen säen SWV 378
• So fahr ich hin zu Jesu Christ SWV 379
• Also hat Gott die Welt geliebt SWV 380
• O lieber Herre Gott (SWV 381)
• Tröstet, tröstet mein Volk (SWV 382)
• Ich bin eine rufende Stimmme (SWV 383)
• Ein Kind ist uns geboren, SWV 384
• Das Wort ward Fleisch und wohnet unter uns (SWV 385)

• Psalmen Davids, SWV 22 "Der Herr sprach zu meinem Herren"
• Psalmen Davids, SWV 23 "Warum toben die Heiden"
• Psalmen Davids, SWV 24 "Ach Herr, straf mich nicht in deinem Zorn"
• Psalmen Davids, SWV 25 "Aus der Tiefe ruf ich, Herr, zu dir"
• Psalmen Davids, SWV 26 "Ich freu mich des, das mir geredt ist"
• Psalmen Davids, SWV 27 "Herr, unser Herrscher"
• Psalmen Davids, SWV 28 "Wohl dem, der nicht wandelt"
• Psalmen Davids, SWV 29 "Wie lieblich sind deine Wohnungen"
• Psalmen Davids, SWV 30 "Wohl dem, der den Herren fürchtet"
• Psalmen Davids, SWV 31 "Ich hebe meine Augen auf zu den Bergen"
• Psalmen Davids, SWV 32 "Danket dem Herren, den er ist freundlich"
• Psalmen Davids, SWV 33 "Der Herr ist mein Hirt"
• Psalmen Davids, SWV 34 "Ich danke dem Herrn von ganzem Herzen"

• Cantiones Sacrae, Op. 4 No. 4: Quid commisisti, o dulcissimi puer / No. 5: Ego sum tui plaga doloris / No. 6: Ego enim inique egi / No. 7: Quo, date Dei / No. 8: Calicem salutaris accipiam
• Cantiones Sacrae, Op. 4 No. 19: Ad Dominum cum tribularer clamavi / No. 20: Quid detur tibi
• Cantiones Sacrae, Op. 4 No. 30: Inter brachia salvatoris mei
• Cantiones Sacrae, Op. 4 No. 11: Ego dormio, et cor meum vigilat / No. 12: Vulnerasti cor meum
• Cantiones Sacrae, Op. 4 No. 29: Cantate domino canticum novum
• Cantiones Sacrae, Op. 4 No. 21: Aspica, pater, piisimum filium / No. 22: Nonne hic est, mi domine, onnocens ille / No. 23: Reduc, domine deus meus
• Cantiones Sacrae, Op. 4 No. 9: Verba mea auribus percipe, Domine / No. 10: Quoniam ad te clamabo
• Cantiones Sacrae, Op. 4 No. 13: Heu mihi, Domine
• Cantiones Sacrae, Op. 4 No. 26: Domine, non est exaltatum cor meum / No. 27: Si non humiliater sentiebam / No. 28: Speret Israel
• Cantiones Sacrae, Op. 4 No. 14: In te, Domine, speravi
• Cantiones Sacrae, Op. 4 No. 17: Spes mea, Christe Deus

• Musikalische Exequien Op.7, SWV 279-281: I. Concert in Form einer teutchen Begräbnis-Messe
• Musikalische Exequien Op.7, SWV 279-281: II. Motette "Herr, wenn ich nur dich habe"
• Musikalische Exequien Op.7, SWV 279-281: III. Canticum B. Simeonis "Herr, nun l ssest Du Deiner Diener"
• Motet "Also hat Gott die Welt geliebt", SWV 380
• Motet "Selig sind die Toten", SWV 391
• Motet "So fahr Ich hin zu Jesu Christ", SWV 379
• Motet "Ich bin die Auferstehung", SWV 287 (Petits concerts spirituels II)
• Motet "O lieber Herre Gott", SWV 287 (Petits concerts spirituels I)
• Motet "Die Himmel erzählen", SWV 386

• Matthäus-Passion, SWV 479: Introitus: Das Leiden unseres Herrn Jesu Christi
• Matthäus-Passion, SWV 479: Nehmet, esset, das ist mein Leib
• Matthäus-Passion, SWV 479: Er ist des Todes schuldig
• Matthäus-Passion, SWV 479: Was geht es uns an
• Matthäus-Passion, SWV 479: Barrabam
• Matthäus-Passion, SWV 479: Sein Blut komme über uns
• Matthäus-Passion, SWV 479: Aber Jesus schrie laut und verscheid

• Die Matthäuspassion SWV 479: Das Leiden unseres Hernn Jesu Christ
• Die Matthäuspassion SWV 479: Nehmet, esset, das ist mein Leib
• Die Matthäuspassion SWV 479: Er ist des Todes schuldig
• Die Matthäuspassion SWV 479: Was gehet es uns an
• Die Matthäuspassion SWV 479: Barrabam
• Die Matthäuspassion SWV 479: Sein Blut komme über uns
• Die Matthäuspassion SWV 479: Aber Jesus schrie abermal laut und verschied
• Historia der Auferstehung Jesu Christi SWV 50: Anfangschor "Die Auferstehung unseres Herren"
• Historia der Auferstehung Jesu Christi SWV 50: Rezitativ und Chor "Saget, saget"
• Historia der Auferstehung Jesu Christi SWV 50: Rezitativ, Arie und Schluß-Chor

• Symphoniae Sacrae II, Op. 10 Nr. 3: Herr unser Herscher, wie herrlich ist dein Nam
• Symphoniae Sacrae II, Op. 10 Nr. 11: Hütet euch, daß eure Herzen nicht beschweret werden
• Symphoniae Sacrae II, Op. 10 Nr. 6: Ich werde nicht sterben, sondern leben (Erster teil)
• Symphoniae Sacrae II, Op. 10 Nr. 7: Ich danke dir, Herr, von ganzem Herzen (Anderer teil)
• Symphoniae Sacrae II, Op. 10 Nr. 20: Zweierlei bitte ich, Herr, von dir
• Symphoniae Sacrae II, Op. 10 Nr. 4: Meine Seele erhebt den Herren
• Symphoniae Sacrae II, Op. 10 Nr. 12: Herr, nun lässest du deinen Diener in Friede fahren
• Symphoniae Sacrae II, Op. 10 Nr. 17: Wie ein Rubin in feinem Golde leuchtet
• Symphoniae Sacrae II, Op. 10 Nr. 24: Die so ihr den Herren fürchtet
• Symphoniae Sacrae II, Op. 10 Nr. 19: Der Herr ist mein Licht und Heil

• Symphoniae Sacrae II, Op. 10 Nr. 1: Mein Herz ist bereit, Gott, daß ich singe
• Symphoniae Sacrae II, Op. 10 Nr. 26: Von Gott will ich nicht lassen
• Symphoniae Sacrae II, Op. 10 Nr. 14: Verleih uns Frieden genädiglich (Erster teil)
• Symphoniae Sacrae II, Op. 10 Nr. 15: Gib unsern Fürsten und aller Obrigkeit (Anderer teil)
• Symphoniae Sacrae II, Op. 10 Nr. 18: Iß dein Brot mit Freuden
• Symphoniae Sacrae II, Op. 10 Nr. 5: Der Herr ist meine Stärke
• Symphoniae Sacrae II, Op. 10 Nr. 23: Lobet den Herrn, alle Heiden
• Symphoniae Sacrae II, Op. 10 Nr. 13: Was betrübst du dich, meine Seele
• Symphoniae Sacrae II, Op. 10 Nr. 5: Der Herr ist meine Stärke
• Symphoniae Sacrae II, Op. 10 Nr. 22: Vom Aufgang der Sonnen bis zu ihrem Niedergang
• Symphoniae Sacrae II, Op. 10 Nr. 6: Ich werde nicht sterben, sondern leben (Erster teil)
• Symphoniae Sacrae II, Op. 10 Nr. 7: Ich danke dir, Herr, von ganzem Herzen (Anderer teil)

• Magnificat, SWV 468
• Erbarm dich mein, o Herre Gott, SWV 447
• Quemadmodum desiderat, SWV 336
• Anima mea, SWV 263 (prima pars) - Adjuro vos, SWV 264 (secunda pars)
• Ach Herr, du Schöpfer aller Ding, SWV 450
• Die sieben Worte Jesu Christi am Kreuz, SWV 478
• Meine Seele erhebet den Herren, SWV 344
• Die mit Tränen säen, SWV 42

• Matthäus-Passion, SWV 479: I. Introitus
• Matthäus-Passion, SWV 479: II. Und es begab sich, da Jesus diese Rede vollendet hatte
• Matthäus-Passion, SWV 479: III. Da ging hin der Zwölfen Einer
• Matthäus-Passion, SWV 479: IV. Da sie aber aßen, nahm Jesus das Brot
• Matthäus-Passion, SWV 479: V. Und da sie den Lobgesang gesprochen hatten
• Matthäus-Passion, SWV 479: VI. Und als er noch redete
• Matthäus-Passion, SWV 479: VII. Die aber Jesum gegriffen hatten
• Matthäus-Passion, SWV 479: VIII. Petrus aber saß draußen im Palast
• Matthäus-Passion, SWV 479: IX. Des Morgrens aber hielten alle Hohenpriester und Ältesten des Volks einen Rat über Jesum
• Matthäus-Passion, SWV 479: X. Jesus aber stund für dem Landpfleger
• Matthäus-Passion, SWV 479: XI. Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich
• Matthäus-Passion, SWV 479: XII. Da sie ihn aber gekreuziget hatten
• Matthäus-Passion, SWV 479: XIII. Desgleichen schmäheten ihn auch die Mörder
• Matthäus-Passion, SWV 479: XIV. Und siehe da, der Vorhang im Tempel zerriß in zwei Stück
• Matthäus-Passion, SWV 479: XV. Ehre sei dir, Christe

• Symphoniae Sacrae, Op. 6 N° 19: Buccinate in neomenia tuba, SWV 275
• Symphoniae Sacrae, Op. 6 N° 4: Cantabo Domino in vita mea, SWV 260
• Symphoniae Sacrae, Op. 6 N° 11: Benedicam Dominum in omni tempore, SWV 267
• Symphoniae Sacrae, Op. 6 N° 12: Exquisivi Dominum, SWV 268
• Symphoniae Sacrae, Op. 6 N° 6: Jubilate Deo omnis terra, SWV 262
• Symphoniae Sacrae, Op. 6 N° 3: In te, Domine, speravi, SWV 259
• Symphoniae Sacrae, Op. 6 N° 15: Domine, labia mea aperies, SWV 271
• Symphoniae Sacrae, Op. 6 N° 13: Fili Mi, Absalon, SWV 269
• Symphoniae Sacrae, Op. 6 N° 5: Venite ad me, SWV 261
• Symphoniae Sacrae, Op. 6 N° 2: Exultavit cor meum in Domino, SWV 258
• Symphoniae Sacrae, Op. 6 N° 9: O quam tu pulchra es, SWV 265
• Symphoniae Sacrae, Op. 6 N° 10: Veni de Libano, SWV 266
• Symphoniae Sacrae, Op. 6 N° 7: Anima mea liquefacta est, SWV 263
• Symphoniae Sacrae, Op. 6 N° 8: Adjuro vos, filiae Jerusalem, SWV 264
• Symphoniae Sacrae, Op. 6 N° 17: Invenerunt me custodes civitatis, SWV 273
• Symphoniae Sacrae, Op. 6 N° 18: Veni, dilecte mi, SWV 274

• Symphoniae Sacrae I, Op. 6 No. 4: Cantabo Domino in vita mea
• Symphoniae Sacrae I, Op. 6 No. 9: O quam tu pulchra es / No. 10: Veni de Libano
• Symphoniae Sacrae I, Op. 6 No. 1: Paratum cor meum
• Symphoniae Sacrae I, Op. 6 No. 15: Domine, labia mea aperies
• Symphoniae Sacrae I, Op. 6 No. 13: Fili mi, Absolon
• Symphoniae Sacrae I, Op. 6 No. 16: In lectulo per noctes / No. 17: Invenerunt me custodes civitatis
• Symphoniae Sacrae I, Op. 6 No. 19: Buccinate in neomenia tuba / No. 20: Jubilate Deo

• Psalm 119, SWV 482: Wohl denen, die ohne Wandel leben
• Psalm 119, SWV 483: Tue wohl deinem Knechte, daß ich lebe
• Psalm 119, SWV 484: Zeige mir, Herr, den Weg deiner Rechte
• Psalm 119, SWV 485: Gedenke deinem Knechte an dein Wort
• Psalm 119, SWV 486: Du tust Guts deinem Knechte
• Psalm 119, SWV 487: Meine Seele verlanget nach deinem Heil
• Psalm 119, SWV 488: Wie habe ich dein Gesetze so lieb

• Habe deine Lust an dem Herren
• O jesu nomen Dulce
• Wohl dem der nicht wandelt
• Eile mich Gott zu erretten
• Was betruebst du dich meine seele
• Herr unser Herrscher
• Wie ein Rubin
• O suesser o freundlicher
• Was hast du werwirket
• Bone Jesu
• Bringt er dem Herrn
• Ihr Heiligen lobsinger
• Herzlich lob ich dich o Herr

• Ich hebe meine Augen auf SWV 31
• Nun lob, mein Seel, den Herren, SWV 41
• Komm, heiliger Geist, Herre Gott, SWV 417
• Machet die Tore weit SWV Anh. 8
• Ich bin die Auferstehung und das Leben SWV 464
• Ach, Herr, straf mich nicht SWV 24
• Meine Seele erhebt den Herren SWV 494

• 98. Psalm, SWV 35: Singet dem Herrn ein neues Lied, denn er tut Wunder
• 1. Psalm, SWV 28: Wohl dem, der nicht wandelt im Rat der Gottlosen
• 2. Psalm, SWV 23: Warum toben die Heiden
• 100. Psalm, SWV 36: Jauchzet dem Herrn, alle Welt, dienet dem Herren mit Freuden
• 23. Psalm, SWV 33: Der Herr ist mein Hirt, mir wird nichts mangeln
• 84. Psalm, SWV 29: Wie lieblich sind deine Wohnungen, Herr Zebaoth
• 130. Psalm, SWV 25: Aus der Tiefe ruf' ich, Herr, zu dir
• 6. Psalm, SWV 24: Ach Herr, straf mich nicht in deinem Zorn
• 121. Psalm, SWV 31: Ich hebe meine Agen auf zu den Bergen
• Kanzone, SWV 41: Nun lob, mein Seel, den Herren
• 111. Psalm, SWV 34: Ich danke dem Herrn von ganzem Herzen

Born: 1585-10-08

Died: 1672-11-06

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