Samuel Scheidt: Fantasia Io son ferito lasso

Samuel Scheidt (1587 - 1654): Fantasia super: Io son ferito lasso. Fuga quadruplici.
Why Samuel Scheidt with his often scholastical style of composition? And why this piece? Because it is genious.
This Fantasia is Scheidt's largest organ composition, and it is the answer to the famous Fantasia Chromatica of his teacher Jan Pieterszoon Sweelinck. Scheidt keeps the Fantasia exciting over its long duration by a high intellectual level and by the melancholical atmosphere of the subjects. He uses all polyphonical parameters of his technique of composition: augmentatio, diminuitio, spectaculum (mirror), canon, framentatio, doule-choir structures, and the "endless" contrapuctus of Gioseffo Zarlino.
The result is a master-composition.
Wolfram Syré, Orgel.
Organ at Kampen (NL) 1790 F. C. Schnitger (Hauptwerk, MIlan Digital Audio).

[@RalphLooij]

A great rendition, sounds very good with the meantone temperament. Thanks, Wolfram!

[@organrepertory815]

Thank you!

[@theojager]

Thank you for this wonderful recording and your mini course about the composition, Wolfram. Listening and reading is a double pleasure!
Just wondering: which organ temperament did you use for this recording, and why?

[@organrepertory815]

Thank you very much. The Temperament is mean tone.

[@RalphLooij]

Probably because most organs Samuel Scheidt played at were meantone, although Werckmeister III could also be possible.

[@nfwqhrfh]

Which organ in Kampen is this? It can't be the Bovenkerk, that's a Hinsz-organ from the 1730's.

[@organrepertory815]

Yes, it is the organ in the Bovenkerk at Kampen. Its last important modification from the baroque period was done by Heinrich Hermann Freytag and Frans Caspar Schnitger jr. in 1790.