{"id":10043,"date":"2021-12-27T11:48:21","date_gmt":"2021-12-27T09:48:21","guid":{"rendered":"http:\/\/partitura.org\/?p=10043"},"modified":"2021-12-27T14:22:51","modified_gmt":"2021-12-27T12:22:51","slug":"anonymus-psalm-100-lynar-b7","status":"publish","type":"post","link":"https:\/\/partitura.org\/index.php\/anonymus-psalm-100-lynar-b7\/","title":{"rendered":"Anonymus, Psalm 100 (Lynar B7)"},"content":{"rendered":"<p>The Lynar manuscripts were preserved in the holdings of the Duke of Lynar in L\u00fcbbenau, and are therefore also known as the L\u00fcbbenauer Orgeltabulaturen. The seventh manuscript in the B-series contains 5 anonymous choral preludes\/variations to Psalms and one to the choral &#8220;Erhalt uns Herr&#8221;. As Psalms were and are widely sung in the protestatns churches in the Netherlands this fits with the supposition that the composer or composers of these works must have been student of Sweelinck.<\/p>\n<p>The fourth of these compositions is a set of variations on the melody of Psalm 100. There are four variations, set up as two continuos pieces, with two variations each. The first piece has two variations with the melody in the soprano voice. The second one has two variations with the melody in the tenor voice. <\/p>\n<p>The recording was done with the Hauptwerk software and the sampleset, made by Sonus Paradisi, of the Klapmeyer organ in the St. Nikolai church in Altenbruch (https:\/\/www.sonusparadisi.cz\/en\/organs\/germany\/klapmeyer-organ-altenbruch.html).<\/p>\n<p><strong>Score<\/strong><br \/>\n<img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-128\" src=\"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2015\/02\/pdf_icon.jpg?resize=32%2C32&#038;ssl=1\" alt=\"pdf_icon\" width=\"32\" height=\"32\" \/><a class=\"count\" href=\"https:\/\/partitura.org\/wp-content\/uploads\/2021\/12\/Anonymus-Ms-Lynar-B7-p009-Psalm-100.pdf\" data-kccpid=\"10043\">Anonymus (Ms Lynar B7), Psalm 100<\/a><\/p>\n<p><strong>Performance<\/strong><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/Efuh80RWbEc\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe> <\/p>\n<p>Views: 27<\/p>","protected":false},"excerpt":{"rendered":"<p>The Lynar manuscripts were preserved in the holdings of the Duke of Lynar in L\u00fcbbenau, and are therefore also known as the L\u00fcbbenauer Orgeltabulaturen. The seventh manuscript in the B-series contains 5 anonymous choral preludes\/variations to Psalms and one to the choral &#8220;Erhalt uns Herr&#8221;. As Psalms were and are widely sung in the protestatns churches in the Netherlands this fits with the supposition that the composer or composers of these works must have been student of Sweelinck. The fourth of these compositions is a set of variations on the melody of Psalm 100. There are four variations, set up as two continuos pieces, with two variations each. The first piece has two variations with the melody in the soprano voice. The second one has two variations with the melody in the tenor voice. The recording was done with the Hauptwerk software and the sampleset, made by Sonus Paradisi, of the Klapmeyer organ in the St. Nikolai church in Altenbruch (https:\/\/www.sonusparadisi.cz\/en\/organs\/germany\/klapmeyer-organ-altenbruch.html). Score Anonymus (Ms Lynar B7), Psalm 100 Performance Views: 27<\/p>\n","protected":false},"author":1,"featured_media":10045,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[321,7],"tags":[],"class_list":["post-10043","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-anonymus-ms-lynar-b7","category-scores","genre-choral-prelude","genre-psalm-100"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2021\/12\/Anonymus-Psalm-100.png?fit=962%2C616&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5LnuZ-2BZ","_links":{"self":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/10043","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/comments?post=10043"}],"version-history":[{"count":4,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/10043\/revisions"}],"predecessor-version":[{"id":10050,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/10043\/revisions\/10050"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media\/10045"}],"wp:attachment":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media?parent=10043"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/categories?post=10043"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/tags?post=10043"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}