塞缪尔·沙伊特 Samuel Scheidt

德国作曲家，管风琴家。出生于哈雷。早年前往阿姆施特丹跟随斯韦林克学习，斯韦林克对他的影响很大。之后他回到哈雷并成为勃兰登堡伯爵的宫廷管风琴师，之后成为宫廷乐长。他在30年战争期间留在了德国，主要靠教学为生。之后成为了几个教堂的音乐指导。他是第一个国际知名的德国管风琴家，北德管风琴学派的早期代表之一。其作品对布克斯特胡德，巴赫都有一定影响。

Samuel Scheidt(baptized 3 November 1587 – 24 March 1654) was a Germancomposer,organistand teacher of the earlyBaroqueera.

Scheidt was born in Halle, and after early studies there, he went to Amsterdam to study with Sweelinck, the distinguished Dutch composer, whose work had a clear influence on Scheidt's style. On his return to Halle, Scheidt became court organist, and later Kapellmeister, to the Margrave of Brandenburg. Unlike many German musicians, for example Heinrich Schütz, he remained in Germany during the Thirty Years' War, managing to survive by teaching and by taking a succession of smaller jobs until the restoration of stability allowed him to resume his post as Kapellmeister. When Samuel Scheidt lost his job because of Wallenstein, he was appointed in 1628 as musical director of three churches in Halle, including the Market Church.

Scheidt was the first internationally significant German composer for the organ, and represents the flowering of the new north German style, which occurred largely as a result of the Protestant Reformation. In south Germany and some other countries of Europe, the spiritual and artistic influence of Rome remained strong, so most music continued to be derivative of Italian models. Cut off from Rome, musicians in the newly Protestant areas readily developed styles that were much different from those of their neighbours.

Scheidt's music is in two principal categories: instrumental music, including a large amount of keyboard music, mostly for organ; and sacred vocal music, some of which is a cappella and some of which uses a basso continuo or other instrumental accompaniment. In his numerous chorale preludes, Scheidt often used a "patterned variation" technique, in which each phrase of the chorale uses a different rhythmic motive, and each variation is more elaborate than the previous one, until the climax of the composition is reached. In addition to his chorale preludes, he wrote numerous fugues, suites of dances (which were often in a cyclic form, sharing a common ground bass) and fantasias.

From：https://en.wikipedia.org/wiki/Samuel Scheidt