John Bull, who was probably a personal friend, wrote a set of variations on a theme by Sweelinck after the death of the Dutch composer.

Sweelinck's first published works date from around 1592 – 94: three volumes of chansons, the last of which is the only remaining volume published in 1594 ( for reasons that are not certain, the composer adopted his mother's last name ; " Sweelinck " first appears on the title-page of the 1594 publication ).

Sweelinck died of unknown causes on 16 October 1621 and was buried in the Oude Kerk.

* Works by Sweelinck performed on virtual organs

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.

Scheidemann's lasting contribution to the organ literature, and to Baroque music in general, was in his Lutheran chorale settings, which were of three general types: cantus firmus chorale arrangements, which were an early type of chorale prelude ; " monodic " chorale arrangements, which imitated the current style of monody — a vocal solo over basso continuo — but for solo organ ; and elaborate chorale fantasias, which were a new invention, founded on the keyboard style of Sweelinck but using the full resources of the developing German Baroque organ.

It includes music dating from approximately 1562 to 1612 by John Bull, William Byrd, Orlando Gibbons, Giles Farnaby ( 51 of whose 52 known pieces are included ), Martin Peerson, Peter Philips and Jan Pieterszoon Sweelinck, as well as many others.

Among the dozens of composers whose music he recorded as a harpsichordist, organist, clavichordist, fortepianist, chamber musician or conductor were Johann Sebastian Bach, Carl Philipp Emanuel Bach, Wilhelm Friedemann Bach, Heinrich Biber, John Blow, Georg Böhm, William Byrd, André Campra, François Couperin, Louis Couperin, John Dowland, Jacques Duphly, Antoine Forqueray, Girolamo Frescobaldi, Johann Jakob Froberger, Orlando Gibbons, André Grétry, George Frideric Handel, Jacques-Martin Hotteterre, Jean-Baptiste Lully, Claudio Monteverdi, Wolfgang Amadeus Mozart, Georg Muffat, Johann Pachelbel, Henry Purcell, Jean-Philippe Rameau, Christian Ritter, Johann Rosenmüller, Domenico Scarlatti, Agostino Steffani, Jan Pieterszoon Sweelinck, Georg Philipp Telemann, Manuel Valls, Antonio Vivaldi, and Matthias Weckmann.

About a century after Sweelinck, J. S. Bach contributed the most famous of examples of the form.

No documentary evidence has turned up to support the tradition, going back to Mattheson, that Sweelinck visited Venice-perhaps a confusion with his brother, the painter Gerrit Pietersz Sweelink, who did-and similarly there is no evidence that he ever crossed the English Channel, although copies of his music did such as the pieces included in the Fitzwilliam Virginal Book.

Sweelinck's influence spread as far as Sweden and England, carried to the former by Andreas Düben and to the latter by English composers such as Peter Philips, who probably met Sweelinck in 1593.

Sweelinck, and Dutch composers in general, had evident links to the English school of composition.

Although the " virginalist school " usually refers to English composers, it would not be incorrect to use the word in connection with some continental keyboard composers of the period, such as Girolamo Frescobaldi and Giovanni Picchi, or Samuel Scheidt and Jan Pieterszoon Sweelinck.

Sweelinck in particular developed a rich collection of keyboard figuration that influenced subsequent composers.

Sweelinck represents the highest development of the Dutch keyboard school, and indeed represented a pinnacle in keyboard contrapuntal complexity and refinement before J. S.

His keyboard music was hugely influential, and his ideas can be seen in the music of Sweelinck, Frescobaldi and others ; because of the immense influence of Sweelinck as a teacher, much of the virtuoso keyboard technique of the north German organ school, culminating in Johann Sebastian Bach, can claim to be descended from the innovations of Merulo.

* October 16 – Jan Pieterszoon Sweelinck, Dutch composer ( b. 1562 )

* April or May – Jan Pieterszoon Sweelinck, Dutch composer ( d. 1621 )

* Harry van der Kamp ( Kampen, 1947 ) bass-baritone, bass-soloist, ensemble singer and initiator of ' The Sweelinck Monument ' in which he directed his Gesualdo Consort in a series of recordings of the complete vocal works of the Dutch composer Jan Pieterszoon Sweelinck.

Jan Pieterszoon Sweelinck ( April or May, 1562 – October 16, 1621 ) was a Dutch composer, organist, and pedagogue whose work straddled the end of the Renaissance and beginning of the Baroque eras.

Jan Pieterszoon Sweelinck (; Deventer, April or May, 1562 – Amsterdam, 16 October 1621 ) was a Dutch composer, organist, and pedagogue whose work straddled the end of the Renaissance and beginning of the Baroque eras.

In some of his works Sweelinck appears as a composer of the baroque style, with the exception of his chansons which mostly resemble the French Renaissance tradition.

Sweelinck then set to publishing psalm settings, aiming to set the entire Psalter.

Sweelinck, in the course of his career, had set music to the liturgies of Roman Catholicism, Calvinism and Lutheranism.

An Archiv Produktion ( DGG ) 4 LP set, with works of Georg Böhm, Nicolaus Bruhns, Dietrich Buxtehude, Vincent Lübeck, Johann Pachelbel, Samuel Scheidt, Jan Pieterszoon Sweelinck, and Franz Tunder.

It is inspired by Dutch music, particularly that of Sweelinck: a single theme is developed through several sections, most of them imitative.

These were obviously highly influential of Jan Pieterszoon Sweelinck whose own Fantasia Chromatica in many ways forms a link between the Renaissance and the Baroque.

In the course of his life, Sweelinck was involved with the musical liturgies of three distinctly different church types: the Roman Catholic, the Calvinist, and the Lutheran — all of which are reflected in his work.

He studied composition with Robert Heppener at the Sweelinck Conservatory in Amsterdam and Brian Ferneyhough at the Royal Conservatory in The Hague.

He studied music in Sofia, Amsterdam and Vienna-orchestra conducting and twelve tone composition with Konstantin Ilijev of the Academy of Music in Sofia, composition with Roman Haubenstock-Ramati of the Academy of Music in Vienna, Ton de Leeuw of the Sweelinck Conservatory in Amsterdam, and Alexander Baltin ( Moscow ).

The style of the North German organ school derives largely from Schütz ( as well as from the Dutchman Jan Pieterszoon Sweelinck ); a century later this music was to culminate in the work of J. S.

The North German Praeludium ( an important form consisting of alternating sections of free material written in the largely misunderstood stylus phantasticus and fugal material ) reached its zenith in Dieterich Buxtehude, informed by Matthias Weckmann and Heinrich Scheidemann ( influenced most strongly by Jan Peeterszoon Sweelinck and by the Italian school transported to North Germany by Heinrich Schütz and Samuel Scheidt ).

The central figure was the poet Pieter Corneliszoon Hooft ; Constantijn Huygens, Dirck Sweelinck, Vondel, Bredero and the poetess sisters Anna Visscher and Maria Tesselschade Visscher were also considered part of the group.

" From Ciconia to Sweelinck: Donum natalicium Willem Elders.

In the Renaissance period, Netherlandish composers such as Jan Pieterszoon Sweelinck composed both fantasias and psalm settings.

Sweelinck was a master improviser, and acquired the informal title of the " Orpheus of Amsterdam.

Other Baroque composers of toccatas, in the period before Bach, include Johann Pachelbel, Michelangelo Rossi, Johann Jakob Froberger, Jan Pieterszoon Sweelinck, Alessandro Scarlatti and Dieterich Buxtehude.

One of the two surviving portraits of Sweelinck, this one dates from 1606.

Sweelinck was born in Deventer, Netherlands, in April or May 1562.

If Sweelinck indeed studied in Haarlem, he was probably influenced to some degree by the organists of St .- Bavokerk, Claas Albrechtszoon van Wieringen and Floris van Adrichem, both of whom improvised daily in the Bavokerk.

Oude Kerk, the Amsterdam church where Sweelinck worked almost his entire life.

This date, however, is uncertain, because the church records from 1577 – 80 are missing and Sweelinck can only be traced in Oude Kerk from 1580 onwards ; he occupied the post for the rest of his life.

Sweelinck was employed instead by the city itself.