ed. Among his
pupils was the celebrated Samuel Scheidt (1587-1654), organist at
Halle, who is memorable as the first who made artistic use of the
chorale. Scheidt is also famous as the author of a book upon organ
tabulature, or the notation for organ, which in Germany at this period
was different from that of the piano, and in fact much resembled the
tabulature for the lute, from which it was derived. It consists of a
combination of lines and signs, by the aid of which the organist was
supposed to be capable of deciphering the intentions of the composer.
No especial importance appears to have been attached to the difference
of notation for instruments and voices in this period. And in fact,
until our own times certain instruments, the viola, for example, have
had their own notation, different from the voices, and different from
that of other instruments. Another celebrated German organist of this
period was Johann Hermann Schein, who, with Scheidt and Swelinck,
constituted the three great German musical S's of the sixteenth
century. Schein (1586-1630) was appointed cantor of the Leipsic St.
Thomas school in 1615, and worked there as above. His numberless
compositions are more free in style than the average of the century,
and a number of them are distinctly secular. Nevertheless, in the
development of instrumental music he had but small part, not being one
of the highly gifted original geniuses who impress themselves upon
following generations. The great German master of this period was
Schuetz, chapel master at Dresden, whose career forms part of the
story of the oratorio, a form of music which he had so large a share
in shaping into its present form.

[Illustration: Fig. 49.

SAMUEL SCHEIDT.]

II.

In order to come once more into the path of musical empire, we must
return again to Italy, where there was an organist at St. Peter's, who
had in him the elements of greatness and originality. Girolamo
Frescobaldi (1587-1640) was organist of St. Peter's at Rome from
1615. His education had been in part acquired in Italy, and in part in
the Netherlands. As a virtuoso he attained an extraordinary success,
and one of his recitals is reputed to have been attended by as many as
30,000 people. He distinguished himself as composer no less than as
organist, and particularly by his compositions in free style. His
Ricerari, Concertos and Canzones were all protests against the bondage
of instrumental music to the fetters of vo