Marienkirche was Johann Vierdanck, with dances, capriccios and many motets (from 1641).
Matthias Weckmann (d.1674), a Thuringian, born in 1621 and a pupil of Schütz, J. Prätorius and Scheidemann, assisted at the Dresden Chapel in 1641-2 and in 1647-54, serving in Denmark in the interval, in 1655 won appointment at the Jacobikirche in Hamburg, and founded an important series of concerts there in 1668. His extant works are mostly motets and some chorale-elaborations, with remarkable harpsichord-sonatas, toccatas and suites.
Jan Reinken (d. 1722), born in 1623 in Lower Alsace, studied with Scheidemann at Hamburg and in 1663 followed him at the Katharinenkirche, where he remained almost 60 years, the Nestor of North German organists. Though doubtless over-conceited, his ability cannot be gainsaid, since he aroused extraordinary interest on the part of J. S. Bach, whom he hailed as his true successor in chorale-treatment. Of his works we have only a few elaborations, a toccata, and some variations and chamber music. His will directed that his MSS. should be burnt.
Dietrich Buxtehude (d. 1707), the greatest of the whole school, was born in 1637 at Helsingör (Denmark), where his father was organist 32 years. After thorough training from the latter, in 1668 he succeeded Tunder at Lübeck (marrying his daughter according to custom). Provided with one of the best organs in Germany and enthusiastically appreciated, he won international fame, especially through his handling from 1673 of the annual series of musical vespers in November and December which were perhaps instituted by Tunder and which continued till the early 19th century. At these, famous singers and players assisted, and for them Buxtehude wrote many Abendmusiken. Nearly 70 organ-works of his have survived, largely chorale-elaborations, with 13 fugues, 3 toccatas, etc., also some wedding-hymns. He was a thorough virtuoso, facile and brilliant in technique (on the pedals as well as the manuals), and original in registration, while as a composer he excelled in the invention of characteristic themes and in their intricate, but effective, development into closely-knit movements of almost modern solidity. His influence upon Bach was profoundly stimulating.
Vincent Lübeck (d. 1740), born near Bremen in 1654 and trained by his father, served from 1674 at Stade for almost 30 years, and from 1702 at the Nikolaikirche in Hamburg. His works have almost all vanished (clavier-suite, 1728), but the fact that Bach repeatedly took pains to hear him indicates his ability.
Georg Böhm (d. 1733), born in 1661 near Gotha, was first trained in Pachelbel's style and at Hamburg under Reinken, besides studying French instrumental music. From 1698 he was at the Johanniskirche in Lüneburg, so that Bach in his school-days there came directly under his influence. With him the art of chorale-elaboration appears in full maturity. Of his works we have several chorale-variations, a fugue, and some clavier-suites and sacred songs. He also wrote a Passion, not now known.
Nikolaus Bruhns (d. 1697), a pupil of Buxtehude, was organist first at Copenhagen and later at Husum (Schleswig). His reputation in his day was almost equal to his master's. He was also a remarkably expert violinist.
