travelled to hear and see great organ traditions elsewhere (for example Bach, who went to Lübeck to hear Buxtehude and to Hamburg to prove his ability on a Schnitger organ) or who settled down in another part of Germany and formed schools of keyboard playing around them (Froberger, Pachelbel, C.P.E. Bach). Many details of the stop-lists of J.S. Bach’s organs at Arnstadt ( 1703–7 ), Mühlhausen ( 1707–8 ) and Weimar ( 1708–17 ) remain unclear, as do larger matters of registration and tonal effect; but fine restorations during the 20th century of organs by Trost and other
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David D. Boyden, Robin Stowell, Mark Chambers, James Tyler, and Richard Partridge
string ( see Cordes avallées ), violinists introduced scordatura in the early 17th century, Marini providing the first known example ( Sonate op.8). Many others followed suit in Italy (Uccellini, Giovanni Bononcini, Lonati), in Germany (C.H. Abel, Georg Arnold, Johann Fischer, J.E. Kindermann, Pachelbel, J.H. Schmelzer, N.A. Strungk, P.H. Erlebach), and in England, where the earliest examples are found in some unaccompanied violin pieces by Thomas Baltzar and Davis Mell (in GB-Och 433), and in Playford's The Division Violin ( 1684 ). Biber, however, made the
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John Caldwell, Christopher Maxim, Barbara Owen, Robert Winter, Susan Bradshaw, and Martin Elste
organi , 37, (1989), 150–62 P. Walker , ed.: Church, Stage, and Studio: Music and its Contexts in Seventeenth-Century Germany (Ann Arbor, 1990) [incl. articles on kbd music by L. Archbold , D.E. Bush , A. Edler , C. Johnson , C. Lasell and V.J. Panetta ] M. Zimmerman : ‘Johann Pachelbel als Schnittpunkt der europäischen Einflüsse auf die deutsche Orgelmusik des 17. Jahrhunderts’, Gottesdienst und Kirchenmusik , 3 (1994), 81–2 E: Italy, Spain and Portugal K. Jeppesen , ed.: Die italienische Orgelmusik am Anfang des Cinquecento (Copenhagen, 1943, enlarged 2/1960)
