1. History

2. Music
    Bars 1–107  First Stollen  Repeat of the Stollen  Bars 108–235  Bars 236–327  Ninth line  Tenth line 

3. Reception

4. Score editions

5. Recordings

6. References

7. Sources

8. External links

An Wasserflüssen Babylon is a chorale fantasia for organ by Johann Adam Reincken, based on "An Wasserflüssen Babylon", a 16th-century Lutheran hymn by Wolfgang Dachstein. Reincken likely composed the fantasia in 1663, partly as a tribute to Heinrich Scheidemann, his tutor and predecessor as organist at St. Catherine's Church, Hamburg.{{sfn|Dirksen|2017|page=[https://books.google.com/books?id=ZzQrDwAAQBAJ&pg=PA116 116]}} With its 327 bars, it is the most extended repertoire piece of this kind.{{sfn|Shannon|2012|page=[https://books.google.com/books?id=GB64QIHirTEC&pg=PA207 207]}}{{sfn|Dirksen|2005|page=4}} Reincken's setting is a significant representative of the north German style of organ music.{{sfn|Dirksen|2005|page=4}}{{sfn|Wolff|2000|page=[https://books.google.com/books?id=YtJVFiHnepcC&pg=PA64 64]}}

History

The text of Wolfgang Dachstein's "An Wasserflüssen Babylon" (By the Rivers of Babylon) is a paraphrase of Psalm 137 ({{lang|la|Super flumina Babylonis}}), Jews lamenting their Babylonian captivity. Its hymn tune is in bar form:{{sfn|Leahy|2011|page=[https://books.google.com/books?id=qJTSosFmynMC&pg=PA37 37]}}{{sfn|Stinson|2001|page=[https://books.google.com/books?id=1uCUsdmP7Z4C&pg=PA78 78]}}{{sfn|Terry|1921}}

The hymn was published in 1525, and was adopted in several major German hymnals by 1740.{{sfn|Leahy|2011|page=[https://books.google.com/books?id=qJTSosFmynMC&pg=PA37 37]}}

Heinrich Scheidemann can be considered the inventor of the chorale fantasia for organ, and, based on over fifteen attributable compositions, the most prolific contributor to this genre.{{sfn|Dirksen|2005|page=3–4}} It was an expansion of the Fantasia genre as developed by Jan Pieterszoon Sweelinck.{{sfn|Dirksen|2005|page=4}} Around the mid-1650s Reincken was, probably in about the same period as Dieterich Buxtehude, Scheidemann's pupil for a few years, after which he returned to the Netherlands.{{sfn|Dirksen|2005|page=3}} Called back by his former teacher in 1659, he became his assistant as organist at the St. Catherine's Church in Hamburg.{{sfn|Dirksen|2005|page=3}} Around 1660 the stylus fantasticus was the dominant style among the organists in Hamburg, of which the chorale fantasias by both Reincken and Buxtehude bear the mark.{{sfn|Dirksen|2005|page=4}}

In 1663 Scheidemann died and Reincken succeeded him as organist of the St. Catherine's Church.{{sfn|Dirksen|2017|page=[https://books.google.com/books?id=ZzQrDwAAQBAJ&pg=PA116 116]}}{{sfn|Dirksen|2005|page=3}} Allein zu dir, a late chorale fantasia by Scheidemann, shares many characteristics with Reincken's An Wasserflüssen Babylon, so it is assumed that Reincken composed his setting around the same time, as masterpiece to conclude his schooling,{{sfn|Dirksen|2005|page=4}} or, most likely, when he assumed his position as successor of Scheidemann at St. Catherine's.{{sfn|Dirksen|2017|page=[https://books.google.com/books?id=ZzQrDwAAQBAJ&pg=PA116 116]}} Reincken's chorale setting appears not to have been intended for liturgical use, neither as a prelude to a sung chorale, nor for alternatim performance, but rather as a model for improvisation, showing several techniques.{{sfn|Belotti|2011}}

Music

In his An Wasserflüssen Babylon, Reincken covers all of the techniques of the chorale fantasia: {{lang|la|cantus firmus}}, fugue, echo, figurative writing, and embellished chorale.{{sfn|Shannon|2012|page=[https://books.google.com/books?id=GB64QIHirTEC&pg=PA207 207]}} The composition presents itself as a compendium of the north German style of organ music.{{sfn|Dirksen|2005|page=4}}{{sfn|Collins|2016|page=[https://books.google.com/books?id=CTkrDwAAQBAJ&pg=PA119 119]}} The verses of Dachstein's chorale are in ten lines.{{sfn|Shannon|2012|page=[https://books.google.com/books?id=GB64QIHirTEC&pg=PA207 207]}} Lines three and four are sung to the same melody as the first two lines, which is the {{lang|de|Stollen}} of the chorale tune, thus lines one and two can be indicated as first {{lang|de|Stollen}}, and the next two lines as repeat of the {{lang|de|Stollen}}.{{sfn|Dirksen|2005|page=4}} Following Sweelinck's scheme for a fantasia, Reincken's An Wasserflüssen Babylon has three sections, "Exordium" (exposition), "Medium" (middle section) and "Finis" (finale):{{sfn|Dirksen|2005|page=4}}

Exordium

• bars 1–81, lines 1–2 of the hymn.{{sfn|Dirksen|2005|page=4}}
• bars 82–107, lines 3–4 of the hymn.{{sfn|Dirksen|2005|page=4}}

Medium

• bars 108–235, lines 5–8 of the hymn.{{sfn|Dirksen|2005|page=4}}

Finis

• bars 236–327, lines 9–10 of the hymn.{{sfn|Dirksen|2005|page=4}}

Bars 1–107

In the "An Wasserflüssen Babylon" hymn, the {{lang|de|Stollen}} is the tune for two lines of text, here represented by two bars:{{sfn|Dirksen|2005|page=4}}{{sfn|Stinson|2012|loc=[https://books.google.com/books?id=7UgfAQAAQBAJ&pg=PA28 Chapter 2: "Bach and the Varied Stollen", pp. 28–39]}}

First Stollen

The first two lines of the hymn text, or the first {{lang|de|Stollen}}, are the subject of the first 81 bars of Reincken's chorale fantasia.{{sfn|Dirksen|2005|page=4}} The melody of the first line of the hymn is recognisable as a cantus firmus in the tenor voice in the first six bars of the composition:{{sfn|Reincken|2005}}{{sfn|Reincken|1974}}

The first {{lang|de|Stollen}} section develops as a monody (played by the right hand) over a fugal setting, which is a technique typical of Scheidemann's chorale preludes. Thus, according to {{ill|Pieter Dirksen|nl}}, this first {{lang|de|Stollen}} episode can be seen as Reincken's tribute to Scheidemann.{{sfn|Dirksen|2017|page=[https://books.google.com/books?id=ZzQrDwAAQBAJ&pg=PA116 116]}}{{sfn|Dirksen|2005|page=4}}

The two lines are each treated with a dense counterpoint, which is similar for both lines. Over-all the figuration recedes in favour of a motet-like polyphony.{{sfn|Dirksen|2005|page=4}}

Repeat of the Stollen

The repeat of the {{lang|de|Stollen}}, lines three and four of the hymn text, follows in bars 82 to 107. The repeat of the {{lang|de|Stollen}} is shorter than the first {{lang|de|Stollen}}, and introduces an element of virtuosity. In the third line the left hand plays, with imaginative embellishments in the tenor voice, up to the highest notes on the keyboard, while the fourth line is characterised by ornamentation of the treble voice.{{sfn|Shannon|2012|page=[https://books.google.com/books?id=GB64QIHirTEC&pg=PA207 207]}}{{sfn|Dirksen|2005|page=4}}

Bars 108–235

Lines five to eight of the hymn tune have this melody, each line represented by a bar:{{sfn|Terry|1921}}

With its 128 bars this is the most extended section of the chorale fantasia, and treats, consecutively, lines five to eight of the chorale. The section has a symmetrical build: the outer episodes (lines five and eight) both elaborate a similar {{lang|it|canzona}}-like theme, and the central episodes (lines six and seven) both have dotted rhythms and use the echo technique.{{sfn|Dirksen|2005|page=4}}

Bars 236–327

Although the last section of the chorale fantasia elaborates only the remaining two lines of the "An Wasserflüssen Babylon" hymn, it is nonetheless in four episodes, like the preceding section.{{sfn|Dirksen|2005|page=4}}

Ninth line

The penultimate line of the chorale tune,{{sfn|Terry|1921}}

is elaborated twice in bars 236–290:{{sfn|Dirksen|2005|page=4}}

• First as a stylistically archaic canon, ending with an augmented cantus firmus in the pedal.{{sfn|Dirksen|2005|page=4}} The double diminution in this passage is similar to a passage in Scheidemann's Allein zu dir, bars 87ff.{{sfn|Dirksen|2017|pages=[https://books.google.com/books?id=ZzQrDwAAQBAJ&pg=PA112 112], [https://books.google.com/books?id=ZzQrDwAAQBAJ&pg=PA116 116]}}
• Next as a dramatic interaction that seems inspired by vocal forms such as the Geistliches Konzert.{{sfn|Dirksen|2005|page=4}}

Tenth line

The last line of the chorale tune,{{sfn|Terry|1921}}

is, from bar 291, first treated in a dialogue-like echo setting, followed by an extended virtuoso coda which also uses the echo technique.{{sfn|Dirksen|2005|page=4}} These final passages of the chorale fantasia, starting with fast melody lines in both hands imitating each other almost as a canon, are very close to how Scheidemann's Allein zu dir ends.{{sfn|Dirksen|2017|page=[https://books.google.com/books?id=ZzQrDwAAQBAJ&pg=PA116 116]}}

The end of the coda,{{sfn|Stinson|2001|pages=[https://books.google.com/books?id=1uCUsdmP7Z4C&pg=PA79 79]–[https://books.google.com/books?id=1uCUsdmP7Z4C&pg=PA80 80]}}{{sfn|Reincken|1974|page=21}}

shows an unusual gesture: the melody line descends in a scale to the end note.{{sfn|Stinson|2001|pages=[https://books.google.com/books?id=1uCUsdmP7Z4C&pg=PA79 79]–[https://books.google.com/books?id=1uCUsdmP7Z4C&pg=PA80 80]}}

Reception

According to an anecdote in Johann Gottfried Walther's Musicalisches Lexikon (1732), Reincken sent a copy of his An Wasserflüssen Babylon, as a portrait of himself, to a great musician in Amsterdam who had commented on his recklessness to succeed such a famous man as Scheidemann. This copy is lost: a copy of the work surviving in Amsterdam was sent there in the 19th century, based on a Berlin manuscript.{{sfn|Dirksen|2005|page=4}}{{sfn|Belotti|2011|pages=103–104}}{{sfn|Beckmann|1974|page=45}}{{sfn|Walther|1732}}

As reported in his obituary, published in 1754, Johann Sebastian Bach knew Reincken's An Wasserflüssen Babylon chorale setting.{{sfn|Stinson|2001|page=[https://books.google.com/books?id=1uCUsdmP7Z4C&pg=PA78 78]}}{{sfn|Shute|2016|pages=[https://books.google.com/books?id=KEyDDAAAQBAJ&pg=PA39 39]–[https://books.google.com/books?id=KEyDDAAAQBAJ&pg=PA40 40]}}{{sfn|Agricola|Bach|1754|page=165}} Two and a half centuries later it became clear that Bach had known the piece since he was a teenager.{{sfn|Beißwenger|2017|pages=[https://books.google.com/books?id=SCklDwAAQBAJ&pg=PA248 248]–[https://books.google.com/books?id=SCklDwAAQBAJ&pg=PA249 249]}}{{sfn|Belotti|2011|page=104}} When he was studying in northern Germany in the early 18th century, Bach visited Hamburg several times to hear Reincken play.{{sfn|Forkel|Terry|1920|pages=12–13}} The earliest known versions of Bach's organ setting of Dachstein's hymn, BWV 653b and 653a, originated in his Weimar period (1708–1717).^[2] In the early 1720s Bach improvised for nearly half an hour on "An Wasserflüssen Babylon" at the organ of St. Catherine's Church in Hamburg, a performance which was attended by the ageing Reincken.{{sfn|Stinson|2001|page=[https://books.google.com/books?id=1uCUsdmP7Z4C&pg=PA78 78]}}{{sfn|Shute|2016|pages=[https://books.google.com/books?id=KEyDDAAAQBAJ&pg=PA39 39]–[https://books.google.com/books?id=KEyDDAAAQBAJ&pg=PA40 40]}}{{sfn|Agricola|Bach|1754|page=165}}{{sfn|Belotti|2011|page=104}}{{sfn|Forkel|Terry|1920|pages=20–21}} When the concert was concluded, Reincken commended Bach for this improvisation: "I thought this art was dead, but I see that it survives in you."{{sfn|Stinson|2001|page=[https://books.google.com/books?id=1uCUsdmP7Z4C&pg=PA78 78]}}{{sfn|Shute|2016|pages=[https://books.google.com/books?id=KEyDDAAAQBAJ&pg=PA39 39]–[https://books.google.com/books?id=KEyDDAAAQBAJ&pg=PA40 40]}}{{sfn|Agricola|Bach|1754|page=165}}{{sfn|Belotti|2011|page=104}}{{sfn|Forkel|Terry|1920|pages=20–21}} In the second half of the 1740s, Bach reworked his An Wasserflüssen Babylon chorale prelude to the BWV 653 version included in the Great Eighteen Chorale Preludes, adding a seven-bar coda:{{sfn|Stinson|2001|pages=[https://books.google.com/books?id=1uCUsdmP7Z4C&pg=PA79 79]–[https://books.google.com/books?id=1uCUsdmP7Z4C&pg=PA80 80]}}^[3]

This coda ends with a descending scale reminiscent of the one that ends Reincken's setting (see above): Russell Stinson interprets this as a musical homage to Reincken.{{sfn|Stinson|2001|pages=[https://books.google.com/books?id=1uCUsdmP7Z4C&pg=PA79 79]–[https://books.google.com/books?id=1uCUsdmP7Z4C&pg=PA80 80]}}

In the first part of his Bach biography, published in 1873, Philipp Spitta recognises that Reincken's chorale fantasia received some extra lustre through the anecdote involving Bach, adding that it is nonetheless a work worth to be considered in its own right.{{sfn|Belotti|2011|page=104}}{{sfn|Spitta|1899|page=198}} Writing in the next decade, August Gottfried Ritter is less favourable about the composition, describing its artificiality as disconnected from liturgical praxis.{{sfn|Belotti|2011|page=104}}

Score editions

In 1974 Breitkopf & Härtel published Reincken's organ works, including An Wasserflüssen Babylon, edited by {{ill|Klaus Beckmann|de|Klaus Beckmann (Musikwissenschaftler)}}.{{sfn|Reincken|1974}}{{sfn|Collins|2016|loc=footnote 64 [https://books.google.com/books?id=CTkrDwAAQBAJ&pg=PA207 p. 207]}} Two extant copies of Reincken's composition were known at the time of publication, both of them deriving from the lost Berlin manuscript.{{sfn|Beckmann|1974|page=45–46}} Beckmann's edition of the work for Schott was published in 2004.{{sfn|Reincken|2004}} Pieter Dirksen provided a new edition for Breitkopf: in the preface of this 2005 publication he describes the chorale fantasia as being transmitted via a single source.{{sfn|Reincken|2005}}{{sfn|Dirksen|2005|page=6}}

Around 2006 Michael Maul and {{ill|Peter Wollny|scores|Category:Wollny, Peter}} recovered the Weimarer Orgeltabulatur, containing a previously unknown organ tablature version of Reincken's An Wasserflüssen Babylon.{{sfn|Stinson|2011|pages=[https://books.google.com/books?id=7UgfAQAAQBAJ&pg=PA16 16], [https://books.google.com/books?id=7UgfAQAAQBAJ&pg=PA186 186]}} This copy of the chorale fantasia had originated in the late 17th century in the circles of Georg Böhm: an endnote on the manuscript, in Johann Sebastian Bach's hand, dates it to 1700.{{sfn|Beißwenger|2017|pages=[https://books.google.com/books?id=SCklDwAAQBAJ&pg=PA248 248]–[https://books.google.com/books?id=SCklDwAAQBAJ&pg=PA249 249]}} After having published a facsimile of this manuscript in 2007, Maul and Wollny published an edited score of the same in 2008.{{sfn|Bach|2007}}{{sfn|Reincken|2008}}

Recordings

References

Sources

• {{cite book |last1=Agricola |first1=Johann Friedrich |author-link1=Johann Friedrich Agricola |last2=Bach |first2=Carl Philipp Emanuel |author-link2=Carl Philipp Emanuel Bach |date=1754 |chapter=Chapter VI, section C (known as Bach's Nekrolog) |editor1-last=Mizler |editor1-first=Lorenz Christoph |editor1-link=Lorenz Christoph Mizler |title=Musikalische Bibliothek |language=de |volume=[https://archive.org/details/MusikalischeBibliothek4.band1754 IV/1] |location=Leipzig |publisher=Mizler |pages=[https://archive.org/stream/MusikalischeBibliothek4.band1754/MizlerMusikalischeBibliothekBd41754#page/n159/mode/2up 158–176] |ref=harv }}
• {{cite book |last1=Bach |first1=Johann Sebastian |author-link1=Johann Sebastian Bach |date=2007 |editor1-last=Maul |editor1-first=Michael |editor1-link=Michael Maul |editor2-last=Wollny |editor2-first=Peter |editor2-link=:scores:Category:Wollny, Peter |title=Weimarer Orgeltabulatur: Die frühesten Notenhandschriften Johann Sebastian Bachs sowie Abschriften seines Schülers Johann Martin Schubart − Mit Werken von Dietrich Buxtehude, Johann Adam Reinken und Johann Pachelbel |url=https://www.baerenreiter.com/en/shop/product/details/BVK1957/ |type=Facsimile |series=Documenta musicologica II |volume=39 |isbn=9783761819579 |ref=harv }}
• {{cite book |last1=Beckmann |first1=Klaus |author-link1=:de:Klaus Beckmann (Musikwissenschaftler) |date=1974 |chapter=Revisionsbericht |title=Joh. Adam Reincken: Sämtliche Orgelwerke |publisher=Breitkopf & Härtel |pages=45–48 |ref=harv }}
• {{cite book |last1=Beißwenger |first1=Kirsten |date=2017 |chapter=Other Composers |chapter-url=https://books.google.com/books?id=SCklDwAAQBAJ&pg=PA237 |editor1-last=Leaver |editor1-first=Robin A. |title=The Routledge Research Companion to Johann Sebastian Bach |url=https://books.google.com/books?id=SCklDwAAQBAJ |publisher=Taylor & Francis |isbn=9781409417903 |ref=harv }}
• {{cite journal |last1=Belotti |first1=Michael |date=2011 |editor1-last=Miklavčič |editor1-first=Dalibor |title=Die norddeutsche Choralbearbeitung - rein funktionale Musik? |url=https://www.dlib.si/stream/URN:NBN:SI:DOC-LJO9OCIJ/68d24622-05d5-4f99-9822-bab8d950f3f8/PDF |journal=Muzikološki zbornik / Musicological Annual |language=de |location=Ljubljana |publisher=University of Ljubljana, {{ill|Philosophical Faculty, Ljubljana|sl|Filozofska fakulteta v Ljubljani|lt=Philosophical Faculty}} |volume=47 |issue=2 |pages=103–113 |issn=0580-373X |ref=harv }}
• {{cite book |last1=Collins |first1=Paul |date=2016 |title=The Stylus Phantasticus and Free Keyboard Music of the North German Baroque |url=https://books.google.com/books?id=CTkrDwAAQBAJ |publisher=Routledge |isbn=9780754634164 |ref=harv}}
• {{cite book |last1=Dirksen |first1=Pieter |author-link1=:nl:Pieter Dirksen |date=2005 |chapter=Vorwort |chapter-url=https://www.breitkopf.com/assets/pdf/5356_VORWORT_EB8715_Vw.pdf |title=Johann Adam Reincken: Sämtliche Orgelwerke / Complete Organ Works |url=https://www.breitkopf.com/work/5356/complete-organ-works |series=Breitkopf Urtext |language=de |publisher=Breitkopf |pages=3–6 |ref=harv }}
• {{cite book |last1=Dirksen |first1=Pieter |author-link1=:nl:Pieter Dirksen |date=2017 |title=Heinrich Scheidemann's Keyboard Music: Transmission, Style and Chronology |url=https://books.google.com/books?id=ZzQrDwAAQBAJ |publisher=Routledge |isbn=9781351563987 |ref=harv }}
• {{cite book |last1=Forkel |first1=Johann Nikolaus |author-link1=Johann Nikolaus Forkel |last2=Terry |first2=Charles Sanford |author-link2=Charles Sanford Terry (historian) |date=1920 |title=Johann Sebastian Bach: His Life, Art and Work – translated from the German, with notes and appendices |location=New York |publisher=Harcourt, Brace and Howe |ref=harv}}
• {{cite web |url=http://www.orgelnieuws.nl/sietze-de-vries-katharinenkirche-hamburg/ |title=Sietze de Vries − Katharinenkirche Hamburg |last=Hofwegen |first=Chiel-Jan van |date=2014 |website=orgelnieuws.nl |language=nl |ref=harv }}
• {{cite book |last1=Leahy |first1=Anne |date=2011 |chapter=2. An Wasserflüssen Babylon |chapter-url=https://books.google.com/books?id=qJTSosFmynMC&pg=PA37 |title=J. S. Bach's "Leipzig" Chorale Preludes: Music, Text, Theology |url=https://books.google.com/books?id=qJTSosFmynMC |series=Contextual Bach Studies |volume=3 |publisher=Scarecrow Press |isbn=9780810881815 |pages=37–58 |ref=harv }}
• {{cite book |last1=Reincken |first1=Johann Adam |author-link1=Johann Adam Reincken |date=1974 |chapter=Nr. 1 An Wasserflüssen Babylon |editor1-last=Beckmann |editor1-first=Klaus |editor1-link=:de:Klaus Beckmann (Musikwissenschaftler) |title=Sämtliche Orgelwerke |publisher=Breitkopf & Härtel |pages=4–21 |ref=harv }}
• {{cite book |last1=Reincken |first1=Johann Adam |author-link1=Johann Adam Reincken |date=2004 |chapter=An Wasserflüssen Babylon (Chorale fantasia) |editor1-last=Beckmann |editor1-first=Klaus |editor1-link=:de:Klaus Beckmann (Musikwissenschaftler) |title=Complete Organ Works |series=Masters of the North German School for Organ |volume=11 |publisher=Schott |isbn=978-3-7957-9773-7 |ref=harv }}
• {{cite book |last1=Reincken |first1=Johann Adam |author-link1=Johann Adam Reincken |date=2005 |chapter=1. An Wasserflüssen Babylon |chapter-url=https://www.breitkopf.com/assets/legacy/werk/_thumb60/5356_NOTEN_eb8715.png |editor1-last=Dirksen |editor1-first=Pieter |editor1-link=:nl:Pieter Dirksen |title=Complete Organ Works |url=https://www.breitkopf.com/work/5356/complete-organ-works |series=Breitkopf Urtext |publisher=Breitkopf |ref=harv }}
• {{cite book |last1=Reincken |first1=Johann Adam |author-link1=Johann Adam Reincken |date=2008 |chapter=I. An Wasserflüssen Babylon |editor1-last=Maul |editor1-first=Michael |editor1-link=Michael Maul |editor2-last=Wollny |editor2-first=Peter |editor2-link=:scores:Category:Wollny, Peter |title=Weimarer Orgeltabulatur |url=https://www.baerenreiter.com/en/shop/product/details/BA%205248/ |publisher=Bärenreiter |postscript=. |ISMN=9790006534685 |ref=harv }}
• {{cite book |last1=Shannon |first1=John R. |date=2012 |title=The Evolution of Organ Music in the 17th Century: A Study of European Styles |url=https://books.google.com/books?id=GB64QIHirTEC |publisher=McFarland |isbn=9780786488667 |ref=harv }}
• {{cite book |last1=Shute |first1=Benjamin |date=2016 |title=Sei Solo: Symbolum? |url=https://books.google.com/books?id=KEyDDAAAQBAJ |publisher=Pickwick Publications |isbn=9781498239417 |ref=harv }}
• {{cite book |last1=Spitta |first1=Philipp |author-link1=Philipp Spitta |date=1899 |title=Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685–1750 |volume=[https://archive.org/details/johannsebastianb01spituoft I] |others=Translated by Clara Bell and J. A. Fuller Maitland |publisher=Novello & Co |ref=harv }}
• {{cite book |last1=Stinson |first1=Russell |chapter= An Wasserflüssen Babylon (By the Waters of Babylon), BWV 653 |chapter-url=https://books.google.com/books?id=1uCUsdmP7Z4C&pg=PA78 |date=2001 |title=J. S. Bach's Great Eighteen Organ Chorales |url=https://books.google.com/books?id=1uCUsdmP7Z4C |publisher=Oxford University Press |isbn=0195116666 |pages=78–80 |ref=harv }}
• {{cite book |last1=Stinson |first1=Russell |date=2012 |title=J. S. Bach at His Royal Instrument: Essays on His Organ Works |url=https://books.google.com/books?id=7UgfAQAAQBAJ |publisher=Oxford University Press |isbn=9780199917235 |ref=harv }}
• {{Cite book |last1=Terry |first1=Charles Sanford |authorlink1=Charles Sanford Terry (historian) |date=1921 |chapter=An Wasserflüssen Babylon |chapter-url=https://archive.org/stream/bachschorals03terr#page/100/mode/2up |title= The Hymns and Hymn Melodies of the Organ Works |url=https://archive.org/details/bachschorals03terr |series=Bach's Chorals |volume=III |location=Cambridge |publisher=University Press |pages=101–105 |ref=harv }}
• {{cite book |last1=Walther |first1=Johann Gottfried |author-link1=Johann Gottfried Walther |date=1732 |chapter=Scheidemann (Heinrich) |title=Musicalisches Lexikon |url=https://archive.org/details/bub_gb_7_k-AAAAcAAJ |language=de |location=Leipzig |publisher=W. Deer |pages=[https://archive.org/stream/bub_gb_7_k-AAAAcAAJ#page/n607/mode/2up 547]–[https://archive.org/stream/bub_gb_7_k-AAAAcAAJ#page/n609/mode/2up 548] |quote=Scheidemann ... ist ... so wohl wegen seiner Composition als seines Spielens dergestalt berühmt gewesen, daß ein grosser Musicus zu Amsterdam, als er gehöret, daß Adam Reincke an des Scheidemanns Stelle gekommen, gesprochen: „es müsse dieser ein verwegener Mensch seyn, weil er sich unterstanden, in eines so sehr berühmten Mannes Stelle zu treten, und wäre er wohl so curieux, denselben zu sehen.“ Reincke hat ihm hierauf den aufs Clavier gesetzten Kirchen-Gesang: An Wasser-Flüssen Babylon, mit folgender Beyschrifft zugesandt: Hieraus könne er des verwegenen Menschen Portrait ersehen. Der Amsterdammische Musicus ist hierauf selbst nach Hamburg gekommen, hat Reincken auf der Orgel gehöret, nachher gesprochen, und ihm, aus veneration, die Hände geküsset. |ref=harv }}
• {{cite book |last1=Wolff |first1=Christoph |author-link1=Christoph Wolff |date=2000 |title=Johann Sebastian Bach: The Learned Musician |url=https://books.google.com/books?id=YtJVFiHnepcC |publisher=W. W. Norton & Company |isbn=039304825X |ref=harv }}

External links

• {{IMSLP|work=Complete Organ Works (Reincken, Johann Adam)|cname=Complete Organ Works (Reincken, Johann Adam)}}

• Azerbaijani-Greek relations
• Azerbaijani independence
• Azerbaijani in Guantanamo
• Azerbaijani Interior Guard
• Azerbaijani International Operator Company
• Azerbaijani jazz
• Azerbaijani military
• Azerbaijaninas
• Azerbaijani National Badminton Championships
• Azerbaijani national basketball team
• Azerbaijani national football team
• Azerbaijani nationality law
• Azerbaijani News Service
• Azerbaijan Interior Guard
• Azerbaijan in the eurovision dance contest
• Azerbaijan in the Eurovision Dance Contest
• Azerbaijan in the Eurovision Song Contest 2008
• Azerbaijan in the Eurovision Song Contest 2009
• Azerbaijan in the Eurovision Song Contest 2010
• Azerbaijan in the Eurovision Song Contest 2011
• Azerbaijani Olympic Committee
• Azerbaijani parliamentary election, 1995-1996
• Azerbaijani passport
• Azerbaijani peacekeeping forces
• Azerbaijani People's Republic