2 precis - Book Report/Review Example

Musical historians are quick to place Speuy’s music as second in rank. He should be, however, acknowledged for displaying invention and innovation in his style. Sweelinck’s style was often wanting in proper unity in figural ideas1 and thus, the efforts by Speuy must at least be placed in tandem with the lesser works of Sweelinck. Other than Sweelinck’s, Speuy’s work is the only surviving keyboard music by someone belonging to the United Provinces in the mid seventeenth century.2 Not much research has been conducted on Speuy.

He deserves a biographical account of him as a person and musician. He was born in 1575 in Den Briel. By the age of 20, Speuy was employed as the organist of the Grote Kerk making a staggering amount of 400 pounds a year – an unprecedented sum for that time, without a doubt. He had taken residence in Dordrecht, where he married a girl in 1602. The couple had their children there also. During his time as the musical advisor, the city of Dordrecht, which was a flourishing port at that time, bought a harpsichord and gave it to him for use.

Ten years later, the same harpsichord was lent to Sweelinck when he was visiting the city, who took great pleasure in the instrument. All through this time, Speuy was working very productively on his pieces. The Estates General had bought his work, and then the town of Middelburg and Gouda city was also the recipient of copies of his works. Furthermore, a German tablature carried a copy of his Psalm by 1683 and one in Upper Hungary sometime after 1665. Another success for Speuy was when he performed for the Protestant Synod in 1618 in Dordrecht.

He continued producing till later and died in 1625. Speuy’s work on the psalms was dedicated to King James I3. Speuy’s book was addressed to the general public; in particular those amateurs who wanted to perform and create on the keyboard. This can be deduced from his prefatory note, the collection of pieces as well as the style