Melchior Schildt – Complete Organ Works

Vincent van Laar

Original Recording Format: DSD 64
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Melchior Schildt was born in 1592 or 1593, probably in Hannover. After having studied for some years with Andreas Crappius, who was Cantor in Hannover, he left in December of 1609 for Amsterdam to study, probably for a period of three years, with Jan Pieterszoon Sweelinck. From this time until the year 1623 there are no biographical data preserved. From 1623 to 1626 he was organist in Wolfenbüttel. From 1626 to 1629 he was in the service of King Christian IV of Denmark, one of the most munificent musical patrons of the 17th century.

It appears from a receipt signed by Schildt that he gave music lessons to the King’s children. Whether or not he was Court Organist, and in that capacity played the famous Compenius organ in Frederiksborg castle, is unknown. In 1629 he returned to Hannover, where he succeeded his father as organist of the Marktkirche. He held this position until his death in 1667.

Reports of contemporaries give the impression that Schildt was considered a remarkable musician: Matthias Henriksen Schacht calls him in “Musicus danicus eller Danske Sangmester” (1687) a “melotheticus ingeniosus”; Johann Rudolf Ahle considered him in his “Neu-geplantzter Thüringscher Lustgarten” (1657) to be one of the most prominent musicians: “Es hat S im ABC, was die Musik thut angelangen. Schütze, Schein, Scheidt, Schop, Schildt, Schulze, Sell’ und letzlich Scheidemann. Diese sinds, die hochhertraben mit gedachter Himmelskunst: Diese Achten allein bleibet diese Zeit der Preiß und Gunst.”

Johan Gottfried Walther stated in his “Musikalisches Lexikon” (1732) that Schildt was so famous “that it was said of him: he could play, according to his fancy, in such a way that one was forced to laugh or to cry.” From the information offered by Ernst Ludwig Gerber in his “Neues historisch- biographisches Lexikon der Tonkünstler” (1812-1814) we can infer, however, that he was soon forgotten.

Although research has unearthed a number of biographical data, many questions about his musical life remain unanswered. For example, nothing is known of his period of study with Sweelinck, his contacts at the court of Christian IV, who made his court a cultural center for all of Europe, his relationship to Schütz, or of his work as a teacher.


Praeambulum in g
Hertzlich Lieb hab ich dich, O mein Herr
Allein Gott in der Hoh sei Ehr
Paduana Lagrima
Herr Christ, der einig Gottes Sohn, 1. Var.
Herr Christ, der einig Gottes Sohn, 2. Var.
Herr Christ, der einig Gottes Sohn, 3. Var.
Herr Christ, der einig Gottes Sohn, 4. Var.
Herr Christ, der einig Gottes Sohn, 5. Var.
Magnificat 1. Modi. 1. Versus
Magnificat 1. Modi. 2. Versus
Magnificat 1. Modi. 3. Versus
Magnificat 1. Modi. 4. Versus
Magnificat 1. Modi. 5. Versus
Gleichwie das Feuer
Praeambulum in G

Total time: 00:48:04

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Mastering Engineer

Jos Boerland


NativeDSD selectively creates higher DSD bitrates of label's releases using two methods (Merging Technologies Album Publishing and Singnalyst HQPlayer Pro), depending on the original edited master source. In order to understand the processes, a bit of background is appropriate.   NativeDSD sells only recordings that were originally recorded in DSD or DXD (352.8KHz PCM). The overwhelming majority of these recordings were edited and post processed in DXD, then converted (modulated) into DSD deliverable bit rates. NativeDSD acquires the label's original DXD edited master, and using Merging Technologies Album Publishing, creates a first generation DSD64, DSD128, and DSD256, as well as a DXD FLAC deliverable.  Additionally, on selected recordings, a 32bit PCM WAV file is extracted (the DXD PCM FLAC is 24 bits by format definition), and uses it to modulate a DSD512 using HQPlayer Pro. The exception to the above are the few label recordings (Yarlung, Eudora, Just Listen etc.) that record in DSD, and do no PCM post processing mixing, level balancing, EQ etc. That's doable by restricting post processing to just editing, where only the edit transition interval (typically 100ms or less) is PCM converted, leaving the DSD music content unaltered when rendered. For those recordings, the DSD edited master (the actual recording master with edits) is used with HQPlayer Pro to re-modulate the missing DSD bitrates. Why do any of this? It's to provide a DSD bitrate deliverable choice, allowing a customer to purchase the highest DSD bitrate their DAC will support. It's correct that there's no additional music content information contained in the higher DSD bit rate from the original DSD bitrate. What's different is the uncorrelated modulation noise content placement in the frequency spectrum. When a DSD original file is converted to DXD (PCM), the inherent DSD modulation noise is removed through the decimation filtering, and re-inserted when modulated back to DSD. The modulation noise (again, uncorrelated) is the carrier part of the DSD bitstream modulation, and an inherent part of the DSD bit stream.


While the spectorial shape is the same regardless of the DSD bitrate, it's effective start and end points move an octave higher for every doubling of the DSD bitrate. For DSD64, the uncorrelated modulation noise is about -110dB at 20KHz, rising to about -50dB at 100KHz. For DSD512, the modulation noise is about -110dB at 160KHz, and -50dB at 800KHz. What this allows is for the customer's DAC to use gentler, more Gaussian shaped reconstruction filters, with far improved phase response.


Original Recording Format


Jos Boerland

Recording Engineer

Jos Boerland

Recording Type & Bit Rate

DSD 64

Release Date December 6, 2019


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