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Franz Tunder (1614 – November 5, 1667) was a Germancomposer andorganist of the early to middleBaroque era. He was an important link between the early German Baroque style which was based onVenetian models, and the later Baroque style which culminated in the music ofJ.S. Bach; in addition he was formative in the development of thechorale cantata.
According to recent research, Tunder was born inLübeck, not in Bannesdorf or Burg on the island ofFehmarn as was believed by earlier scholars. Little is known about his early life other than that his talent was sufficient to allow him to be appointed as court organist toFrederick III, Duke of Holstein-Gottorp in Gottorf at the age of 18. A few years earlier, he had gone to Italy in the company ofJohann Heckelauer, and it is likely that he studied withGirolamo Frescobaldi while he was inFlorence. (Johann Mattheson asserted that he did, but this has been disputed by later scholars).
Between 1632 and 1641, Tunder worked in Gottorf as "Hoforganist". In 1641 he was appointed as the main organist atLübeck's main church, theMarienkirche, succeedingPeter Hasse. In 1647 he became administrator and treasurer there also. He held that post for the rest of his life. His successor wasDieterich Buxtehude. Buxtehude married Tunder's daughter, Anna Margarethe, in 1668.
He began the tradition of "Abendmusiken", a long series of free concerts in the Marienkirche, the most elaborate of which were beforeChristmas time. The earliest of these concerts occurred in 1646. The concerts seem to have originated as organ performances specifically for the businessmen who congregated at the weekly opening of the town's stock exchange. These concerts were to continue through the 17th and 18th centuries; they were distinguished from other concerts by having free admission (for they took place in a church), and by being financed by the business community.
Along withHeinrich Scheidemann andMatthias Weckmann, Tunder was one of the most important members of the North German organ school; however, few of his works are preserved.
His surviving output suggests a marked preference for the chorale fantasia style, though he is also known for chorale versets, such as his setting ofJesus Christus unser Heiland, notable in particular for the opening pedal flourish (probably the earliest surviving example of an opening pedal solo in an organ work), a technique that was to be more fully exploited byDietrich Buxtehude.[1]
