known organ-studies. Later German organists were Schlick of Heidelberg (also blind) and Hofheimer (d. 1537) of Salzburg and Vienna (see sec. 63). Both of these inspired many pupils. By this time the number of organ-builders had become large, as instruments were in great demand.
In the 16th century two notable lines of advance appeared, the one in Italy under the Netherlanders and the Venetians, the other in South Germany. In the former were many composers already mentioned (see Chapter VII.), especially Willaert, De Buus, De Rore, Merulo, the Gabrielis and Antegnati, with some others—their general style being gradually evolved into forms like the toccata, the ricercare, the French canzona, the capriccio, etc., in which the tendency was to alternate between solid chord-successions and flights of scales, sometimes with some semblance of a persistent 'subject,' sometimes with a capricious shifting from theme to theme. In the latter were some already named (see Chapter VIII.), like Ammerbach, Hassler, the Schmids and Paix, with many others—their general style, especially in the second half of the century, tending toward a peculiar treatment of thematic material by an excess of mere figuration (coloraturen, whence the writers were called coloristen), the presentation of structural ideas being choked or hidden under a mass of ingenious, but petty, detail. (The last notable publication of the 'colorist' school was the collection in 1617 by Johann Woltz, for 40 years organist at Heilbronn, the third part of which consists of pieces in tablature for church use.)
In other countries, also, the organ was studied with success, especially by Sweelinck of Amsterdam and by several Englishmen, like Byrd, Bull and Phillips, with some others. While these scattered workers often went beyond their Italian and German contemporaries in independence and in the perception of the styles suited to the instrument, they were as a rule less influential (except Sweelinck). Late in the century Italian writers began to publish collections of strictly church pieces, thus marking the separation of the ritual use of the church organ from that of small, private organs. An example is that of Antonio Valente of Naples (1580).
Among Italian organists not already named were Florentio Maschera, from 1557 at Brescia, with popular canzone (1584); Luzzasco Luzzaschi (d. c. 1607), at Ferrara from 1576, highly praised as a player; Sper' in Dio Bertoldo of Padua (d. c. 1590), with toccatas, ricercari and canzone (1591); and Gioseffo Guami (d. 1611), from 1568 at Munich, from 1579 at Genoa, from 1588 at St. Mark's, Venice, and from 1591 at Lucca, with canzone (1601), besides earlier madrigals and motets.
In northern countries should be added Leonhard Kleber (d. 1556), for over 30 years at Pforzheim (Baden), who edited an important collection (1522-4), mostly in a style prefiguring the 'colorists'; Charles Luyton (d. 1620), a Netherlander, court-organist at Prague from 1576, an original composer (from 1582) and the inventor of a clavichord with divided semitones (19 keys to the octave), facilitating varied harmony in pure intonation; and Pieter Cornet, organist to the Spanish Infanta at Brussels (few works extant).
In Spain, also, were Antonio de Cabezon (d. 1566), the blind organist of Philip II., represented by a large collection (1578), edited by his son; and Bernard Clavijo, professor at Salamanca, and later royal organist at Madrid, with many works (mostly burnt in 1734).
