Daniel Vetter

[7] It contained a four-part setting of the Zahn 6634 melody, to the text of Caspar Neumann's "Liebster Gott, wann werd ich sterben" hymn.

[12] Apart from a volume containing seven pieces by Heinrich Buttstett (Musikalische Klavierkunst und Vorratskammer [scores], 1713) it was the only keyboard music published in Leipzig in the first quarter of the 18th century.

In the most recent version of Grove's Dictionary, Marshall (2002) states that: "Although these pieces have been severely criticized by modern writers as primitive, the appearance of a second part suggests they were popular in their time."

As a specific comparison, Williams has taken the first chorale Nun komm der Heiden Heiland: for him Vetter's clavichord or spinet setting as a French prélude is less convincing then Bach's setting BWV 599; "the opening chorale’s expressive tmesis or semiquaver break in the melody of bar 1, imitated in the following alto and tenor, was the result of second thoughts—a tiny but clear example of creative thinking, and typical of the album."

As Rose comments, this predictability led Gotthold Frotscher in the 1930s to accuse Vetter of "lacking creative power" in these works.

[39] Rose and Rathey (2010) have examined the anthology in the context of late seventeenth– and early eighteenth–century music-making and domestic worship in Germany: the chorales were aimed at the pious merchant class in Leipzig, with simple four-point settings for organ coupled with clavichord or spinet broken-chord settings in the fashionable luthé or brisé style.