In 1654, which may be the first knowledge concerning Reincken, he moved to Hamburg where he studied with Scheidemann. In 1658, after portion as organist for the season in Berghkercke, he visited Hamburg where he ultimately been successful Scheidemann. Reincken was a famous organist and body organ inspector which brought him many learners including Kneller, Leiding as well as perhaps also Bohm. The body organ music which he constructed, and the tiny which survives, illustrates that Reincken was definitively students of Scheidemann. Virtuosity was even more pronounced than spiritual concerns or creative techniques. Part of the tastes in his music had been generated with the four manual body organ which he could play. Variants by Reincken had been often worried about octaves and rhythms as could be discerned in “Schweiget mir” and “An den Wasserflussen Babylon.” Reflecting the type of what became referred to as the north German body organ college, Reincken’s “Fugue in G-minor” and “Tocatta in C-major” exemplify fugal variants used to supply the foundation for brand-new fugues in conjunction with alternations of several passages. He also composed a collection that proceeded to go beyond the conventions of Froberger through the use of thematic contacts between allemande and courante and sarabande and gigue. Reincken also used the usage of inversions in supplementary parts of music. The amateur available chamber function “Hortus musicus” — six suites — had been also obtained by Reincken for complicated technical keyboard overall performance.