Lowe was students of such dignified instructors as Bertali, Piscator, Valentini and Verdina through the imperial courtroom in Vienna. In 1652 he was stdyig with Schutz in Dresden to boost his skills. Schutz was instrumental in assisting Lowe accede to several positions. Lowe was the Kapellmeister for the Duke of Wolfenbuttel, and Duke of Saxony and was the organist at St Nicolai und St Marien in Luneburg. In the structure of instrumental ensembles Lowe added an introductory initial movement. In mixture these brief dance parts — using the introductory piece — became the innovatory base of Lowe’s which he tagged `Synfonia.’ The majority of his functions had been compilations of shorter parts particularly the “Sonaten, Canzonen und Capriccen.” The non-sacred tracks which Lowe coposed had been reflective of the Italian impact but he refused to compose like others in Hamburg who taken care of penchants toward folk melodies. Rather, Lowe constructed instrumental music that was imitative and canonic. Additionally it is feasible that Lowe constructed music for singspiels and ballets but this music continues to be dropped. His most successful years had been spent operating towards the courts between 1655 and 1665.