This German organist was already being celebrated for his technical proficiency and abilities on the organ at the age of eighteen. This led him to the service of Margrave Christian at his court in Beyreuth. Upon the return of the court to Nuremberg Staden became the organist for the Spitalkirche in St. Lorenz in 1616. By 1618 Staden was the organist at St. Sebald in Nuremberg which was the most important musical position in the entire city. That year his reputation prompted an invitation back to Beyreuth to dedicate the new organ with Praetorius, Scheidt and Schein. Nuremberg was so trusting of Staden's abilities and comprehension that they had him examine any of the music composed by others in dedication to the city. Works accordingly examined by Staden included including Schein's second part to the "Opella nova" of 1626 and Melchior Franck's "Suspirium Germaniae." As a teacher Staden began a line of students that extended through Kindermann to Schwemmer and Wecker, to Krieger and Pachelbel. Staden was one of first German exponents of the sacred concerto style and he composed approximately one hundred and fifty sacred and secular songs as well as approximately two hundred dances, symphonia and instrumental sonatas. He was one of most important instrumental composers in Germany during his time. The "Hauss-Music" contains note-against-note counterpoint with occasional imitation. The "Venus Krantzlein" contain folk melodies with simple rhythms. Most of Staden's vocal music was scored for four voices though many were for three or five. A significant work was the "Harmoniae sacrae" of 1616 because all of the parts were composed in open score for the organist. This may well be the first of its kind in Germany and Staden is credited with developing the modern score. Much of the music composed by Staden is unoriginal and the influence of Hassler is apparent in his works. ~ Keith Johnson, Rovi