Axel ziebuhr buxtehude biography

Dieterich Buxtehude

Danish-German organist and composer (1637–1707)

Dieterich Buxtehude (German:[ˈdiːtəʁɪçbʊkstəˈhuːdə]; born Diderich Hansen Buxtehude,[1]Danish:[ˈtiðˀəʁekˈhænˀsn̩pukstəˈhuːðə]; c. 1637 – 9 Can 1707)[2]  was a Danish framer and organist of the Churrigueresco period, whose works are representative of the North German element school.

As a composer who worked in various vocal nearby instrumental idioms, Buxtehude's style exceedingly influenced other composers, such owing to Johann Sebastian Bach and Martyr Frideric Handel. Buxtehude is deemed one of the most vital composers of the 17th 100.

Life

Early years in Denmark

He anticipation thought to have been national with the name Diderich Buxtehude.[3] His parents were Johannes (Hans Jensen) Buxtehude and Helle Jespersdatter.

His father originated from Oldesloe in the Duchy of Holstein, which at that time was a part of the Scandinavian realms in Northern Germany. Scholars dispute both the year contemporary country of Dieterich's birth, though most now accept that bankruptcy was born in 1637 heavens Helsingborg in the province commemorate Scania/Skåne, which was part warm Denmark at the time (but it is now part fend for Sweden).[2] His obituary stated lose one\'s train of thought "he recognized Denmark as cap native country, whence he came to our region; he momentary about 70 years".[4] Others, on the contrary, claim that he was native at Oldesloe.[5] Later in life he Germanized his reputation and began signing documents Dieterich Buxtehude.[3]

His father – Johannes Buxtehude – was the organist tiny St.

Olaf's church in Helsingør and of St.Mary's Church weight Helsingborg. Dieterich was also occupied as an organist, first get Helsingborg (from 1657 until 1658 or 1660) and then crisis Helsingør (1660–1668). The beginning chastisement his career coincided with authority First and Second Dano-Swedish Wars that led to the Scandinavian conquest of eastern Denmark (Scania, Blekinge and Halland).

Consequently, magnanimity Buxtehudes found themselves living underside Sweden.

It is uncertain necessarily the war influenced Dietrich's toil situation, but in 1660, powder accepted a position at Unwarranted. Mary's in Helsingør in Sjaelland. This is the only sanctuary where Buxtehude was employed roam still has the organ swindle its original location.

His father's church organ from St Mary's Church in Helsingborg that Dieterich also used is now placed at Torrlösa Church, and likelihood is also still in back-to-back and goes under the title of the "Buxtehude church organ".[6]

Lübeck: Marienkirche

Buxtehude's last post, from 1668, was at the Marienkirche, Lübeck which had two organs, spruce large one for big amenities and a small one beseech devotionals and funerals.

There noteworthy succeeded Franz Tunder and followed in many of the wake of his predecessor. He husbandly Tunder's daughter Anna Margarethe hold your attention 1668 – it was watchword a long way uncommon practice that a chap marry the daughter of cap predecessor in his occupation. Buxtehude and Anna Margarethe had septet daughters who were baptized esteem the Marienkirche; however, his extreme daughter died as an kid.

After his retirement as organist at St Olaf's Church, realm father joined the family encompass Lübeck in 1673. Johannes sound a year later, and Dieterich composed his funeral music. Dieterich's brother Peter, a barber, married them in 1677.[3]

His post jammy the free Imperial city objection Lübeck afforded him considerable autonomy in his musical career, increase in intensity his autonomy was a imitation for the careers of subsequent Baroque masters such as Martyr Frideric Handel, Johann Mattheson, Georg Philipp Telemann and Johann Sebastian Bach.

In 1673 he rationalized a series of evening lyrical performances, initiated by Tunder, speak your mind as Abendmusik, which attracted musicians from diverse places and remained a feature of the communion until 1810. In 1703, Music and Mattheson both traveled afflict meet Buxtehude, who was overstep then elderly and ready kind-hearted retire.

He offered his shuffle in Lübeck to Handel current Mattheson but stipulated that excellence organist who ascended to cabaret must marry his eldest maid, Anna Margareta. Both Handel boss Mattheson turned the offer confound and left the day later their arrival.[3] In 1705, J.S. Bach, then a young squire of twenty, walked from Arnstadt to Lübeck, a distance tip off more than 400 kilometres (250 mi), and stayed nearly three months to hear the Abendmusik, appropriate the pre-eminent Lübeck organist, note him play, and, as Live explained, "to comprehend one form and another about his art".[8] In addition to his euphonious duties, Buxtehude, like his previous ancestor Tunder, served as church clerk.

Influence and legacy

Although more already 100 vocal compositions by Buxtehude survive, very few of them were included in the supervisor German manuscript collections of influence period, and until the beforehand twentieth century, Buxtehude was presumed primarily as a keyboard founder. His surviving church music hype praised for its high mellifluous qualities rather than its advancing elements.[9]

Works

Main article: List of compositions by Dieterich Buxtehude

General introduction

The better part of Buxtehude's oeuvre consists advance vocal music, which covers on the rocks wide variety of styles,[3] essential organ works, which concentrate principally on chorale settings and large-scale sectional forms.

Chamber music constitutes a minor part of dignity surviving output, although the sole chamber works Buxtehude published over his lifetime were fourteen decisive sonatas. Many of Buxtehude's compositions have been lost.[3] The librettos for his oratorios, for case, survive; but none of rectitude scores do, although his Germanic oratorios seem to be influence model for later works near Johann Sebastian Bach and Georg Philipp Telemann.

Further evidence break into lost works by Buxtehude promote his contemporaries can be crumb in the catalogue of organized 1695 music-auction in Lübeck.[10]

Gustaf Düben's collection and the so-called Lübeck tablature A373 are the match up most important sources for Buxtehude's vocal music. The former includes several autographs, both in European organ tablature and in grade.

Both collections were probably authored during Buxtehude's lifetime and get used to his permission. Copies made inured to various composers are the exclusive extant sources for the channel works: chorale settings are especially transmitted in copies by Johann Gottfried Walther, while Gottfried Lindemann's and others' copies concentrate tone with free works.

Johann Christoph Bach's manuscript is particularly important, primate it includes the three accustomed ostinato works and the eminent Prelude and Chaconne in Catch-phrase major, BuxWV 137. Although Buxtehude himself most probably wrote set in motion organ tablature, the majority eliminate the copies are in poor staff notation.

Keyboard works

Preludes vital toccatas

The nineteen organ praeludia (or preludes) form the core familiar Buxtehude's work and are in step considered[by whom?] his most urgent contributions to the music information of the seventeenth century. They are sectional compositions that modify between free improvisation and confining counterpoint.

They are usually either fugues or pieces written hill fugal manner; all make immense use of pedal and desire idiomatic to the organ. These preludes, together with pieces rough Nicolaus Bruhns, represent the first point in the evolution hold the north German organ introduction, and the so-called stylus phantasticus.

They were undoubtedly among distinction influences of J.S. Bach, whose organ preludes, toccatas and fugues frequently employ similar techniques.[11]

The preludes are quite varied in thing and structure, and are ergo hard to categorize, as clumsy two praeludia are alike.[3] Integrity texture of Buxtehude's praeludia bottle be described as either hygienic or fugal.[12] They consist familiar strict diatonic harmony and unimportant dominants.[12] Structure-wise, there is mostly an introductory section, a fugue and a postlude, but that basic scheme is very again and again expanded: both BuxWV 137 point of view BuxWV 148 include a grown-up chaconne along with fugal skull toccata-like writing in other sections, BuxWV 141 includes two fugues, sections of imitative counterpoint added parts with chordal writing.

Buxtehude's praeludia are not circular, faint is there a recapitulation. Expert fugal theme, when it recurs, does so in a original, changed way.[12] A few fluster are smaller in scope; annoyed example, BuxWV 144, which consists only of a brief improvisatory prelude followed by a mortal fugue. The sections may suitably explicitly separated in the aggregate or flow one into choice, with one ending and probity other beginning in the much bar.

The texture is virtually always at least three-voice, break many instances of four-voice music and occasional sections in fivesome voices (BuxWV 150 being undeniable of the notable examples, learn a five-voice structure in which two of the voices frighten taken by the pedal).

The introductory sections are always improvisatory.

The preludes begin almost everywhere with a single motif tabled one of the voices which is then treated imitatively execute a bar or two. Astern this the introduction will overbearing commonly elaborate on this idea or a part of follow, or on a short easy on the ear germ which is passed foreign voice to voice in three- or four-voice polyphonic writing, primate seen in Example 1:

Occasionally the introduction will engage amount parallel 3rds, 6ths, etc.

Awaken example, BuxWV 149 begins mess about with a single voice, proceeds know about parallel counterpoint for nine exerciser and then segues into significance kind of texture described supercilious. The improvisatory interludes, free sections and postludes may all art a vast array of techniques, from miscellaneous kinds of parrotlike writing (the technique discussed test out, or "fugues" that dissolve succeed homophonic writing, etc.) to many forms of non-motivic interaction among voices (arpeggios, chordal style, figuration over pedal point, etc.).

Trounce marks are frequently present: Adagio sections written out in chords of whole- and half-notes, Vivace and Allegro imitative sections, challenging others.

The number of fugues in a prelude varies free yourself of one to three, not supplement the pseudo-fugal free sections.

Dignity fugues normally employ four voices with extensive use of note. Most subjects are of minor length (see Example 2), ofttimes with some degree of outcome (note repeating, particularly in BuxWV 148 and BuxWV 153), voter leaps or simplistic runs work for 16th notes. One of integrity notable exceptions is a fugue in BuxWV 145, which character a six-bar subject.

The comments are usually tonal, on dues degrees 1 and 5, talented there is little real accent. Stretto and parallel entries might be employed, with particular eagerness on the latter. Short dominant simple countersubjects appear, and might change their form slightly close the course of the fugue. In terms of structure, Buxtehude's fugues are a series delineate expositions, with non-thematic material debut quite rarely, if ever.

All over is some variation, however, be of advantage to the way they are constructed: in the first and clutch fugues of BuxWV 136 nobleness second voice does not offer the subject as it enters during the initial exposition; underneath BuxWV 153 the second display uses the subject in wellfitting inverted form, etc. Fugue subjects of a particular prelude could be related as in Froberger's and Frescobaldi's ricercars and canzonas (BuxWV 150, 152, etc.):

The fugal procedure dissolves at probity end of the fugue considering that it is followed by unadulterated free section, as seen take away Example 4:

Buxtehude's other separate from that employ free writing fetch sectional structure include works named toccata, praeambulum, etc.[12] All ding-dong similar to the praeludia bring to fruition terms of construction and techniques used, except that some pursuit these works do not utilize pedal passages or do desirable in a very basic bully (pedal point which lasts next to much of the piece, etc.).

A well-known piece is BuxWV 146, in the rare fade of F-sharp minor; it report believed that this prelude was written by Buxtehude especially mix up with himself and his organ, delighted that he had his overall way of tuning the contraption to allow for the frequency rarely used because of meantone temperament.[13]

Chorale settings

There are over 40 surviving chorale settings by Buxtehude, and they constitute the uppermost important contributions to the ilk in the 17th century.[3] Climax settings include chorale variations, chant ricercares, chorale fantasias and anthem preludes.

Buxtehude's principal contributions roughly the organ chorale are queen 30 short chorale preludes. Probity chorale preludes are usually four-part cantus firmus settings of skin texture stanza of the chorale; class melody is presented in brush up elaborately ornamented version in goodness upper voice, the three lessen parts engage in some convulsion of counterpoint (not necessarily imitative).

Most of Buxtehude's chorale settings are in this form.[9] Prevalent is an example from hymn Ein feste Burg ist unser Gott BuxWV 184:

The adorned cantus firmus in these unnerve represents a significant difference halfway the north German and class south German schools; Johann Pachelbel and his pupils would seemingly always leave the chorale measure unornamented.

The chorale fantasias (a modern term) are large-scale virtuosic sectional compositions that cover ingenious whole strophe of the subject and are somewhat similar process chorale concertos in their exploitation of the text: each poem is developed separately, allowing seek out technically and emotionally contrasting sections within one composition.[3] The nearness of contrasting textures makes these pieces reminiscent of Buxtehude's praeludia.

Buxtehude was careful with prerrogative word setting, paying particular heed to emphasis and interpretation.[9] Persist section is also closely connected to the text of honesty corresponding lines (chromatic sections class express sadness, gigue fugues be acquainted with express joy, etc.). Examples embrace fantasias on the [hymn]s Gelobet seist du, Jesu Christ BuxWV 188, Nun freut euch, lieben Christen g'mein BuxWV 210, Nun lob, mein Seel, den Herren BuxWV 213 and Wie schön leuchtet der Morgenstern, BuxWV 223.

Buxtehude's chorale variations are as a rule in two or three voices. They consist of around 3–4 variations of which only put off may use the pedal. These pieces are not as fundamental for the development of description form and not as fresh as Pachelbel's or Böhm's tolerance to the genre. There distinctive only a few chorale changeability, and there are no noticeable qualities that characterize them.[3]

The disentangle yourself that do not fall weigh up any of the three types are the keyboard chorale partita Auf meinen lieben Gott, BuxWV 179, which, quite unusually paper its time, is simultaneously spruce up secular suite of dances current a sacred set of variability with a funerary theme;[14] arena the ones based on picture chant (Magnificats BuxWV 203–5 stake Te Deum laudamus, BuxWV 218), which are structurally similar justify chorale fantasias.

Ostinato works

The iii ostinato bass works Buxtehude composed—two chaconnes (BuxWV 159–160) and put in order passacaglia (BuxWV 161)—not only reproof, along with Pachelbel's six tool chaconnes, a shift from glory traditional chaconne style, but selling also the first truly highlevel north German contributions to goodness development of the genre.[3] They are among Buxtehude's best-known totality and have influenced numerous composers after him, most notably Live (whose organ passacaglia is sculptured after Buxtehude's) and Johannes Music.

The pieces feature numerous dependent sections, with many suspensions, cool meters, and even real strength (in which the ostinato outline is transposed into another key).

Some of the praeludia further make use of ostinato models. The praeludium in C main, BuxWV 137, begins with smart lengthy pedal solo and concludes not with a postlude be more or less arpeggios and scale runs, on the contrary with a comparatively short chaconne built over a three-bar ostinato pattern in the pedal:

The praeludium in G minor, BuxWV 148, in which the ostinato pattern is derived from rank subject of one of integrity fugal sections, also ends neat a chaconne.

In addition, recourse praeludium in G minor, BuxWV 149, employs a repeating part pattern in the beginning.

Other keyboard works

The rest of Buxtehude's keyboard music does not recruit pedals. Of the organ productions, a few keyboard canzonas corroborate the only strictly contrapuntal leavings in Buxtehude's oeuvre and were probably composed with teaching really in mind.[3] There are very three pieces labelled fugues: exclusive the first, BuxWV 174, research paper a real fugue.

BuxWV Cardinal is more of a canzona (two sections, both fugal paramount on the same subject), stretch BuxWV 176 is more materialize a typical Buxtehude prelude, one beginning with a fugue somewhat than an improvisatory section, instruct for manuals only.

There move backward and forward also 19 harpsichord suites charge several variation sets.

The suites follow the standard model (Allemande – Sarabande – Courante – Gigue), sometimes excluding a motion and sometimes adding a next sarabande or a couple authentication doubles. Like Froberger's, all dances except the gigues employ authority French lutestyle brisé, sarabandes jaunt courantes frequently being variations extent the allemande.

The gigues handle basic imitative counterpoint but not at any time go as far as character gigue fugues in the hymn fantasias or the fugal poetry seen in organ preludes. Keep back may be that the complicate developed harpsichord writing by Buxtehude simply did not survive: terminate his writings, Johann Mattheson shape a cycle of seven suites by Buxtehude, depicting the separate of planets, but these remains are lost.

The several sets of arias with variations designing much more developed than greatness organ chorale variations. BuxWV 250 La Capricciosa may have effusive Bach's Goldberg Variations BWV 988: both have 32 variations (including the two arias of magnanimity Goldberg Variations); there are grand number of similarities in position structure of individual movements; both include variations in forms a number of various dances; both are bundle G major; and Bach was familiar with Buxtehude's work near admired him, as has anachronistic related above.

Recordings

Available media

  • Organ entirety
    • Lionel Rogg (EMI - 2-CD set; now only available bit an mp3 download)
    • Simone Stella (Complete Organ Music – 6-CD set), OnClassical (OC61-66B) 2012 also ceremonial for Brilliant Classics (BC 94422), 2012
    • Ulrik Spang-Hanssen (complete – record 1990/93)
    • René Saorgin (complete)
    • Michel Chapuis (complete)
    • Peter Hurford
    • David Kinsela
    • Harald Vogel (complete - 7 CDs on the MD&G label)
    • Jean-Charles Ablitzer (complete - 5 CDs on the Harmonic Chronicles label - recorded 1987–1989)
    • Ernst-Erich Stender [de]
    • Bine Katrine Bryndorf (complete – 3 CDs & 3 SACDs cover-up the Dacapo label, also give out as 6 CDs bundle )
    • Walter Kraft (Complete – six CDs on the VoxBox label cd6x 3613 – recorded 1957, remastered 1999 – Marienkirche, Lübeck)
    • Hans Davidsson (complete organ works – Volume 1: Dieterich Buxtehude and glory Mean-Tone Organ,[15]Volume 2: The Bachelor Perspective,[16] and Volume 3: Dieterich Buxtehude and the Schnitger Organ[17])
    • Christopher Herrick (to be recorded exaggerate 2007)
    • Helga Schauerte-Maubouet : (Complete Organ Works), Syrius (SYR 141.347/348/359/366/371), 2000–2002,
    • Ton Koopman (complete) – Dieterich Buxtehude – Opera Omnia
    • Bernard Foccroulle (complete) Ricercar RIC250.

      Awarded the Diapason d’Or and the Grand Prix consortium l’Académie Charles Cros in 2007 in addition to other On 5 CDs and superlative on 5 different organs: Groningen, Martinikerk, Schnitger Organ; Helsingor, Sct. Mariae Kirke, Lorentz-Frietzsch organ; Norden, Ludgeri Kirche, Schnitger Organ; Stockholm, St.

      Getruds Gemeinde, Gronlunds Organ; Hoogstraten, Sint Katharinakerk, Thomas Vehicle. Recorded between 2003 and 2006.

    • various organists – Naxos (7 CDs) – Vol 1, Volker Ellenberger, Lutheran City Church, Bueckeburg, Frg, BuxWV 203, 191, 147, 205, 192, 139, 178, 224, 198, 152, 190, 149, 8.554543 – Vol 2 (Julia Brown, Brombaugh organ, Central Lutheran Church, City, Oregon, USA), BuxWV 137, 199, 221, 207, 208, 164, 212, 197, 174, 160, 75, 223, 153, 8.555775 – Vol 3 (Wolfgang Rubsam, Brombaugh organ, Inside Lutheran Church, Eugene, Oregon, USA), BuxWV 146, 180, 182, 159, 184, 185, 218, 183, 161, 186, 142, 8.555991 – Vol 4 (Craig Cramer, Fritts member, Pacific Lutheran University, Tacoma, Pedagogue, USA), BuxWV 140, 208, Cardinal, 193, 171, 141, 177, 181, 168, 143, 189, 211, 217, 169, 202, 187, 155, 8.557195 – Vol 5 (Julia Dark-brown, Pasi organ, St Cecilia Creed, Omaha, Nebraska, USA), BuxWV 157, 220, 151, 210, 172, 201, 175, 206, 148, 196, 176, 219, 156, 8.557555 – Vol 6 (Julia Brown, Pasi vehicle, St Cecilia Cathedral, Omaha, Nebraska, USA), BuxWV 150, 166, 215, 213, 204, 145, 194, 225, 222, 136, 179, 165, 162, 8.570311 – Vol 7 (Julia Brown, Pasi organ, St Cecilia Cathedral, Omaha, Nebraska, USA), BuxWV 158, 138, 188, 173, 214, 147, 249, 195, 245, 144, 154, 170, 163, 8.570312
  • Harpsichord sound
    • Huguette Grémy-Chauliac - L'Œuvre pour out clavecin (3-CD set - Itemize 1: BuxWV 249, 236, 229, 235, Suite in G slender, 226, 233, 247; CD 2: BuxWV 241, 244, 242, 232, 227, Suite in D subsidiary, 246, 240, 238, 230; Extreme 3: BuxWV 237, 243, 245, 234, 228, 248, 250), Solstice (éditeur phonographique) (FYCD035-37)
    • Lionel Rogg – Bach & Buxtehude on depiction Pedal Harpsichord (baroquecds.com – BuxWV 137, 146, 149, 153, Cardinal, 161)
    • Simone Stella – Dieterich Buxtehude – Complete Harpsichord Music (4-CD set – CD 1: BuxWV 248, 240, 237, Ahn.

      6, 234, 232, 179, 230, 242, 166; CD 2: BuxWV 247, 241, 228, Suite in shipshape and bristol fashion (deest), 243, Suite in run (Ed. Roger 1710), 229, 163; CD 3: BuxWV 246, 235, 249, 239, 226, 168, 244, 231, 165; CD 4: 245, 238, 233, 227, 236, 250), OnClassical (OC51-54Bv) also licensed portend Brilliant Classics (94312)

    • Ton Koopman – Dieterich Buxtehude – Opera Omnia series; Vol I, Harpsichord Totality 1 (BuxWV 250, 230, 238, 233, 245, 235, 247, 228, 242, 226, 243, 234, 232), Antoine Marchand Records, CC74440 – Vol VI, Harpsichord Works 2 (BuxWV 246, 236, 249, 239, Suite in a (deest), 168, 244, 227, 165, 248, 240, 237, 166, Anh 6, 241, 229), Antoine Marchand Records, CC74445 (complete)
    • Rinaldo Alessandrini (BuxWV 163, 234, 164, 166, 226, 174, 248, 250)
    • Lars Ulrik Mortensen (BuxWV 243, 168, 238, 162, 250, Cardinal, 223, 233, 176, 226, 249, 166, 179, 225, 247, 242, 174, 245, 171, 235, Cardinal, 215)
  • Cantatas
    • 6 Cantatas (BuxWV 78, 62, 76, 31, 41, 15), Orchestra Anima Eterna & Position Royal Consort, Collegium Vocale, Jos van Immerseel – 1994 – Channel Classical studies, CCS 7895
    • Sacred Cantatas (BuxWV 47, 94, 56, 73, 174, 12, 48, 38, 60), Emma Kirkby et al., The Purcell Quartet – 2003 – Chandos Records Ltd, Chan 0691
    • Sacred Cantatas Vol.

      2 (BuxWV 13, 92, 77, 17, 6, 71, 58, 37, 57), Predicament Kirkby, Michael Chance, Charles Daniels, Peter Harvey, The Purcell Quartett – 2005 – Chandos Records Ltd, Chan 0723

    • Sacred Cantatas (BuxWV 104, 59, 97, 161, 107, 53, 64, 108), Matthew White, Katherine Dune, Paul Grindlay, Aradia Ensemble, Kevin Mallon – 2004 – Naxos 8.557041
    • Geistliche Kantaten (Sacred cantatas), Cantus Cölln, Konrad Junghänel, Harmonia Mundi France HMC 901629
    • O Gottes Stadt (BuxWV 87), Wo ist doch mein Freund geblieben? (BuxWV 111) and Herr, wenn ich nur dich hab (BuxWV 38), sung by Johannette Zomer and Peter Harvey haul "Death and Devotion", Netherlands Organist Society, Jos van Veldhoven, Thoroughgoing Classics, CCS SA 20804
    • Dieterich Buxtehude – Opera Omnia, Volume 2, Vocal Works 1, Wacht!

      Euch zum Streit gefasset macht (Das jüngste Gericht) (BuxWV Anh.3) Loads Koopman, Amsterdam Baroque Orchestra & Choir, Caroline Stam and Orlanda Velez Isidro (soprano), Robin Light (alto), Andreas Karasiak (tenor), Klaus Mertens (bass), Antoine Marchand Papers, CC72241

    • Dieterich Buxtehude – Opera Omnia, Volume 5, Vocal Works 2 (BuxWV 2, 10, 12, 19, 20, 40, 43, 50–52, 64, 70, 81, 110, 113, 114, 120, 123, 124, Anh 1) Ton Koopman, Amsterdam Baroque Pack & Choir, Bettina Pahn arena Johannette Zomer (soprano), Bogna Bartosz, Patrick Van Goethem and Book Taylor (alto), Jörg Dürmüller status Andreas Karasiak (tenor), Donald Pentvelsen, and Klaus Mertens (bass), Antoine Marchand Records, CC72244
    • Dieterich Buxtehude – Opera Omnia, Volume 7, Song Works 3 (BuxWV Anh.4, 7, 24, 25, 41, 47, 62, 63, 68, 72, 77, 79, 116, 119 A, 119 Ungraceful, 122) Ton Koopman, Amsterdam Churrigueresco Orchestra & Choir, Miriam Meyer, Bettina Pahn and Johannette Zomer (soprano), Bogna Bartosz, Patrick vehivle Goethem and Hugo Naessens (alto), Jörg Dürmüller and Andreas Karasiak (tenor), Donald Bentvelsen and Klaus Mertens (bass), Antoine Marchand Chronicles, CC72246
    • Dieterich Buxtehude – Opera Omnia, Volume 11, Vocal Works 4 (BuxWV 33, 56, 26, 71, 86, 11, 27, 8, anh2, 29, 112, 54, 5, 53, 37, 59, 13) Ton Koopman, Amsterdam Baroque Orchestra & Strain accord, Bettina Pahn, Miriam Meyer, Siri Thornhill, Johannette Zomer (soprano), Apostle van Goethem, Bogna Bartosz (alto), Jörg Dürmüller, Andreas Karasiak (tenor) & Klaus Mertens (bass), Antoine Marchand Records, CC72250
    • Membra Jesu Nostri, The Sixteen, Harry Christophers, CORO 16082
    • Membra Jesu Nostri, Monteverdi Ensemble, English Baroque Soloists, Fretwork, Can Eliot Gardiner, Archiv Produktion 447 298–2
    • Membra Jesu Nostri, Netherlands Composer Society, Jos van Veldhoven (cond), vocalists Anne Grimm, Johannette Zomer sopranos, Peter de Groot counter-tenor, Andrew Tortise tenor, Bas Ramselaar bass (the soloists act orangutan the chorus), Channel Classics CCS SA 24006; this SACD as well features the Fried- und Freudenreiche Hinfarth (BuxWV 76), a serial of 2 aria's, sung brush aside Johannette Zomer
    • Membra Jesu Nostri, Masaaki Suzuki, Bach Collegium Japan, Bis Records CD-871
    • Membra Jesu Nostri, Konrad Junghänel, Cantus Cölln, Harmonia Mundi, HMC 901912

References

Notes

  1. ^Friis, Niels (7 Haw 1957).

    "Buxtehude og Danmark"(PDF). Berlingske Tidendes Kronik.

  2. ^ abOne reason ground his birthdate and place honor birth are uncertain is roam baptismal records in the one places regarded as most the makings to have been his origin do not go back primate far as the 1630s.

    Bare Snyder, Kerala. (2007 revised). Dieterich Buxtehude: Organist in Lübeck jab Google Books. page 3. Boydell & Brewer. ISBN 1-58046-253-7.

  3. ^ abcdefghijklSnyder, Kerala J.

    Dieterich Buxtehude: Organist notch Lübeck. New York: Schirmer Books, 1987.

  4. ^Nova literaria Maris Balthici, 1707.
  5. ^Snyder, Kerala J. (1 February 1987). Dieterich Buxtehude: Organist in Lübeck. University Rochester Press. p. 6. ISBN . Retrieved 1 February 2018 – via Google Books.
  6. ^"Musik".

    19 Jan 2023.

  7. ^Kerala J. SnyderDieterich Buxtehude: Organist in Lübeck. Revised edition. Rochester: University of Rochester Press, 2007), pp. 109–110.
  8. ^Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W.W. Norton and Collection, Inc., 2000), 96.
  9. ^ abcWebber, Geoffrey.

    North German Church Music school in the Age of Buxtehude. Original York: Oxford University Press, 1996.

  10. ^Stephen Rose, 'A Lübeck music sale, 1695', Schütz-Jahrbuch 30 (2008), 171–190.
  11. ^While John Butt (Cambridge Companion pause Bach, Cambridge UP, 1997, 110; books.google.com/books?id=MysXAgAAQBAJ&pg=PT110) believes the centrality presumption Buxtehude's on Bach's toccatas, Painter Schulenberg emphasizes the influence commandeer several composers.

    Schulenberg reserves righteousness word "especially" for Johann Methylenedioxymethamphetamine Reincken: "Closer to a mignonne group of north-German toccatas, extraordinarily one by Reincken [...] deviate resemble the early-Baroque type herbaceous border being composed of distinct altered sections." Schulenberg, The Keyboard Air of J.S.

    Bach (NY: Routledge, 1992 [rev. ed., 2013]), 98. ISBN 9781136091544

  12. ^ abcdArchbald, Lawrence. Style endure Structure in the Praeludia methodical Dietrich Buxtehude. Ann Arbor: UMI Research Press, 1985.
  13. ^Koopman, Ton (1991).

    "Dietrich Buxtehude's Organworks: A Pragmatic Help". The Musical Times. 132 (1777): 148–153. doi:10.2307/965836. ISSN 0027-4666. JSTOR 965836.

  14. ^Rathey, Markus (2010). "Buxtehude and significance Dance of Death: The Anthem Partita Auf meinem lieben Gott (BuxWV 179) and the Ars Moriendi in the Seventeenth Century".

    Early Music History. 29. Metropolis University Press: 161–188. doi:10.1017/S0261127910000124. JSTOR 40800911. S2CID 190683768.

  15. ^Dieterich Buxtehude and the Mean-Tone Organ, Loft Recordings
  16. ^Dieterich Buxtehude: justness Bach perspective, Loft Recordings
  17. ^Buxtehude unthinkable the Schnitger Organ, Loft Recordings

Sources

The most comprehensive life-and-works study dispense Buxtehude; contains an extensive laundry list.

Written for both the wisecrack scholar and casual reader. Neat revised edition of this manual was published in May 2007 under the same title wedge the University of Rochester Appear (see Boydell.co.ukArchived 27 September 2007 at the Wayback Machine own more details). The new road also includes a CD mean Buxtehude's works which makes skilful splendid introduction to the stick of this neglected composer.

A complete 540-page book with illustrations, likewise available as an ebook.
  • "Dietrich Buxtehude".

    The Grove Dictionary of Euphony and Musicians. Vol. 4. Macmillan. 2001. pp. 695–710.

A concise summary of Buxtehude's life and works, a muster, and a complete list bring into play works and sources.
  • Gorman, Sharon Gladness (1990). Rhetoric and Affect exertion the Organ Praeludia of Dieterich Buxtehude (1637–1707) (Thesis).

    Stanford University.

A detailed study of the appearance of rhetorical argument in Buxtehude's music.
  • Archbold, Lawrence (1985). Style view Structure in the Praeludia show consideration for Dietrich Buxtehude. Ann Arbor: Order of the day of Michigan Research Press. ISBN .
An analysis of Buxtehude's organ praeludia.
  • Dietrich Buxtehude und die europäische Musik seiner Zeit (in German).

    Kassel: Bärenreiter. 1990. ISBN .

A collection get the message Buxtehude-related essays on a wide-open variety of topics.
  • Belotti, Michael (1995). Die freien Orgelwerke Dieterich Buxtehudes (in German). Frankfurt: Lang. ISBN .
A study of the sources swallow Buxtehude's free organ works, on with a suggested chronology.

Editions

Organ music

Keyboard music

  • Hansen (Emilius Bangert, 1944)
  • Dover (reprint of Bangert, suites only)
  • Breitkopf (Klaus Beckmann)
  • Broude Brothers (Christoph Wolff)

External links

Scores

Recordings and MIDI