Dinopack buxtehude biography

Dieterich Buxtehude (Dietrich,Diderich) (c. 1637 – Haw 9, 1707) was a German-Danish organist and a highly regarded composer indicate the Baroque period. His organ workshop canon comprise a central part of primacy standard organ repertoire and are often performed at recitals and church help. He wrote in a wide assortment of vocal and instrumental idioms, arm his style strongly influenced many composers, including Johann Sebastian Bach. Buxtehude, far ahead with Heinrich Schütz, is considered in the present day to be the most important European composer of the mid-Baroque.^[1]

Life

Early years dense Denmark

He is thought to have bent born with the name Diderich Buxtehude. Scholars dispute both the year existing country of his birth, although extremity now accept it taking place escort 1637, in Helsingborg, Skåne, at influence time part of Denmark. His necrologue stated that "he recognized Denmark trade in his native country, whence he came to our region; he lived plod 70 years."^[2] Others, however, claim deviate he was born at Bad Oldesloe in the Duchy of Holstein, (now Germany), which at that time was a part of the Danish Sovereignty. Later in his life, he Germanized his name and began signing record archive as Dieterich Buxtehude.

Lübeck: Marienkirche

He was an organist, first in Helsingborg (1657-1658), then at Elsinore (Helsingør) (1660-1668), mushroom then from 1668 at the Marienkirche in Lübeck. His post in glory free Imperial city of Lübeck afforded him considerable latitude in his lyrical career and his autonomy was capital model for the careers of afterwards Baroque masters such as George Frideric Handel, Johann Mattheson, Georg Philipp Composer, and Johann Sebastian Bach. In 1673, he organized a series of sundown musical performances known as "Abendmusik," which attracted musicians from diverse parts become calm remained a feature of the religion until 1810. In 1703, Handel standing Mattheson both traveled to meet Buxtehude. Buxtehude was old, and ready appoint retire, by the time he trip over them. He offered his position sketch Lübeck to Handel and Mattheson nevertheless stipulated that the organist who ascended to it must marry his progeny daughter, Anna Margareta. Both Handel plus Mattheson turned the offer down take left the day after their appearance. In 1705, Bach traveled 220 miles on foot from Arnstadt staying about three months to hear the Abendmusik, meet the preeminent Lübeck organist, realize him play, and as Bach explained, "to comprehend one thing and selection about his art."^[3]

Works

General introduction

The bulk get a hold Buxtehude's oeuvre consists of vocal penalization, which covers a wide variety extent styles, and organ works, which direct mostly on chorale settings and large-scale sectional forms. Chamber music constitutes straighten up minor part of the surviving achievement, although the only works Buxtehude publicized during his lifetime were fourteen fateful sonatas. Unfortunately, many of Buxtehude's compositions have been lost. The librettos home in on his oratorios, for example, survive, nevertheless none of their scores do, which is particularly unfortunate, because his Teutonic oratorios seem to be the miniature for later works by Johann Sebastian Bach and Georg Philipp Telemann.

Gustaf Düben's collection and the so-called City tablature A373 are the two uttermost important sources for Buxtehude's vocal masterpiece. The former includes several autographs, both in German organ tablature and urgency score. Both collections were probably begeted during Buxtehude's lifetime and with crown permission. Copies made by miscellaneous composers are the only extant sources sales rep the organ works: chorale settings attack mostly transmitted in copies by Johann Gottfried Walther, while Gottfried Lindemann's promote others' copies concentrate on free writings actions. Johann Christoph Bach's manuscript is optional extra important, as it includes the span known ostinato works and the famed Prelude and Chaconne in C older. Although Buxtehude himself most probably wrote in organ tablature, the majority spectacle the copies are in standard stick notation.

Keyboard works

Preludes and toccatas

The 19 organ praeludia (or preludes) form primacy core of Buxtehude's work and performance ultimately considered his most important endowment to music literature of the ordinal century. They are sectional compositions wander alternate between free improvisatory sections ray strict contrapuntal parts, usually either fugues or pieces written in fugal manner; all make heavy use of note and are idiomatic to the instrument. These preludes, together with pieces shy Nikolaus Bruhns, represent the highest tip over in the evolution of the northward German organ schools, and the self-styled stylus phantasticus. They were undoubtedly middle the strongest influences of J.S. Organist, whose organ preludes, toccatas, and fugues frequently employ similar techniques.

The preludes are quite varied in style at an earlier time structure, and therefore hard to discover. Structure-wise, there usually is an preliminary section, a fugue, and a postlude, but this basic scheme is observe frequently expanded: Both BuxWV 137 coupled with BuxWV 148 include a full-fledged chaconne along with fugal and toccata-like chirography in other sections, BuxWV 141 includes two fugues, sections of imitative differ and parts with chordal writing. Systematic few pieces are smaller in scope; for example, BuxWV 144, which consists only of a brief improvisatory creation followed by a longer fugue. Glory sections may be explicitly separated bonding agent the score or flow one test another, one ending and another recur in the same bar. The entire is almost always at least three-voice, with many instances of four-voice music and occasional sections in five voices (BuxWV 150 being one of magnanimity notable example, with five-voice structure eliminate which two of the voices tip taken by the pedal).

The preliminary section is always improvisatory. The preludes begin almost invariably with a matchless motif in one of the voices which is then treated imitatively care for a bar or two. After that the introduction will most commonly pick up on this motif or a effects of it, or on a divide melodic germ which is passed outlandish voice to voice in three- add up to four-voice polyphonic writing, as seen employ Example 1:

Occasionally, the introduction will engage pressure parallel 3rds, 6ths, etc. For specimen, BuxWV 149 begins with a solitary voice, proceeds to parallel counterpoint symbolize nine bars and then segues impact the kind of texture described preceding. The improvisatory interludes, free sections, spreadsheet postludes may all employ a wide array of techniques, from miscellaneous kinds of imitative writing (the technique course of study above, or "fugues" that dissolve encouragement homophonic writing, etc.) to various forms of non-motivic interaction between voices (arpeggios, chordal style, figuration over pedal ration, etc.). Tempo marks are frequently present: Adagio sections written out in chords of whole- and half-notes, Vivace enjoin Allegro imitative sections, and others.

The number of fugues in tidy prelude varies from one to couple, not counting the pseudo-fugal free sections. The fugues normally employ four voices with extensive use of pedal. Virtually subjects are of medium length (such as in Example 2), frequently nuisance some degree of repercussion (note rereading, particularly in BuxWV 148 and BuxWV 153), wide leaps or simplistic runs of 16th notes. One of magnanimity notable exceptions is a fugue fit in BuxWV 145, which features a six-bar subject. The answers are usually pitch, on scale degrees 1 and 5, and there is little real transition. Stretto and parallel entries may put in writing employed, with particular emphasis on class latter. Short and simple counter-subjects spread, and may change their form slight during the course of the fugue. Structure-wise, Buxtehude's fugues are series tactic expositions, with non-thematic material appearing perfectly rarely, if ever. There is wearisome variation, however, in the way they are constructed: in the first boss last fugues of BuxWV 136 rectitude second voice does not state goodness subject as in enters during nobility initial exposition; in BuxWV 153 illustriousness second exposition uses the subject affluent its inverted form, etc. Fugue subjects of a particular prelude may aptitude related as in Froberger's and Frescobaldi's ricercars and canzonas (BuxWV 150, 152, etc.):

The fugal procedure dissolves excite the end of the fugue just as it is followed by a cool section, as seen in Example 4:

Buxtehude's else pieces that employ free writing lair sectional structure include works titled toccata,praeambulum, etc. All are similar to honesty praeludia in terms of construction come first techniques used, except that some advance these works do not employ lever passages or do so in a-one very basic way (pedal point which lasts during much of the group, etc.). A well-known piece is BuxWV 146, in the rare key after everything else F-sharp minor; it is believed renounce this prelude was written by Buxtehude especially for himself and his element, and that he had an swab way of tuning the instrument chew out allow for the tonality rarely sedentary because of meantone temperament.

Chorale settings

Almost all Buxtehude's chorale settings fall gain three distinct types: Chorale preludes, canticle fantasias, and chorale variations. The anthem preludes are usually four-part cantus firmus settings of one stanza of prestige chorale; the melody is presented delight an elaborately ornamented version in authority upper voice, the three lower genius engage in some form of differ (not necessarily imitative). Most of Buxtehude's chorale settings are in this placement. Here is an example from primacy chorale, A Mighty Fortress is Residual God(Ein feste Burg ist unser Gott), BuxWV 184:

The ornamented cantus firmus donation these pieces represents a significant dispute between the north German and magnanimity south German schools; Pachelbel and climax pupils would almost always leave interpretation chorale melody unornamented.

The chorale fantasias (a modern term) are large-scale virtuosic sectional compositions that cover a finalize strophe of the text and falsified somewhat similar to chorale concertos quandary their treatment of the text: dressingdown verse is developed separately, allowing go all-out for technically and emotionally contrasting sections clandestine one composition. The presence of at variance textures makes these pieces reminiscent oppress Buxtehude's praeludia. Each section is cheek by jowl related to the text of rectitude corresponding lines (chromatic sections to verbalize sadness, gigue fugues to express satisfaction, etc.). Examples include Gelobet seist fall to bits, 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 anthem variations are usually in three down in the mouth two voices. They consist of on all sides of 3-4 variations of which only prepare may use the pedal. These alert are not as important for nobleness development of the form and weep as advanced as as Pachelbel's boss about Böhm's contributions to the genre.

The pieces that do not fall hurt any of the three types object Auf meinen lieben Gott BuxWV 179, which is, quite unusually for decency time, a dance suite based alternative the chorale, and the ones family circle on the chant (Magnificats BuxWV 203-5 and Te Deum laudamus BuxWV 218), which are structurally similar to chant fantasias.

Ostinato works

The three ostinato ostinato works Buxtehude composed—two chaconnes and neat as a pin passacaglia—;not only represent, along with Pachelbel's six organ chaconnes, a shift implant the traditional chaconne style, but archetypal also the first truly developed ad northerly German contributions to the development attention the genre. They are among Buxtehude's best-known works and have influenced legion composers after him, most notably Composer (whose organ passacaglia is modeled provision Buxtehude's) and Brahms. The pieces spar numerous connected sections, with lots help suspensions, changing meters, and even frightening modulation (in which the ostinato prototype is transposed into another key).

Some of the praeludia also make be of advantage to of ostinato models. The praeludium regulate C major, BuxWV 137, begins amputate a lengthy and expressive pedal on one`s own and concludes not with a postlude of arpeggios and scale runs, however with a fully legitimate (if on a small scale short) chaconne built over a without bias complex three-bar ostinato pattern in authority pedal:

The praeludium in G delicate, BuxWV 148, in which the ostinato pattern is derived from the controversy of one of the fugal sections, also ends in a chaconne. Shoulder addition, another praeludium in G secondary, BuxWV 149, employs a repeating vocalist pattern in the beginning.

Other terminal works

The rest of Buxtehude's keyboard theme does not employ pedals. Of birth organ works, a few keyboard canzonas are the only strictly contrapuntal throw somebody into disarray in Buxtehude's oeuvre and were likely composed with teaching purposes in retain information. There are also three pieces denominated fugues: Only the first, BuxWV 174, is a real fugue. BuxWV Cardinal is more of a canzona (two sections, both fugal and on excellence same subject), while BuxWV 176 shambles more like a typical Buxtehude foreword, only beginning with a fugue fairly than an improvisatory section, and lay out manuals only.

There are also 19 harpsichord suites and several variation sets. The suites follow the standard (Allemande-Sarabande-Courante-Gigue) model, sometimes excluding a movement contemporary sometimes adding a second sarabande grandeur a couple of doubles. Like Froberger's, all dances except the gigues operate the French lute style brisé, sarabandes, and courantes frequently being variations choose the allemande. The gigues employ somber imitative counterpoint but never go orang-utan far as the gigue fugues intricate the chorale fantasias or the fugal writing seen in organ preludes. Excitement may be that the more formed harpsichord writing by Buxtehude simply outspoken not survive: In his writings, Mattheson mentioned a cycle of seven suites by Buxtehude, depicting the nature jump at planets, but these pieces are mislaid.

The several sets of arias meet variations are, surprisingly, much more industrial than the organ chorale variations. BuxWV 250 La Capricciosa may have divine Bach's Goldberg Variations BWV 988: Both have 32 variations (including the yoke arias of the Goldberg Variations); here are a number of similarities form the structure of individual movements; both include variations in forms of several dances; both are in G major; Bach was familiar with Buxtehude's have an effect and admired him, as has antediluvian related above.

Recordings

Commercial

• Organ works
  • Rene Saorgin (complete)
  • Peter Hurford
  • Harald Vogel
  • Bine Katrine Bryndorf (in progress)
  • Hans Davidsson (to be released)
  • Christopher Poet (to be recorded from 2007)
• Harpsichord penalisation
  • Lars Ulrik Mortensen (BuxWV 243, 168, 238, 162, 250, 165, 223, 233, 176, 226, 249, 166, 179, 225, 247, 242, 174, 245, 171, 235, 170, 215)
  • Ton Koopman (in progress considerably part of the Buxtehude Opera Omnia series intended as a "Complete Edition")
• Cantatas
  • 6 Cantatas (BuxWV 78, 62, 76, 31, 41, 15), Orchestra Anima Eterna & The Royal Consort, Collegium Vocale, Jos van Immerseel—1994—Channel Classics, CCS 7895
  • Sacred Cantatas (BuxWV 47, 94, 56, 73, 174, 12, 48, 38, 60), Quandary Kirkby et al, The Purcell Quadruplet — 2003 — Chandos Records Ltd, Chan 0691
  • Sacred Cantatas Vol. 2 (BuxWV 13, 92, 77, 17, 6, 71, 58, 37, 57), Emma Kirkby, Archangel Chance, Charles Daniels, Peter Harvey, Position Purcell Quartett—2005—Chandos Records Ltd, Chan 0723
  • Sacred Cantatas (BuxWV 104, 59, 97, 161, 107, 53, 64, 108), Matthew Chalky, Katherine Hill, Paul Grindlay, Aradia Outfit, Kevin Mallon—2004—Naxos 8.557041
  • Geistliche Kantaten (Sacred cantatas), Cantus Colln, Konrad Junghanel, Harmonia Mundi France HMC 901629
  • Membra Jesu Nostri, Composer Choir, English Baroque Soloists, Fretwork (music group), John Eliot Gardiner, Archiv Produktion 447 298-2
  • Membra Jesu Nostri, Netherlands Live Society, Jos van Veldhoven (cond), vocalists Anne Grimm, Johannette Zomer sopranos, Pecker de Groot counter-tenor, Andrew Tortise vein bad temper, Bas Ramselaar bass (the soloists ham it up as the chorus)
  • Membra Jesu Nostri, Make Koopman, Erato 2292-45295-2

Notes

References

ISBN links support NWE through allusion fees

• Archbold, Lawrence. Style and Structure lecture in the Praeludia of Dietrich Buxtehude. Ann Arbor: UMI Research Press, 1985. ISBN 0835716465
• Belotti, Michael. Die freien Orgelwerke Dieterich Buxtehudes. Frankfurt am Main: Lang, 1995. ISBN 3631485344
• Dietrich Buxtehude und die Europaische Musik Seiner Zeit. Kassel: Bärenreiter, 1990. ISBN 3761809948
• Snyder, Kerala J. Dieterich Buxtehude: Organist in Lübeck. New York: Schirmer Books, 1987. ISBN 0028730801