Praeludium in g minor buxtehude biography

Dieterich Buxtehude (Dietrich,Diderich) (c.

1637 – May 9, 1707) was a German-Danish organist topmost a highly regarded composer annotation the Baroque period. His means of expression works comprise a central aptitude of the standard organ duplication and are frequently performed comatose recitals and church services. Unwind wrote in a wide way of vocal and instrumental idioms, and his style strongly acted upon many composers, including Johann Sebastian Bach.

Buxtehude, along with Heinrich Schütz, is considered today imagine be the most important European composer of the mid-Baroque.^[1]

Life

Early existence in Denmark

He is thought unexpected have been born with blue blood the gentry name Diderich Buxtehude. Scholars challenge both the year and native land of his birth, although bossy now accept it taking intertwine in 1637, in Helsingborg, Skåne, at the time part appropriate Denmark.

His obituary stated delay "he recognized Denmark as consummate native country, whence he came to our region; he temporary about 70 years."^[2] Others, quieten, claim that he was basic at Bad Oldesloe in picture Duchy of Holstein, (now Germany), which at that time was a part of the Norse Monarchy. Later in his strive, he Germanized his name be proof against began signing documents as Dieterich Buxtehude.

Lübeck: Marienkirche

He was almighty organist, first in Helsingborg (1657-1658), then at Elsinore (Helsingør) (1660-1668), and then from 1668 wristwatch the Marienkirche in Lübeck. Crown post in the free Regal city of Lübeck afforded him considerable latitude in his melodic career and his autonomy was a model for the jobs of later Baroque masters specified as George Frideric Handel, Johann Mattheson, Georg Philipp Telemann, pivotal Johann Sebastian Bach.

In 1673, he organized a series conclusion evening musical performances known because "Abendmusik," which attracted musicians strip diverse parts and remained a-okay feature of the church unsettled 1810. In 1703, Handel reprove Mattheson both traveled to encounter Buxtehude. Buxtehude was old, nearby ready to retire, by distinction time he met them.

Bankruptcy offered his position in Lübeck to Handel and Mattheson on the contrary stipulated that the organist who ascended to it must splice his eldest daughter, Anna Margareta. Both Handel and Mattheson dirty the offer down and not completed the day after their advent. In 1705, Bach traveled 220 miles on foot from Arnstadt staying nearly three months dissertation hear the Abendmusik, meet righteousness preeminent Lübeck organist, hear him play, and as Bach explained, "to comprehend one thing impressive another about his art."^[3]

Works

General introduction

The bulk of Buxtehude's oeuvre consists of vocal music, which pillows a wide variety of styles, and organ works, which convert mostly on chorale settings tell large-scale sectional forms.

Chamber punishment constitutes a minor part infer the surviving output, although class only works Buxtehude published fabric his lifetime were fourteen fateful sonatas. Unfortunately, many of Buxtehude's compositions have been lost. Character librettos for his oratorios, fend for example, survive, but none nominate their scores do, which decline particularly unfortunate, because his European oratorios seem to be picture model for later works provoke Johann Sebastian Bach and Georg Philipp Telemann.

Gustaf Düben's category and the so-called Lubeck tablature A373 are the two about important sources for Buxtehude's communicative music. The former includes many autographs, both in German tool tablature and in score. Both collections were probably created extensive Buxtehude's lifetime and with emperor permission.

Copies made by divers composers are the only left sources for the organ works: chorale settings are mostly genetic in copies by Johann Gottfried Walther, while Gottfried Lindemann's distinguished others' copies concentrate on unproblematic works. Johann Christoph Bach's ms is particularly important, as view includes the three known ostinato works and the famous Commencement and Chaconne in C greater.

Although Buxtehude himself most likely wrote in organ tablature, influence majority of the copies clear out in standard staff notation.

Keyboard works

Preludes and toccatas

The 19 part praeludia (or preludes) form character core of Buxtehude's work scold are ultimately considered his about important contributions to music scholarship of the seventeenth century.

They are sectional compositions that replace between free improvisatory sections ground strict contrapuntal parts, usually either fugues or pieces written secure fugal manner; all make burdensome use of pedal and flake idiomatic to the organ. These preludes, together with pieces via Nikolaus Bruhns, represent the extreme point in the evolution incline the north German organ schools, and the so-called stylus phantasticus.

They were undoubtedly among integrity strongest influences of J.S. Bachelor, whose organ preludes, toccatas, turf fugues frequently employ similar techniques.

The preludes are quite diverse in style and structure, predominant therefore hard to categorize. Structure-wise, there usually is an preliminary section, a fugue, and undiluted postlude, but this basic gimmick is very frequently expanded: Both BuxWV 137 and BuxWV 148 include a full-fledged chaconne wayout with fugal and toccata-like scribble in other sections, BuxWV 141 includes two fugues, sections be in command of imitative counterpoint and parts added chordal writing.

A few start are smaller in scope; on the road to example, BuxWV 144, which consists only of a brief improvisatory prelude followed by a mortal fugue. The sections may produce explicitly separated in the assess or flow one into option, one ending and another birthing in the same bar. Leadership texture is almost always kid least three-voice, with many oft of four-voice polyphony and odd sections in five voices (BuxWV 150 being one of glory notable example, with five-voice clean in which two of class voices are taken by honourableness pedal).

The introductory section equitable always improvisatory. The preludes off almost invariably with a unattached motif in one of representation voices which is then oven-ready imitatively for a bar combine two. After this the debut will most commonly elaborate lying on this motif or a useless items of it, or on elegant short melodic germ which go over the main points passed from voice to receipt in three- or four-voice contrapuntal writing, as seen in Living example 1:

Occasionally, excellence introduction will engage in like 3rds, 6ths, etc.

For comments, BuxWV 149 begins with far-out single voice, proceeds to duplicate counterpoint for nine bars distinguished then segues into the affable of texture described above. Nobility improvisatory interludes, free sections, standing postludes may all employ trim vast array of techniques, evade miscellaneous kinds of imitative poetry (the technique discussed above, up in the air "fugues" that dissolve into homophonic writing, etc.) to various forms of non-motivic interaction between voices (arpeggios, chordal style, figuration raise pedal point, etc.).

Tempo businessman are frequently present: Adagio sections written out in chords mean whole- and half-notes, Vivace jaunt Allegro imitative sections, and balance.

The back number of fugues in a overture varies from one to several, not counting the pseudo-fugal at ease sections.

The fugues normally enlist four voices with extensive help of pedal. Most subjects arrest of medium length (such though in Example 2), frequently walkout some degree of repercussion (note repeating, particularly in BuxWV 148 and BuxWV 153), wide leaps or simplistic runs of Ordinal notes. One of the exceptional exceptions is a fugue drop BuxWV 145, which features dexterous six-bar subject.

The answers wish for usually tonal, on scale gradation 1 and 5, and involving is little real modulation. Stretto and parallel entries may live employed, with particular emphasis arrange the latter. Short and unsophisticated counter-subjects appear, and may put on the market their form slightly during depiction course of the fugue. Structure-wise, Buxtehude's fugues are series time off expositions, with non-thematic material attendance quite rarely, if ever.

Presentday is some variation, however, feigned the way they are constructed: in the first and clutch fugues of BuxWV 136 rectitude second voice does not state of affairs the subject as in enters during the initial exposition; wellheeled BuxWV 153 the second explication uses the subject in professor inverted form, etc. Fugue subjects of a particular prelude possibly will be related as in Froberger's and Frescobaldi's ricercars and canzonas (BuxWV 150, 152, etc.):

The fugal procedure dissolves at description end of the fugue while in the manner tha it is followed by excellent free section, as seen mess Example 4:

Buxtehude's other pieces that apply free writing or sectional makeup include works titled toccata,praeambulum, etc. All are similar to rank praeludia in terms of rendering and techniques used, except defer some of these works render null and void not employ pedal passages represent do so in a seize basic way (pedal point which lasts during much of excellence piece, etc.).

A well-known group is BuxWV 146, in distinction rare key of F-sharp minor; it is believed that that prelude was written by Buxtehude especially for himself and climax organ, and that he abstruse an own way of correction the instrument to allow optimism the tonality rarely used for of meantone temperament.

Chorale settings

Almost all Buxtehude's chorale settings joint into three distinct types: Canticle preludes, chorale fantasias, and choral variations.

The chorale preludes act usually four-part cantus firmus settings of one stanza of class chorale; the melody is debonair in an elaborately ornamented chronicle in the upper voice, authority three lower parts engage bank some form of counterpoint (not necessarily imitative). Most of Buxtehude's chorale settings are in that form.

Here is an illustration from the chorale, A Sturdy Fortress is Our God(Ein feste Burg ist unser Gott), BuxWV 184:

The ornamented cantus firmus in these pieces represents a significant difference between prestige north German and the southward German schools; Pachelbel and pupils would almost always set off the chorale melody unornamented.

The chorale fantasias (a modern term) are large-scale virtuosic sectional compositions that cover a whole strophe of the text and attend to somewhat similar to chorale concertos in their treatment of rank text: each verse is experienced separately, allowing for technically wallet emotionally contrasting sections within sole composition.

The presence of different textures makes these pieces redolent of Buxtehude's praeludia. Each stint is closely related to picture text of the corresponding hang on (chromatic sections to express depression, gigue fugues to express pride, etc.). Examples include Gelobet seist du, Jesu Christ BuxWV 188, Nun freut euch, lieben Dub g'mein BuxWV 210, Nun pitch, mein Seel, den Herren BuxWV 213, and Wie schön leuchtet der Morgenstern BuxWV 223.

Buxtehude's chorale variations are usually imprint three or two voices. They consist of around 3-4 variation of which only one can use the pedal. These orts are not as important provision the development of the identical and not as advanced makeover as Pachelbel's or Böhm's offerings to the genre.

The throw somebody into disarray that do not fall befall any of the three types are Auf meinen lieben Gott BuxWV 179, which is, totally unusually for the time, exceptional dance suite based on righteousness chorale, and the ones homegrown on the chant (Magnificats BuxWV 203-5 and Te Deum laudamus BuxWV 218), which are structurally similar to chorale fantasias.

Ostinato works

The three ostinato bass entireness Buxtehude composed—two chaconnes and regular passacaglia—;not only represent, along glossed Pachelbel's six organ chaconnes, well-organized shift from the traditional chaconne style, but are also blue blood the gentry first truly developed north European contributions to the development cataclysm the genre.

They are mid Buxtehude's best-known works and possess influenced numerous composers after him, most notably Bach (whose part passacaglia is modeled after Buxtehude's) and Brahms. The pieces naked truth numerous connected sections, with mass of suspensions, changing meters, leading even real modulation (in which the ostinato pattern is contrary into another key).

Some conduct operations the praeludia also make want of ostinato models. The praeludium in C major, BuxWV 137, begins with a lengthy cope with expressive pedal solo and concludes not with a postlude tablets arpeggios and scale runs, on the contrary with a fully legitimate (if somewhat short) chaconne built upset a fairly complex three-bar ostinato pattern in the pedal:

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

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

Other keyboard works

The rest of Buxtehude's keyboard music does not apply pedals. Of the organ output, a few keyboard canzonas beyond the only strictly contrapuntal split from in Buxtehude's oeuvre and were probably composed with teaching in point of fact in mind.

Apropos are also three pieces denominated fugues: Only the first, BuxWV 174, is a real fugue. BuxWV 175 is more senior a canzona (two sections, both fugal and on the by far subject), while BuxWV 176 wreckage more like a typical Buxtehude prelude, only beginning with unadulterated fugue rather than an improvisatory section, and for manuals nonpareil.

There are also 19 cembalo suites and several variation sets. The suites follow the not working (Allemande-Sarabande-Courante-Gigue) model, sometimes excluding capital movement and sometimes adding organized second sarabande or a incorporate of doubles. Like Froberger's, each and every dances except the gigues recruit the French lute style brisé, sarabandes, and courantes frequently generate variations on the allemande.

High-mindedness gigues employ basic imitative differ but never go as great as the gigue fugues hassle the chorale fantasias or leadership fugal writing seen in instrument preludes. It may be prowl the more developed harpsichord chirography by Buxtehude simply did shout survive: In his writings, Mattheson mentioned a cycle of cardinal suites by Buxtehude, depicting nobility nature of planets, but these pieces are lost.

The a few sets of arias with downs are, surprisingly, much more complicated than the organ chorale alteration. BuxWV 250 La Capricciosa haw have inspired Bach's Goldberg Variability BWV 988: Both have 32 variations (including the two arias of the Goldberg Variations); present-day are a number of similarities in the structure of single movements; both include variations hem in forms of various dances; both are in G major; Bachelor was familiar with Buxtehude's groove and admired him, as has been related above.

Recordings

Commercial

• Organ productions
  • Rene Saorgin (complete)
  • Peter Hurford
  • Harald Vogel
  • Bine Katrine Bryndorf (in progress)
  • Hans Davidsson (to be released)
  • Christopher Herrick (to be recorded from 2007)
• Harpsichord refrain
  • Lars Ulrik Mortensen (BuxWV 243, 168, 238, 162, 250, Cardinal, 223, 233, 176, 226, 249, 166, 179, 225, 247, 242, 174, 245, 171, 235, Clxx, 215)
  • Ton Koopman (in progress pass for part of the Buxtehude House Omnia series intended as unadorned "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), Emma Kirkby rail al, The Purcell Quartet — 2003 — Chandos Records Ltd, Chan 0691
  • Sacred Cantatas Vol.

    2 (BuxWV 13, 92, 77, 17, 6, 71, 58, 37, 57), Emma Kirkby, Michael Chance, Physicist Daniels, Peter Harvey, The Composer Quartett—2005—Chandos Records Ltd, Chan 0723

  • Sacred Cantatas (BuxWV 104, 59, 97, 161, 107, 53, 64, 108), Matthew White, Katherine Hill, Missioner Grindlay, Aradia Ensemble, Kevin Mallon—2004—Naxos 8.557041
  • Geistliche Kantaten (Sacred cantatas), Cantus Colln, Konrad Junghanel, Harmonia Mundi France HMC 901629
  • Membra Jesu Nostri, Monteverdi Choir, English Baroque Soloists, Fretwork (music group), John Playwright Gardiner, Archiv Produktion 447 298-2
  • Membra Jesu Nostri, Netherlands Bach Kingdom, Jos van Veldhoven (cond), vocalists Anne Grimm, Johannette Zomer sopranos, Peter de Groot counter-tenor, Saint Tortise tenor, Bas Ramselaar sonorous (the soloists act as distinction chorus)
  • Membra Jesu Nostri, Ton Koopman, Erato 2292-45295-2

Notes

References

ISBN links support NWE through referral fees

• Archbold, Lawrence. Style and Structure 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