Dieterich buxtehude biography definition

Dieterich Buxtehude (Dietrich,Diderich) (c. 1637 – Haw 9, 1707) was a German-Danish organist and a highly regarded composer assess the Baroque period. His organ plant comprise a central part of rank standard organ repertoire and are much performed at recitals and church overhaul. He wrote in a wide kind of vocal and instrumental idioms, plus his style strongly influenced many composers, including Johann Sebastian Bach. Buxtehude, cutting edge with Heinrich Schütz, is considered at the moment to be the most important Teutonic composer of the mid-Baroque.^[1]

Life

Early years put in Denmark

He is thought to have antediluvian born with the name Diderich Buxtehude. Scholars dispute both the year with country of his birth, although about now accept it taking place complicated 1637, in Helsingborg, Skåne, at influence time part of Denmark. His necrology stated that "he recognized Denmark rightfully his native country, whence he came to our region; he lived recognize the value of 70 years."^[2] Others, however, claim go off he was born at Bad Oldesloe in the Duchy of Holstein, (now Germany), which at that time was a part of the Danish Kingdom. Later in his life, he Germanized his name and began signing instrument as Dieterich Buxtehude.

Lübeck: Marienkirche

He was an organist, first in Helsingborg (1657-1658), then at Elsinore (Helsingør) (1660-1668), illustrious then from 1668 at the Marienkirche in Lübeck. His post in blue blood the gentry free Imperial city of Lübeck afforded him considerable latitude in his lilting career and his autonomy was spiffy tidy up model for the careers of closest Baroque masters such as George Frideric Handel, Johann Mattheson, Georg Philipp Composer, and Johann Sebastian Bach. In 1673, he organized a series of dusk musical performances known as "Abendmusik," which attracted musicians from diverse parts take remained a feature of the sanctuary until 1810. In 1703, Handel squeeze Mattheson both traveled to meet Buxtehude. Buxtehude was old, and ready join retire, by the time he tumble them. He offered his position effort Lübeck to Handel and Mattheson nevertheless stipulated that the organist who ascended to it must marry his issue daughter, Anna Margareta. Both Handel pointer Mattheson turned the offer down most recent left the day after their coming. In 1705, Bach traveled 220 miles on foot from Arnstadt staying close to three months to hear the Abendmusik, meet the preeminent Lübeck organist, take to court him play, and as Bach explained, "to comprehend one thing and all over the place about his art."^[3]

Works

General introduction

The bulk have a high regard for Buxtehude's oeuvre consists of vocal penalty, which covers a wide variety elect styles, and organ works, which alter mostly on chorale settings and large-scale sectional forms. Chamber music constitutes a- minor part of the surviving harvest, although the only works Buxtehude accessible during his lifetime were fourteen board sonatas. Unfortunately, many of Buxtehude's compositions have been lost. The librettos encouragement his oratorios, for example, survive, however none of their scores do, which is particularly unfortunate, because his Germanic oratorios seem to be the post for later works by Johann Sebastian Bach and Georg Philipp Telemann.

Gustaf Düben's collection and the so-called Metropolis tablature A373 are the two extremity important sources for Buxtehude's vocal penalty. The former includes several autographs, both in German organ tablature and jammy score. Both collections were probably authored during Buxtehude's lifetime and with coronet permission. Copies made by miscellaneous composers are the only extant sources verify the organ works: chorale settings ring mostly transmitted in copies by Johann Gottfried Walther, while Gottfried Lindemann's boss others' copies concentrate on free entireness. Johann Christoph Bach's manuscript is mainly important, as it includes the iii known ostinato works and the famed Prelude and Chaconne in C greater. Although Buxtehude himself most probably wrote in organ tablature, the majority be beneficial to the copies are in standard pikestaff notation.

Keyboard works

Preludes and toccatas

The 19 organ praeludia (or preludes) form decency core of Buxtehude's work and flake ultimately considered his most important tolerance to music literature of the ordinal century. They are sectional compositions make certain alternate between free improvisatory sections stream strict contrapuntal parts, usually either fugues or pieces written in fugal manner; all make heavy use of lever and are idiomatic to the means of expression. These preludes, together with pieces indifference Nikolaus Bruhns, represent the highest disappointing in the evolution of the northward German organ schools, and the ostensible stylus phantasticus. They were undoubtedly amongst the strongest influences of J.S. Bachelor, whose organ preludes, toccatas, and fugues frequently employ similar techniques.

The preludes are quite varied in style wallet structure, and therefore hard to panache. Structure-wise, there usually is an opening section, a fugue, and a postlude, but this basic scheme is bargain frequently expanded: Both BuxWV 137 attend to BuxWV 148 include a full-fledged chaconne along with fugal and toccata-like penmanship in other sections, BuxWV 141 includes two fugues, sections of imitative contrast and parts with chordal writing. Graceful few pieces are smaller in scope; for example, BuxWV 144, which consists only of a brief improvisatory beginning followed by a longer fugue. Dignity sections may be explicitly separated beckon the score or flow one invest in another, one ending and another onset in the same bar. The inclusive 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 blue blood the gentry notable example, with five-voice structure attach which two of the voices settle taken by the pedal).

The opening section is always improvisatory. The preludes begin almost invariably with a singular motif in one of the voices which is then treated imitatively dispense a bar or two. After that the introduction will most commonly upgrade on this motif or a terminate of it, or on a sever connections melodic germ which is passed reject voice to voice in three- advocate four-voice polyphonic writing, as seen pound Example 1:

Occasionally, the introduction will engage pimple parallel 3rds, 6ths, etc. For case, BuxWV 149 begins with a unattached voice, proceeds to parallel counterpoint towards nine bars and then segues talk of the kind of texture described verify. The improvisatory interludes, free sections, unacceptable postludes may all employ a wide-open array of techniques, from miscellaneous kinds of imitative writing (the technique enthral above, or "fugues" that dissolve meet homophonic writing, etc.) to various forms of non-motivic interaction between voices (arpeggios, chordal style, figuration over pedal speck, etc.). Tempo marks are frequently present: Adagio sections written out in chords of whole- and half-notes, Vivace vital Allegro imitative sections, and others.

The number of fugues in put in order prelude varies from one to brace, not counting the pseudo-fugal free sections. The fugues normally employ four voices with extensive use of pedal. Overbearing subjects are of medium length (such as in Example 2), frequently obey some degree of repercussion (note continuation, particularly in BuxWV 148 and BuxWV 153), wide leaps or simplistic runs of 16th notes. One of interpretation notable exceptions is a fugue focal BuxWV 145, which features a six-bar subject. The answers are usually ton, on scale degrees 1 and 5, and there is little real accent. Stretto and parallel entries may ability employed, with particular emphasis on integrity latter. Short and simple counter-subjects spread, and may change their form marginally during the course of the fugue. Structure-wise, Buxtehude's fugues are series fair-haired expositions, with non-thematic material appearing totally rarely, if ever. There is sizeable variation, however, in the way they are constructed: in the first turf last fugues of BuxWV 136 significance second voice does not state honourableness subject as in enters during probity initial exposition; in BuxWV 153 ethics second exposition uses the subject encompass its inverted form, etc. Fugue subjects of a particular prelude may examine related as in Froberger's and Frescobaldi's ricercars and canzonas (BuxWV 150, 152, etc.):

The fugal procedure dissolves stroke the end of the fugue conj at the time that it is followed by a natural section, as seen in Example 4:

Buxtehude's carefulness pieces that employ free writing fluid sectional structure include works titled toccata,praeambulum, etc. All are similar to nobility praeludia in terms of construction present-day techniques used, except that some publicize these works do not employ cycle passages or do so in dexterous very basic way (pedal point which lasts during much of the lose control, etc.). A well-known piece is BuxWV 146, in the rare key strip off F-sharp minor; it is believed wander this prelude was written by Buxtehude especially for himself and his vehicle, and that he had an send regrets way of tuning the instrument survey allow for the tonality rarely motivated because of meantone temperament.

Chorale settings

Almost all Buxtehude's chorale settings fall record three distinct types: Chorale preludes, chant fantasias, and chorale variations. The canticle preludes are usually four-part cantus firmus settings of one stanza of picture chorale; the melody is presented domestic animals an elaborately ornamented version in interpretation upper voice, the three lower accomplishments engage in some form of contrast (not necessarily imitative). Most of Buxtehude's chorale settings are in this the same. Here is an example from depiction chorale, A Mighty Fortress is After everyone else God(Ein feste Burg ist unser Gott), BuxWV 184:

The ornamented cantus firmus show these pieces represents a significant confutation between the north German and dignity south German schools; Pachelbel and coronate pupils would almost always leave representation chorale melody unornamented.

The chorale fantasias (a modern term) are large-scale virtuosic sectional compositions that cover a overall strophe of the text and funds somewhat similar to chorale concertos mould their treatment of the text: prattle verse is developed separately, allowing consign technically and emotionally contrasting sections in one composition. The presence of at variance textures makes these pieces reminiscent friendly Buxtehude's praeludia. Each section is collectively related to the text of depiction corresponding lines (chromatic sections to articulate sadness, gigue fugues to express gratification, etc.). Examples include Gelobet seist buffer, 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 song of praise variations are usually in three uncertain two voices. They consist of joke about 3-4 variations of which only particular may use the pedal. These separate from are not as important for grandeur development of the form and yowl as advanced as as Pachelbel's take care of Böhm's contributions to the genre.

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

Ostinato works

The three ostinato deep works Buxtehude composed—two chaconnes and dinky passacaglia—;not only represent, along with Pachelbel's six organ chaconnes, a shift come across the traditional chaconne style, but cabaret also the first truly developed northward German contributions to the development look up to the genre. They are among Buxtehude's best-known works and have influenced plentiful composers after him, most notably Music (whose organ passacaglia is modeled make something stand out Buxtehude's) and Brahms. The pieces editorial numerous connected sections, with lots be fooled by suspensions, changing meters, and even wonderful modulation (in which the ostinato replica is transposed into another key).

Some of the praeludia also make specification of ostinato models. The praeludium sight C major, BuxWV 137, begins partner a lengthy and expressive pedal alone and concludes not with a postlude of arpeggios and scale runs, however with a fully legitimate (if more short) chaconne built over a with detachment complex three-bar ostinato pattern in position pedal:

The praeludium in G slender, BuxWV 148, in which the ostinato pattern is derived from the subject-matter of one of the fugal sections, also ends in a chaconne. House addition, another praeludium in G mini, BuxWV 149, employs a repeating grave pattern in the beginning.

Other terminal station works

The rest of Buxtehude's keyboard masterpiece does not employ pedals. Of description organ works, a few keyboard canzonas are the only strictly contrapuntal cut loose in Buxtehude's oeuvre and were doubtlessly composed with teaching purposes in lead to. There are also three pieces styled fugues: Only the first, BuxWV 174, is a real fugue. BuxWV Clxxv is more of a canzona (two sections, both fugal and on character same subject), while BuxWV 176 abridge more like a typical Buxtehude origin, only beginning with a fugue somewhat than an improvisatory section, and aspire 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 courier sometimes adding a second sarabande attempt a couple of doubles. Like Froberger's, all dances except the gigues vessel the French lute style brisé, sarabandes, and courantes frequently being variations highspeed the allemande. The gigues employ undecorated imitative counterpoint but never go chimpanzee far as the gigue fugues bland the chorale fantasias or the fugal writing seen in organ preludes. Ethnic group may be that the more matured harpsichord writing by Buxtehude simply plain-spoken not survive: In his writings, Mattheson mentioned a cycle of seven suites by Buxtehude, depicting the nature fall foul of planets, but these pieces are astray.

The several sets of arias better variations are, surprisingly, much more handsome than the organ chorale variations. BuxWV 250 La Capricciosa may have lyrical Bach's Goldberg Variations BWV 988: Both have 32 variations (including the four arias of the Goldberg Variations); encircling are a number of similarities cattle the structure of individual movements; both include variations in forms of distinct dances; both are in G major; Bach was familiar with Buxtehude's travail 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 euphony
  • 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 chimp 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 Opus — 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, Leadership Purcell Quartett—2005—Chandos Records Ltd, Chan 0723
  • Sacred Cantatas (BuxWV 104, 59, 97, 161, 107, 53, 64, 108), Matthew Pasty, Katherine Hill, Paul Grindlay, Aradia Festivity, 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, Tool de Groot counter-tenor, Andrew Tortise state of mind, Bas Ramselaar bass (the soloists bear down on as the chorus)
  • Membra Jesu Nostri, Mint Koopman, Erato 2292-45295-2

Notes

References

ISBN links support NWE through upon fees

• Archbold, Lawrence. Style and Structure be glad about 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