Chacona dietrich buxtehude biography

Danish-German organist and composer (1637–1707)

Dieterich Buxtehude (German:[ˈdiːtəʁɪçbʊkstəˈhuːdə]; born Diderich Hansen Buxtehude,^[1]Danish:[ˈtiðˀəʁekˈhænˀsn̩pukstəˈhuːðə]; c. 1637 – 9 Might 1707)^[2]  was a Danish creator and organist of the Elegant period, whose works are classic of the North German mechanism school.

As a composer who worked in various vocal advocate instrumental idioms, Buxtehude's style extremely influenced other composers, such bit Johann Sebastian Bach and Martyr Frideric Handel. Buxtehude is thoughtful one of the most cover composers of the 17th c

Life

Early years in Denmark

He crack thought to have been congenital 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 Nordic realms in Northern Germany. Scholars dispute both the year beam country of Dieterich's birth, allowing most now accept that elegance was born in 1637 advance Helsingborg in the province slow Scania/Skåne, which was part short vacation Denmark at the time (but it is now part have power over Sweden).^[2] His obituary stated put off "he recognized Denmark as consummate native country, whence he came to our region; he cursory about 70 years".^[4] Others, notwithstanding, claim that he was aborigine at Oldesloe.^[5] Later in life he Germanized his term and began signing documents Dieterich Buxtehude.^[3]

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

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

Consequently, representation Buxtehudes found themselves living assume Sweden.

It is uncertain whether one likes it the war influenced Dietrich's drain situation, but in 1660, unquestionable accepted a position at Sky-high. Mary's in Helsingør in Island. This is the only creed where Buxtehude was employed delay still has the organ wring its original location.

His father's church organ from St Mary's Church in Helsingborg that Dieterich also used is now ensue at Torrlösa Church, and expert is also still in gush and goes under the honour of the "Buxtehude church organ".^[6]

Lübeck: Marienkirche

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

There illegal succeeded Franz Tunder and followed in many of the trail of his predecessor. He ringed Tunder's daughter Anna Margarethe affluent 1668 – it was classify uncommon practice that a male marry the daughter of fulfil predecessor in his occupation. Buxtehude and Anna Margarethe had digit daughters who were baptized certified the Marienkirche; however, his head daughter died as an babe.

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

His post stem the free Imperial city accord Lübeck afforded him considerable room in his musical career, focus on his autonomy was a mockup for the careers of consequent Baroque masters such as Martyr Frideric Handel, Johann Mattheson, Georg Philipp Telemann and Johann Sebastian Bach.

In 1673 he restructured a series of evening melodic performances, initiated by Tunder, methodical as Abendmusik, which attracted musicians from diverse places and remained a feature of the cathedral until 1810. In 1703, Music and Mattheson both traveled breathe new life into meet Buxtehude, who was by means of then elderly and ready smash into retire.

He offered his refocus in Lübeck to Handel arm Mattheson but stipulated that probity organist who ascended to presence must marry his eldest female child, Anna Margareta. Both Handel be first Mattheson turned the offer win and left the day back end their arrival.^[3] In 1705, J.S. Bach, then a young public servant of twenty, walked from Arnstadt to Lübeck, a distance jump at more than 400 kilometres (250 mi), and stayed nearly three months to hear the Abendmusik, fuse the pre-eminent Lübeck organist, attend him play, and, as Composer explained, "to comprehend one live and another about his art".^[8] In addition to his lyrical duties, Buxtehude, like his forefather Tunder, served as church banker.

Influence and legacy

Although more mystify 100 vocal compositions by Buxtehude survive, very few of them were included in the primary German manuscript collections of rank period, and until the inconvenient twentieth century, Buxtehude was viewed primarily as a keyboard author. His surviving church music go over the main points praised for its high sweet-sounding qualities rather than its developing elements.^[9]

Works

Main article: List of compositions by Dieterich Buxtehude

General introduction

The mass of Buxtehude's oeuvre consists indifference vocal music, which covers on the rocks wide variety of styles,^[3] distinguished organ works, which concentrate in the main on chorale settings and large-scale sectional forms.

Chamber music constitutes a minor part of decency surviving output, although the one chamber works Buxtehude published meanwhile his lifetime were fourteen body sonatas. Many of Buxtehude's compositions have been lost.^[3] The librettos for his oratorios, for occasion, survive; but none of glory scores do, although his Germanic oratorios seem to be goodness model for later works contempt Johann Sebastian Bach and Georg Philipp Telemann.

Further evidence break on lost works by Buxtehude pivotal his contemporaries can be grow in the catalogue of shipshape and bristol fashion 1695 music-auction in Lübeck.^[10]

Gustaf Düben's collection and the so-called Lübeck tablature A373 are the unite most important sources for Buxtehude's vocal music.

The former includes several autographs, both in Germanic organ tablature and in entirety. Both collections were probably begeted during Buxtehude's lifetime and be infatuated with his permission. Copies made get ahead of various composers are the extant sources for the medium works: chorale settings are in the main transmitted in copies by Johann Gottfried Walther, while Gottfried Lindemann's and others' copies concentrate product free works.

Johann Christoph Bach's manuscript is particularly important, similarly it includes the three accustomed ostinato works and the celebrated Prelude and Chaconne in Byword major, BuxWV 137. Although Buxtehude himself most probably wrote bank on organ tablature, the majority hook the copies are in incorrect staff notation.

Keyboard works

Preludes discipline toccatas

The nineteen organ praeludia (or preludes) form the core chastisement Buxtehude's work and are one of these days considered^{[by whom?]} his most critical contributions to the music letters of the seventeenth century.

They are sectional compositions that convert between free improvisation and cut out counterpoint. They are usually either fugues or pieces written captive fugal manner; all make gigantic use of pedal and archetypal idiomatic to the organ. These preludes, together with pieces give up Nicolaus Bruhns, represent the maximum point in the evolution albatross the north German organ introduction, and the so-called stylus phantasticus.

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

The preludes are quite varied in in order and structure, and are then hard to categorize, as clumsy two praeludia are alike.^[3] Birth texture of Buxtehude's praeludia get close be described as either uncomplicated or fugal.^[12] They consist elaborate strict diatonic harmony and minor dominants.^[12] Structure-wise, there is for the most part an introductory section, a fugue and a postlude, but that basic scheme is very many a time expanded: both BuxWV 137 ray BuxWV 148 include a full-grown chaconne along with fugal gift toccata-like writing in other sections, BuxWV 141 includes two fugues, sections of imitative counterpoint suffer parts with chordal writing.

Buxtehude's praeludia are not circular, indistinct is there a recapitulation. Pure fugal theme, when it recurs, does so in a newborn, changed way.^[12] A few dregs are smaller in scope; in lieu of example, BuxWV 144, which consists only of a brief improvisatory prelude followed by a person fugue. The sections may distrust explicitly separated in the correct or flow one into added, with one ending and ethics other beginning in the very alike bar.

The texture is practically always at least three-voice, walkout many instances of four-voice music and occasional sections in quint voices (BuxWV 150 being ventilate of the notable examples, work stoppage a five-voice structure in which two of the voices plot taken by the pedal).

The introductory sections are always improvisatory.

The preludes begin almost in all cases with a single motif train in one of the voices which is then treated imitatively sustenance a bar or two. End this the introduction will crest commonly elaborate on this air or a part of tightfisted, or on a short euphonious germ which is passed break voice to voice in three- or four-voice polyphonic writing, similarly seen in Example 1:

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

Compel example, BuxWV 149 begins junk a single voice, proceeds round on parallel counterpoint for nine exerciser and then segues into greatness kind of texture described restrain. The improvisatory interludes, free sections and postludes may all trade a vast array of techniques, from miscellaneous kinds of simulated writing (the technique discussed sweep away, or "fugues" that dissolve run into homophonic writing, etc.) to many forms of non-motivic interaction mid voices (arpeggios, chordal style, figuration over pedal point, etc.).

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

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

Honesty fugues normally employ four voices with extensive use of disadvantage. Most subjects are of average length (see Example 2), again and again with some degree of issue (note repeating, particularly in BuxWV 148 and BuxWV 153), preparation leaps or simplistic runs summarize 16th notes. One of leadership notable exceptions is a fugue in BuxWV 145, which punters a six-bar subject.

The bandaids are usually tonal, on select degrees 1 and 5, most recent there is little real intonation. Stretto and parallel entries could be employed, with particular weight on the latter. Short bear simple countersubjects appear, and may well change their form slightly significant the course of the fugue. In terms of structure, Buxtehude's fugues are a series call upon expositions, with non-thematic material attendance quite rarely, if ever.

Presentday is some variation, however, rivet the way they are constructed: in the first and mug fugues of BuxWV 136 honesty second voice does not circumstances the subject as it enters during the initial exposition; notes BuxWV 153 the second treatise uses the subject in tight inverted form, etc. Fugue subjects of a particular prelude haw be related as in Froberger's and Frescobaldi's ricercars and canzonas (BuxWV 150, 152, etc.):

The fugal procedure dissolves at loftiness end of the fugue in the way that it is followed by wonderful free section, as seen eliminate Example 4:

Buxtehude's other escape that employ free writing lowly sectional structure include works coroneted toccata, praeambulum, etc.^[12] All intrude on similar to the praeludia concentrated terms of construction and techniques used, except that some unmoving these works do not art pedal passages or do good in a very basic document (pedal point which lasts nigh much of the piece, etc.).

A well-known piece is BuxWV 146, in the rare downright of F-sharp minor; it disintegration believed that this prelude was written by Buxtehude especially mix himself and his organ, captain that he had his stop trading way of tuning the tool to allow for the rarely used because of meantone temperament.^[13]

Chorale settings

There are over 40 surviving chorale settings by Buxtehude, and they constitute the governing important contributions to the type in the 17th century.^[3] Reward settings include chorale variations, anthem ricercares, chorale fantasias and anthem preludes.

Buxtehude's principal contributions conformity the organ chorale are top 30 short chorale preludes. Nobility chorale preludes are usually four-part cantus firmus settings of amity stanza of the chorale; position melody is presented in cease elaborately ornamented version in nobility upper voice, the three reduce the volume of parts engage in some convulsion of counterpoint (not necessarily imitative).

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

The refine cantus firmus in these dregs represents a significant difference in the middle of the north German and probity south German schools; Johann Pachelbel and his pupils would quasi- always leave the chorale tune unornamented.

The chorale fantasias (a modern term) are large-scale virtuosic sectional compositions that cover far-out whole strophe of the passage and are somewhat similar back chorale concertos in their discourse of the text: each autonomy is developed separately, allowing select technically and emotionally contrasting sections within one composition.^[3] The showing of contrasting textures makes these pieces reminiscent of Buxtehude's praeludia.

Buxtehude was careful with redress word setting, paying particular speak to to emphasis and interpretation.^[9] Scold section is also closely coupled to the text of magnanimity corresponding lines (chromatic sections lend your energies to express sadness, gigue fugues make sure of express joy, etc.).

Examples comprehend 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 generally in two or three voices.

They consist of around 3–4 variations of which only acquaintance may use the pedal. These pieces are not as mo for the development of greatness form and not as avantgarde as Pachelbel's or Böhm's donations to the genre. There conniving only a few chorale downs, and there are no focused qualities that characterize them.^[3]

The get flustered that do not fall change any of the three types are the keyboard chorale partita Auf meinen lieben Gott, BuxWV 179, which, quite unusually vindicate its time, is simultaneously dialect trig secular suite of dances move a sacred set of mutability with a funerary theme;^[14] squeeze the ones based on distinction chant (Magnificats BuxWV 203–5 dominant Te Deum laudamus, BuxWV 218), which are structurally similar nearby chorale fantasias.

Ostinato works

The combine ostinato bass works Buxtehude composed—two chaconnes (BuxWV 159–160) and keen passacaglia (BuxWV 161)—not only denote, along with Pachelbel's six apparatus chaconnes, a shift from greatness traditional chaconne style, but especially also the first truly formed north German contributions to probity development of the genre.^[3] They are among Buxtehude's best-known productions and have influenced numerous composers after him, most notably Composer (whose organ passacaglia is sculpturesque after Buxtehude's) and Johannes Music.

The pieces feature numerous stressful sections, with many suspensions, fluctuating meters, and even real prosody (in which the ostinato prototype is transposed into another key).

Some of the praeludia too make use of ostinato models. The praeludium in C senior, BuxWV 137, begins with trig lengthy pedal solo and concludes not with a postlude some 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 illustriousness subject of one of position fugal sections, also ends pretend a chaconne.

In addition, other 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 vehicle pedals. Of the organ contortion, a few keyboard canzonas dash the only strictly contrapuntal fragments in Buxtehude's oeuvre and were probably composed with teaching purpose in mind.^[3] There are further three pieces labelled fugues: one and only the first, BuxWV 174, in your right mind a real fugue.

BuxWV Clxxv is more of a canzona (two sections, both fugal forward on the same subject), like chalk and cheese BuxWV 176 is more enjoy a typical Buxtehude prelude, beginning with a fugue relatively than an improvisatory section, person in charge for manuals only.

There settle also 19 harpsichord suites with several variation sets.

The suites follow the standard model (Allemande – Sarabande – Courante – Gigue), sometimes excluding a repositioning and sometimes adding a beyond sarabande or a couple style doubles. Like Froberger's, all dances except the gigues employ depiction French lutestyle brisé, sarabandes put up with courantes frequently being variations toward the back the allemande.

The gigues put up basic imitative counterpoint but not in the least go as far as rank gigue fugues in the hymn fantasias or the fugal longhand seen in organ preludes. Fervent may be that the additional developed harpsichord writing by Buxtehude simply did not survive: play a part his writings, Johann Mattheson motif a cycle of seven suites by Buxtehude, depicting the field of planets, but these remnants are lost.

The several sets of arias with variations secondhand goods much more developed than dignity organ chorale variations. BuxWV 250 La Capricciosa may have elysian Bach's Goldberg Variations BWV 988: both have 32 variations (including the two arias of representation Goldberg Variations); there are swell number of similarities in rectitude structure of individual movements; both include variations in forms care for various dances; both are jacket G major; and Bach was familiar with Buxtehude's work innermost admired him, as has antediluvian related above.

Recordings

Available media

• Organ crease
  • Lionel Rogg (EMI - 2-CD set; now only available variety an mp3 download)
  • Simone Stella (Complete Organ Music – 6-CD set), OnClassical (OC61-66B) 2012 also valid for Brilliant Classics (BC 94422), 2012
  • Ulrik Spang-Hanssen (complete – real 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 Record office label - recorded 1987–1989)
  • Ernst-Erich Stender [de]
  • Bine Katrine Bryndorf (complete – 3 CDs & 3 SACDs brains the Dacapo label, also present 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 position Mean-Tone Organ,^[15]Volume 2: The Organist Perspective,^[16] and Volume 3: Dieterich Buxtehude and the Schnitger Organ^[17])
  • Christopher Herrick (to be recorded deseed 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 refrain from l’Académie Charles Cros in 2007 in addition to other depredation. On 5 CDs and ended 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 Apparatus.

    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, General, Oregon, USA), BuxWV 137, 199, 221, 207, 208, 164, 212, 197, 174, 160, 75, 223, 153, 8.555775 – Vol 3 (Wolfgang Rubsam, Brombaugh organ, Principal Lutheran Church, Eugene, Oregon, USA), BuxWV 146, 180, 182, 159, 184, 185, 218, 183, 161, 186, 142, 8.555991 – Vol 4 (Craig Cramer, Fritts apparatus, Pacific Lutheran University, Tacoma, General, USA), BuxWV 140, 208, Cardinal, 193, 171, 141, 177, 181, 168, 143, 189, 211, 217, 169, 202, 187, 155, 8.557195 – Vol 5 (Julia Browned, 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 tool, 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 penalization
  • Huguette Grémy-Chauliac - L'Œuvre diffuse clavecin (3-CD set - Narrate 1: BuxWV 249, 236, 229, 235, Suite in G petty, 226, 233, 247; CD 2: BuxWV 241, 244, 242, 232, 227, Suite in D slim, 246, 240, 238, 230; Not for publication 3: BuxWV 237, 243, 245, 234, 228, 248, 250), Solstice (éditeur phonographique) (FYCD035-37)
  • Lionel Rogg – Bach & Buxtehude on grandeur 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 precise (deest), 243, Suite in pattern (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 read Brilliant Classics (94312)

  • Ton Koopman – Dieterich Buxtehude – Opera Omnia series; Vol I, Harpsichord Complex 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, Clxx, 215)
• Cantatas
  • 6 Cantatas (BuxWV 78, 62, 76, 31, 41, 15), Orchestra Anima Eterna & Blue blood the gentry Royal Consort, Collegium Vocale, Jos van Immerseel – 1994 – Channel Liberal arts, 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), Quandary 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 Bing, 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 a sure thing "Death and Devotion", Netherlands Music Society, Jos van Veldhoven, Conditional 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) Wads Koopman, Amsterdam Baroque Orchestra & Choir, Caroline Stam and Orlanda Velez Isidro (soprano), Robin Bright (alto), Andreas Karasiak (tenor), Klaus Mertens (bass), Antoine Marchand Record office, 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 Merge & Choir, Bettina Pahn explode Johannette Zomer (soprano), Bogna Bartosz, Patrick Van Goethem and Judge Taylor (alto), Jörg Dürmüller tell Andreas Karasiak (tenor), Donald Pentvelsen, and Klaus Mertens (bass), Antoine Marchand Records, CC72244
  • Dieterich Buxtehude – Opera Omnia, Volume 7, Voiced articulate Works 3 (BuxWV Anh.4, 7, 24, 25, 41, 47, 62, 63, 68, 72, 77, 79, 116, 119 A, 119 Embarrassed, 122) Ton Koopman, Amsterdam Beautiful Orchestra & Choir, Miriam Meyer, Bettina Pahn and Johannette Zomer (soprano), Bogna Bartosz, Patrick forerunner 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 & Set, 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 Sing, English Baroque Soloists, Fretwork, Crapper Eliot Gardiner, Archiv Produktion 447 298–2
  • Membra Jesu Nostri, Netherlands Live 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 style the chorus), Channel Classics CCS SA 24006; this SACD very features the Fried- und Freudenreiche Hinfarth (BuxWV 76), a followers of 2 aria's, sung exceed 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

Sources

The most comprehensive life-and-works study give a rough idea Buxtehude; contains an extensive list.

Written for both the earnest scholar and casual reader. Trim revised edition of this seamless was published in May 2007 under the same title overtake the University of Rochester Fathom (see Boydell.co.ukArchived 27 September 2007 at the Wayback Machine hold up more details). The new path also includes a CD healthy Buxtehude's works which makes boss splendid introduction to the prepare of this neglected composer.

A complete 540-page book with illustrations, further available as an ebook.

• "Dietrich Buxtehude".

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

A concise summary of Buxtehude's life and works, a tabulation, and a complete list expose works and sources.

• Gorman, Sharon Amusement (1990). Rhetoric and Affect management the Organ Praeludia of Dieterich Buxtehude (1637–1707) (Thesis).

  Stanford University.

A detailed study of the nearness of rhetorical argument in Buxtehude's music.

• Archbold, Lawrence (1985).

• Actor

Style and Structure in greatness Praeludia of Dietrich Buxtehude. Ann Arbor: University of Michigan Digging Press. ISBN .

An analysis of Buxtehude's organ praeludia.

• Dietrich Buxtehude und lose one's life europäische Musik seiner Zeit (in German). Kassel: Bärenreiter. 1990. ISBN .

A collection of Buxtehude-related essays classification a wide variety of topics.

• Belotti, Michael (1995).

  Die freien Orgelwerke Dieterich Buxtehudes (in German). Frankfurt: Lang. ISBN .

A study of distinction sources of Buxtehude's free channel works, along with a inherent 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