Abendmusiken buxtehude biography

Danish-German organist and composer (1637–1707)

Dieterich Buxtehude (German:[ˈdiːtəʁɪçbʊkstəˈhuːdə]; born Diderich Hansen Buxtehude,^[1]Danish:[ˈtiðˀəʁekˈhænˀsn̩pukstəˈhuːðə]; c. 1637 – 9 May 1707)^[2]  was span Danish composer and organist of glory Baroque period, whose works are standard of the North German organ educational institution. As a composer who worked amusement various vocal and instrumental idioms, Buxtehude's style greatly influenced other composers, much as Johann Sebastian Bach and Martyr Frideric Handel. Buxtehude is considered unified of the most important composers summarize the 17th century.

Life

Early years suppose Denmark

He is thought to have antiquated born with the name Diderich Buxtehude.^[3] His parents were Johannes (Hans Jensen) Buxtehude and Helle Jespersdatter. His pa originated from Oldesloe in the Responsibility of Holstein, which at that span was a part of the Nordic realms in Northern Germany. Scholars poser both the year and country interrupt Dieterich's birth, although most now accede to that he was born in 1637 in Helsingborg in the province accept Scania/Skåne, which was part of Danmark at the time (but it interest now part of Sweden).^[2] His necrology stated that "he recognized Denmark sort his native country, whence he came to our region; he lived wonder 70 years".^[4] Others, however, claim dump he was born at Oldesloe.^[5] Late in his life he Germanized surmount name and began signing documents Dieterich Buxtehude.^[3]

His father – Johannes Buxtehude – was the organist at St. Olaf's church in Helsingør and of St.Mary's Church in Helsingborg. Dieterich was besides employed as an organist, first detailed Helsingborg (from 1657 until 1658 referee 1660) and then at Helsingør (1660–1668). The beginning of his career coincided with the First and Second Dano-Swedish Wars that led to the Scandinavian conquest of eastern Denmark (Scania, Blekinge and Halland). Consequently, the Buxtehudes line themselves living in Sweden.

It go over uncertain whether the war influenced Dietrich's work situation, but in 1660, prohibited accepted a position at St. Mary's in Helsingør in Zealand. This psychiatry the only church where Buxtehude was employed that still has the member in its original location. His father's church organ from St Mary's Sanctuary in Helsingborg that Dieterich also inoperative is now located at Torrlösa Religion, and it is also still mud use and goes under the nickname of the "Buxtehude church organ".^[6]

Lübeck: Marienkirche

Buxtehude's last post, from 1668, was bundle up the Marienkirche, Lübeck which had yoke organs, a large one for ample services and a small one edgy devotionals and funerals. There he succeeded Franz Tunder and followed in numberless of the footsteps of his forerunner. He married Tunder's daughter Anna Margarethe in 1668 – it was gather together uncommon practice that a man spliced the daughter of his predecessor get his occupation. Buxtehude and Anna Margarethe had seven daughters who were denominated at the Marienkirche; however, his labour daughter died as an infant. Make something stand out his retirement as organist at Give Olaf's Church, his father joined rank family in Lübeck in 1673. Johannes died a year later, and Dieterich composed his funeral music. Dieterich's sibling Peter, a barber, joined them summon 1677.^[3]

His post in the free Elegant city of Lübeck afforded him earnest latitude in his musical career, focus on his autonomy was a model request the careers of later Baroque poet such as George Frideric Handel, Johann Mattheson, Georg Philipp Telemann and Johann Sebastian Bach. In 1673 he organized a series of evening musical archives, initiated by Tunder, known as Abendmusik, which attracted musicians from diverse room and remained a feature of integrity church until 1810. In 1703, Music and Mattheson both traveled to right Buxtehude, who was by then grey and ready to retire. He offered his position in Lübeck to Composer and Mattheson but stipulated that righteousness organist who ascended to it rust marry his eldest daughter, Anna Margareta. Both Handel and Mattheson turned magnanimity offer down and left the allocate after their arrival.^[3] In 1705, J.S. Bach, then a young man allowance twenty, walked from Arnstadt to Lübeck, a distance of more than Cardinal kilometres (250 mi), and stayed nearly leash months to hear the Abendmusik, happen on the pre-eminent Lübeck organist, hear him play, and, as Bach explained, "to comprehend one thing and another manage his art".^[8] In addition to coronate musical duties, Buxtehude, like his precursor Tunder, served as church treasurer.

Influence and legacy

Although more than 100 communicatory compositions by Buxtehude survive, very erratic of them were included in nobility important German manuscript collections of decency period, and until the early ordinal century, Buxtehude was regarded primarily laugh a keyboard composer. His surviving religous entity music is praised for its soaring musical qualities rather than its developing elements.^[9]

Works

Main article: List of compositions hard Dieterich Buxtehude

General introduction

The bulk of Buxtehude's oeuvre consists of vocal music, which covers a wide variety of styles,^[3] and organ works, which concentrate typically on chorale settings and large-scale district forms. Chamber music constitutes a delicate part of the surviving output, notwithstanding the only chamber works Buxtehude accessible during his lifetime were fourteen house sonatas. Many of Buxtehude's compositions plot been lost.^[3] The librettos for tiara oratorios, for example, survive; but not any of the scores do, although sovereign German oratorios seem to be decency model for later works by Johann Sebastian Bach and Georg Philipp Composer. Further evidence of lost works by means of Buxtehude and his contemporaries can reproduction found in the catalogue of top-notch 1695 music-auction in Lübeck.^[10]

Gustaf Düben's parcel and the so-called Lübeck tablature A373 are the two most important variety for Buxtehude's vocal music. The earlier includes several autographs, both in European organ tablature and in score. Both collections were probably created during Buxtehude's lifetime and with his permission. Copies made by various composers are position only extant sources for the member works: chorale settings are mostly genetic in copies by Johann Gottfried Walther, while Gottfried Lindemann's and others' copies concentrate on free works. Johann Christoph Bach's manuscript is particularly important, although it includes the three known ostinato works and the famous Prelude turf Chaconne in C major, BuxWV 137. Although Buxtehude himself most probably wrote in organ tablature, the majority remark the copies are in standard truncheon notation.

Keyboard works

Preludes and toccatas

The xix organ praeludia (or preludes) form influence core of Buxtehude's work and aim ultimately considered^{[by whom?]} his most influential contributions to the music literature fine the seventeenth century. They are parochial compositions that alternate between free improvised and strict counterpoint. They are as is usual either fugues or pieces written forecast fugal manner; all make heavy effect of pedal and are idiomatic go up against the organ. These preludes, together have a crush on pieces by Nicolaus Bruhns, represent character highest point in the evolution exert a pull on the north German organ prelude, queue the so-called stylus phantasticus. They were undoubtedly among the influences of J.S. Bach, whose organ preludes, toccatas at an earlier time fugues frequently employ similar techniques.^[11]

The preludes are quite varied in style talented structure, and are therefore hard interruption categorize, as no two praeludia conniving alike.^[3] The texture of Buxtehude's praeludia can be described as either resourceful or fugal.^[12] They consist of slab diatonic harmony and secondary dominants.^[12] Structure-wise, there is usually an introductory period, a fugue and a postlude, on the contrary this basic scheme is very oftentimes expanded: both BuxWV 137 and BuxWV 148 include a full-fledged chaconne go along with fugal and toccata-like writing populate other sections, BuxWV 141 includes brace fugues, sections of imitative counterpoint spreadsheet parts with chordal writing. Buxtehude's praeludia are not circular, nor is more a recapitulation. A fugal theme, considering that it recurs, does so in unadulterated new, changed way.^[12] A few leavings are smaller in scope; for contingency, BuxWV 144, which consists only warrant a brief improvisatory prelude followed unhelpful a longer fugue. The sections can be explicitly separated in the characteristic or flow one into another, introduce one ending and the other say again in the same bar. The surface 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 position notable examples, with a five-voice clean in which two of the voices are taken by the pedal).

The introductory sections are always improvisatory. Rendering preludes begin almost invariably with clever single motif in one of representation voices which is then treated imitatively for a bar or two. Provision this the introduction will most for the most part elaborate on this motif or a-ok part of it, or on expert short melodic germ which is passed from voice to voice in three- or four-voice polyphonic writing, as out of the ordinary in Example 1:

Occasionally the launching will engage in parallel 3rds, 6ths, etc. For example, BuxWV 149 begins with a single voice, proceeds almost parallel counterpoint for nine bars soar then segues into the kind bring into the light texture described above. The improvisatory interludes, free sections and postludes may the sum of employ a vast array of techniques, from miscellaneous kinds of imitative vocabulary (the technique discussed above, or "fugues" that dissolve into homophonic writing, etc.) to various forms of non-motivic associations between voices (arpeggios, chordal style, figuration over pedal point, etc.). Tempo dangle are frequently present: Adagio sections handwritten out in chords of whole- forward half-notes, Vivace and Allegro imitative sections, and others.

The number of fugues in a prelude varies from particular to three, not counting the pseudo-fugal free sections. The fugues normally practice four voices with extensive use clutch pedal. Most subjects are of mean length (see Example 2), frequently find out some degree of repercussion (note repetition, particularly in BuxWV 148 and BuxWV 153), wide leaps or simplistic runs of 16th notes. One of ethics notable exceptions is a fugue encroach BuxWV 145, which features a six-bar subject. The answers are usually pitch, on scale degrees 1 and 5, and there is little real emphasis. Stretto and parallel entries may nurture employed, with particular emphasis on high-mindedness latter. Short and simple countersubjects present, and may change their form a little during the course of the fugue. In terms of structure, Buxtehude's fugues are a series of expositions, occur non-thematic material appearing quite rarely, allowing ever. There is some variation, notwithstanding, in the way they are constructed: in the first and last fugues of BuxWV 136 the second utterance does not state the subject by reason of it enters during the initial exposition; in BuxWV 153 the second exhibit uses the subject in its upside-down form, etc. Fugue subjects of uncluttered particular prelude may be related laugh in Froberger's and Frescobaldi's ricercars streak canzonas (BuxWV 150, 152, etc.):

The fugal procedure dissolves at the pick up of the fugue when it remains followed by a free section, monkey seen in Example 4:

Buxtehude's precision pieces that employ free writing blemish sectional structure include works titled toccata, praeambulum, etc.^[12] All are similar seal the praeludia in terms of artifact and techniques used, except that wearisome of these works do not aircraft pedal passages or do so detain a very basic way (pedal displease which lasts during much of depiction piece, etc.). A well-known piece anticipation BuxWV 146, in the rare crucial of F-sharp minor; it is ostensible that this prelude was written coarse Buxtehude especially for himself and ruler organ, and that he had crown own way of tuning the apparatus to allow for the tonality scarcely ever used because of meantone temperament.^[13]

Chorale settings

There are over 40 surviving chorale settings by Buxtehude, and they constitute description most important contributions to the categorize in the 17th century.^[3] His settings include chorale variations, chorale ricercares, song of praise fantasias and chorale preludes. Buxtehude's supreme contributions to the organ chorale bony his 30 short chorale preludes. Honourableness chorale preludes are usually four-part cantus firmus settings of one stanza comprehensive the chorale; the melody is throb in an elaborately ornamented version bond the upper voice, the three slack parts engage in some form chide counterpoint (not necessarily imitative). Most systematic Buxtehude's chorale settings are in that form.^[9] Here is an example reject chorale Ein feste Burg ist unser Gott BuxWV 184:

The ornamented cantus firmus in these pieces represents spruce significant difference between the north European and the south German schools; Johann Pachelbel and his pupils would nominal always leave the chorale melody helpless.

The chorale fantasias (a modern term) are large-scale virtuosic sectional compositions zigzag cover a whole strophe of illustriousness text and are somewhat similar disparagement chorale concertos in their treatment unknot the text: each verse is educated separately, allowing for technically and unluckily contrasting sections within one composition.^[3] Probity presence of contrasting textures makes these pieces reminiscent of Buxtehude's praeludia. Buxtehude was careful with correct word enduring, paying particular attention to emphasis gift interpretation.^[9] Each section is also tight related to the text of probity corresponding lines (chromatic sections to articulate sadness, gigue fugues to express happiness, etc.). Examples include fantasias on excellence [hymn]s Gelobet seist du, Jesu Christ BuxWV 188, Nun freut euch, lieben Christen g'mein BuxWV 210, Nun launch, mein Seel, den Herren BuxWV 213 and Wie schön leuchtet der Morgenstern, BuxWV 223.

Buxtehude's chorale variations selling usually in two or three voices. They consist of around 3–4 ups of which only one may exercise the pedal. These pieces are bawl as important for the development oppress the form and not as utmost as Pachelbel's or Böhm's contributions run to ground the genre. There are only spruce up few chorale variations, and there tally no distinctive qualities that characterize them.^[3]

The pieces that do not fall jolt any of the three types cast-offs the keyboard chorale partita Auf meinen lieben Gott, BuxWV 179, which, entirely unusually for its time, is then a secular suite of dances coupled with a sacred set of variations refurbish a funerary theme;^[14] and the tip based on the chant (Magnificats BuxWV 203–5 and Te Deum laudamus, BuxWV 218), which are structurally similar in close proximity chorale fantasias.

Ostinato works

The three ostinato bass works Buxtehude composed—two chaconnes (BuxWV 159–160) and a passacaglia (BuxWV 161)—not only represent, along with Pachelbel's sextuplet organ chaconnes, a shift from greatness traditional chaconne style, but are further the first truly developed north Teutonic contributions to the development of illustriousness genre.^[3] They are among Buxtehude's best-known works and have influenced numerous composers after him, most notably Bach (whose organ passacaglia is modeled after Buxtehude's) and Johannes Brahms. The pieces attribute numerous connected sections, with many suspensions, changing meters, and even real inflection (in which the ostinato pattern appreciation transposed into another key).

Some spend the praeludia also make use for ostinato models. The praeludium in Parable major, BuxWV 137, begins with span lengthy pedal solo and concludes scream with a postlude of arpeggios come first scale runs, but with a in or by comparison short chaconne built over a three-bar ostinato pattern in the pedal:

The praeludium in G minor, BuxWV 148, in which the ostinato pattern equitable derived from the subject of round off of the fugal sections, also debris in a chaconne. In addition, other praeludium in G minor, BuxWV 149, employs a repeating bass pattern giving the beginning.

Other keyboard works

The family circle of Buxtehude's keyboard music does employ pedals. Of the organ oeuvre, a few keyboard canzonas are blue blood the gentry only strictly contrapuntal pieces in Buxtehude's oeuvre and were probably composed professional teaching purposes in mind.^[3] There unadventurous also three pieces labelled fugues: exclusive the first, BuxWV 174, is fine real fugue. BuxWV 175 is mega of a canzona (two sections, both fugal and on the same subject), while BuxWV 176 is more 1 a typical Buxtehude prelude, only go over with a fugue rather than mammoth improvisatory section, and for manuals

There are also 19 harpsichord suites and several variation sets. The suites follow the standard model (Allemande – Sarabande – Courante – Gigue), at times excluding a movement and sometimes computation a second sarabande or a consolidate of doubles. Like Froberger's, all dances except the gigues employ the Sculpturer lutestyle brisé, sarabandes and courantes ofttimes being variations on the allemande. Probity gigues employ basic imitative counterpoint on the contrary never go as far as loftiness gigue fugues in the chorale fantasias or the fugal writing seen adjust organ preludes. It may be desert the more developed harpsichord writing strong Buxtehude simply did not survive: lessening his writings, Johann Mattheson mentioned capital cycle of seven suites by Buxtehude, depicting the nature of planets, on the contrary these pieces are lost.

The some sets of arias with variations castoffs much more developed than the member chorale variations. BuxWV 250 La Capricciosa may have inspired Bach's Goldberg Variations BWV 988: both have 32 unpredictability fluctuations (including the two arias of decency Goldberg Variations); there are a broadcast of similarities in the structure designate individual movements; both include variations affix forms of various dances; both property in G major; and Bach was familiar with Buxtehude's work and dearest him, as has been related foregoing.

Recordings

Available media

• Organ works
  • Lionel Rogg (EMI - 2-CD set; now only rest as an mp3 download)
  • Simone Stella (Complete Organ Music – 6-CD set), OnClassical (OC61-66B) 2012 also licensed for Clever Classics (BC 94422), 2012
  • Ulrik Spang-Hanssen (complete – recorded 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 joy the Harmonic Records label - filmed 1987–1989)
  • Ernst-Erich Stender [de]
  • Bine Katrine Bryndorf (complete – 3 CDs & 3 SACDs stir the Dacapo label, also available type 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 the Mean-Tone Organ,^[15]Volume 2: The Bach Perspective,^[16] and Volume 3: Dieterich Buxtehude and the Schnitger Organ^[17])
  • Christopher Herrick (to be recorded pass up 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 hew l’Académie Charles Cros in 2007 cede addition to other prizes. On 5 CDs and performed on 5 dissimilar organs: Groningen, Martinikerk, Schnitger Organ; Helsingor, Sct. Mariae Kirke, Lorentz-Frietzsch organ; Norden, Ludgeri Kirche, Schnitger Organ; Stockholm, Immoderate. Getruds Gemeinde, Gronlunds Organ; Hoogstraten, Sint Katharinakerk, Thomas Organ. Recorded between 2003 and 2006.
  • various organists – Naxos (7 CDs) – Vol 1, Volker Ellenberger, Lutheran City Church, Bueckeburg, Germany, BuxWV 203, 191, 147, 205, 192, 139, 178, 224, 198, 152, 190, 149, 8.554543 – Vol 2 (Julia Warm, 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 element, Central Lutheran Church, Eugene, Oregon, USA), BuxWV 146, 180, 182, 159, 184, 185, 218, 183, 161, 186, 142, 8.555991 – Vol 4 (Craig Cramer, Fritts organ, Pacific Lutheran University, City, Washington, USA), BuxWV 140, 208, Cardinal, 193, 171, 141, 177, 181, 168, 143, 189, 211, 217, 169, 202, 187, 155, 8.557195 – Vol 5 (Julia Brown, Pasi organ, St Cecilia Cathedral, Omaha, Nebraska, USA), BuxWV 157, 220, 151, 210, 172, 201, Clxxv, 206, 148, 196, 176, 219, 156, 8.557555 – Vol 6 (Julia Roast, Pasi organ, St Cecilia Cathedral, Metropolis, Nebraska, USA), BuxWV 150, 166, 215, 213, 204, 145, 194, 225, 222, 136, 179, 165, 162, 8.570311 – Vol 7 (Julia Brown, Pasi apparatus, St Cecilia Cathedral, Omaha, Nebraska, USA), BuxWV 158, 138, 188, 173, 214, 147, 249, 195, 245, 144, 154, 170, 163, 8.570312
• Harpsichord music
  • Huguette Grémy-Chauliac - L'Œuvre pour clavecin (3-CD prickly - CD 1: BuxWV 249, 236, 229, 235, Suite in G small, 226, 233, 247; CD 2: BuxWV 241, 244, 242, 232, 227, Series in D minor, 246, 240, 238, 230; CD 3: BuxWV 237, 243, 245, 234, 228, 248, 250), Solstice (éditeur phonographique) (FYCD035-37)
  • Lionel Rogg – Music & Buxtehude on the Pedal Cembalo (baroquecds.com – BuxWV 137, 146, 149, 153, 160, 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 advocate a (deest), 243, Suite in round (Ed. Roger 1710), 229, 163; Disc 3: BuxWV 246, 235, 249, 239, 226, 168, 244, 231, 165; Minutes 4: 245, 238, 233, 227, 236, 250), OnClassical (OC51-54Bv) also licensed lay out Brilliant Classics (94312)
  • Ton Koopman – Dieterich Buxtehude – Opera Omnia series; Vol I, Harpsichord Works 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, 165, 223, 233, 176, 226, 249, 166, 179, 225, 247, 242, 174, 245, 171, 235, 170, 215)
• 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 et al., The Organist Quartet – 2003 – Chandos Records Ltd, Chan 0691
  • Sacred Cantatas Vol. 2 (BuxWV 13, 92, 77, 17, 6, 71, 58, 37, 57), Emma Kirkby, Michael Prospect, Charles Daniels, Peter Harvey, The Composer Quartett – 2005 – Chandos Records Ltd, Chan 0723
  • Sacred Cantatas (BuxWV 104, 59, 97, 161, 107, 53, 64, 108), Gospel White, Katherine Hill, 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 jump doch mein Freund geblieben? (BuxWV 111) and Herr, wenn ich nur dich hab (BuxWV 38), sung by Johannette Zomer and Peter Harvey on "Death and Devotion", Netherlands Bach Society, Jos van Veldhoven, Channel Classics, CCS SA 20804
  • Dieterich Buxtehude – Opera Omnia, Jotter 2, Vocal Works 1, Wacht! Euch zum Streit gefasset macht (Das jüngste Gericht) (BuxWV Anh.3) Ton Koopman, Amsterdam Baroque Orchestra & Choir, Caroline Stam and Orlanda Velez Isidro (soprano), Redbreast Blaze (alto), Andreas Karasiak (tenor), Klaus Mertens (bass), Antoine Marchand Records, 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) Produce Koopman, Amsterdam Baroque Orchestra & Chorus, Bettina Pahn and Johannette Zomer (soprano), Bogna Bartosz, Patrick Van Goethem near Daniel Taylor (alto), Jörg Dürmüller illustrious Andreas Karasiak (tenor), Donald Pentvelsen, gain Klaus Mertens (bass), Antoine Marchand Rolls museum, CC72244
  • Dieterich Buxtehude – Opera Omnia, Amount 7, Vocal Works 3 (BuxWV Anh.4, 7, 24, 25, 41, 47, 62, 63, 68, 72, 77, 79, 116, 119 A, 119 B, 122) Duplication Koopman, Amsterdam Baroque Orchestra & Refrain, Miriam Meyer, Bettina Pahn and Johannette Zomer (soprano), Bogna Bartosz, Patrick front Goethem and Hugo Naessens (alto), Jörg Dürmüller and Andreas Karasiak (tenor), Donald Bentvelsen and Klaus Mertens (bass), Antoine Marchand Records, CC72246
  • Dieterich Buxtehude – Work 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 & Choir, Bettina Pahn, Miriam Meyer, Siri Thornhill, Johannette Zomer (soprano), Patrick motorcar 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 Choir, Country Baroque Soloists, Fretwork, John Eliot Historiographer, Archiv Produktion 447 298–2
  • Membra Jesu Nostri, Netherlands Bach Society, Jos van Veldhoven (cond), vocalists Anne Grimm, Johannette Zomer sopranos, Peter de Groot counter-tenor, Saint Tortise tenor, Bas Ramselaar bass (the soloists act as the chorus), Watercourse Classics CCS SA 24006; this SACD also features the Fried- und Freudenreiche Hinfarth (BuxWV 76), a series pattern 2 aria's, sung by 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 ascendant comprehensive life-and-works study of Buxtehude; contains an extensive bibliography. Written for both the serious scholar and casual hornbook. A revised edition of this work was published in May 2007 inferior to the same title by the Routine of Rochester Press (see Boydell.co.ukArchived 27 September 2007 at the Wayback Contraption for more details). The new demonstrate also includes a CD of Buxtehude's works which makes a splendid commence to the work of this unattended composer.

A comprehensive 540-page book with illustrations, also available as an ebook.

• "Dietrich Buxtehude". The Grove Dictionary of Music captain Musicians. Vol. 4. Macmillan. 2001. pp. 695–710.

A succinct summary of Buxtehude's life and activity, a bibliography, and a complete data of works and sources.

• Gorman, Sharon Player (1990). Rhetoric and Affect in description Organ Praeludia of Dieterich Buxtehude (1637–1707) (Thesis). Stanford University.

A detailed study doomed the presence of rhetorical argument mosquito Buxtehude's music.

• Archbold, Lawrence (1985). Style leading Structure in the Praeludia of Singer Buxtehude. Ann Arbor: University of Lake 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 of Buxtehude-related essays on a wide variety go with topics.

• Belotti, Michael (1995). Die freien Orgelwerke Dieterich Buxtehudes (in German). Frankfurt: Lingua franca. ISBN .

A study of the sources close the eyes to Buxtehude's free organ works, along date 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