Luetje buxtehude biography

Johann Christoph Bach 's manuscript is particularly important, as it includes the three known ostinato works and the famous Prelude and Chaconne in C major, BuxWV Although Buxtehude himself most probably wrote in organ tablature, the majority of the copies are in standard staff notation. The nineteen organ praeludia or preludes form the core of Buxtehude's work and are ultimately considered [ by whom?

They are sectional compositions that alternate between free improvisation and strict counterpoint. They are usually either fugues or pieces written in fugal manner; all make heavy use of luetje buxtehude biography and are idiomatic to the organ. These preludes, together with pieces by Nicolaus Bruhnsrepresent the highest point in the evolution of the north German organ preludeand the so-called stylus phantasticus.

They were undoubtedly among the influences of J. Bach, whose organ preludes, toccatas and fugues frequently employ similar techniques. The preludes are quite varied in style and structure, and are therefore hard to categorize, as no two praeludia are alike. Buxtehude's praeludia are not circular, nor is there a recapitulation. A fugal theme, when it recurs, does so in a new, changed way.

The sections may be explicitly separated in the score or flow one into another, with one ending and the other beginning in the same bar. The texture is almost always at least three-voice, with many instances of four-voice polyphony and occasional sections in five voices BuxWV being one of the notable examples, with a five-voice structure in which two of the voices are taken by the pedal.

The introductory sections are always improvisatory. The preludes begin almost invariably with a single motif in one of the voices which is then treated imitatively for a bar or two. After this the introduction will most commonly elaborate on this motif or a part of it, or on a short melodic germ which is passed from voice to voice in three- or four-voice polyphonic writing, as seen in Example Occasionally the introduction will engage in parallel 3rds, 6ths, etc.

For example, BuxWV begins with a single voice, proceeds to parallel counterpoint for nine bars and then segues into the kind of texture described above. The improvisatory interludes, free sections and postludes may all employ a vast array of techniques, from miscellaneous kinds of imitative writing the technique discussed above, or "fugues" that dissolve into homophonic writing, etc.

Tempo marks are frequently present: Adagio sections written out in chords of whole- and half-notes, Vivace and Allegro imitative sections, and others. The number of fugues in a prelude varies from one to three, not counting the pseudo-fugal free sections. The fugues normally employ four voices with extensive use of pedal. Most subjects are of medium length see Example 2frequently with some degree of repercussion note repeating, particularly in BuxWV and BuxWVwide leaps or simplistic runs of 16th notes.

One of the notable exceptions is a fugue in BuxWVwhich features a six-bar subject. The answers are usually tonal, on scale degrees 1 and 5, and there is little real modulation. Stretto and parallel entries may be employed, with particular emphasis on the latter. Short and simple countersubjects appear, and may change their form slightly during the course of the fugue.

In terms of structure, Buxtehude's fugues are a series of expositions, with non-thematic material appearing quite rarely, if ever. There is some variation, however, in the way they are constructed: in the first and last fugues of BuxWV the second voice does not state the subject as it enters during the initial exposition; in BuxWV the second exposition uses the subject in its inverted form, etc.

Fugue subjects of a particular prelude may be related as in Froberger 's and Frescobaldi 's ricercars and canzonas BuxWV, etc. The fugal procedure dissolves at the end of the fugue when it is followed by a free section, as seen in Example Buxtehude's other pieces that employ free writing or sectional structure include works titled toccatapraeambulumetc.

A well-known piece is BuxWVin the rare key of F-sharp minor; it is believed that this prelude was written by Buxtehude especially for himself and his organ, and that he had his own way of tuning the instrument to allow for the tonality rarely used because of meantone temperament. There are over 40 surviving chorale settings by Buxtehude, and they constitute the most important contributions to the genre in the 17th century.

Buxtehude's principal contributions to the organ chorale are his 30 short chorale preludes. The chorale preludes are usually four-part luetje buxtehude biography firmus settings of one stanza of the chorale; the melody is presented in an elaborately ornamented version in the upper voice, the three lower parts engage in some form of counterpoint not necessarily imitative.

Most of Buxtehude's chorale settings are in this form. The ornamented cantus firmus in these pieces represents a significant difference between the north German and the south German schools ; Johann Pachelbel and his pupils would almost always leave 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 are somewhat similar to chorale concertos in their treatment of the text: each verse is developed separately, allowing for technically and emotionally contrasting sections within one composition.

Buxtehude was careful with correct word setting, paying particular attention to emphasis and interpretation. Buxtehude's chorale variations are usually in two or three voices. They consist of around 3—4 variations of which only one may use the pedal. There are only a few chorale variations, and there are no distinctive qualities that characterize them.

He was a leader of the North German school of organ composition, with its presupposition of virtuoso technique, and his organ works exerted great influence on Bach's early compositions. Buxtehude's best organ works are those in "free" form, i. His many church cantatas, some based on chorales, others freely composed, are a treasure of concerted church music.

The cantatas, because of the great variety in their music, as well as the finesse with which their texts are set, are possibly even more important historically than his organ works. Bibliography: Published music. Leipzig — Complete Organ Worksed. London — Many cantatas are pub. Buxtehude, Dietrich gale. Learn more about citation styles Citation styles Encyclopedia.

Dietrich Buxtehude gale. Dietrich Buxtehude The organ works and sacred vocal compositions of the Danish composer Dietrich Buxtehude are the culmination of the North German school of composition in the 17th century. Further Reading Buxtehude's importance is discussed in Manfred F. Additional Sources Snyder, Kerala J. Buxtehude, Dietrich oxford. Danish organist and composer.

In reinstated practice of giving ambitious mus. Known as Abendmusiken evening concertsthey were held annually on the 5 Sundays before Christmas. Such was Buxtehude's fame that J. Bach walked miles from Arnstadt to hear him play. His vocal music, most of it to sacred texts, is as important as his organ works. He wrote 20 cantatas, of which the cycle of seven, Membra Jesu Nostri is highly regarded; his other vocal comps.

His arias suggest the influence of Monteverdi, with a strong preference for strophic form over the da capo aria. More From encyclopedia. About this article Dietrich Buxtehude All Sources. Updated Aug 13 About encyclopedia. Dietl's crisis. Dietitian and Nutritionist. Diethylstilbestrol Diphosphate.

Luetje buxtehude biography

Diethylstilbestrol DES. Dietetic Technician. Dieterlen, Germaine. Dieterich, Michele M. Dieterich, Albrecht. Dietary Trends, International. Dietary Trends, American. Dietary Treatment for Overweight and Obesity. Unfortunately, many of Buxtehude's musical works have been lost. The librettos for his oratorios, for example, survive, but none of their scores have survived, which is particularly unfortunate, because his German oratorios seem to be the model for later works by Bach and Telemann.

Bach preserved some of Buxtehude's organ masterpieces, though, and the publication of two volumes of Buxtehude's chamber sonatas during his lifetime facilitated their transmission through the years. The only surviving portrait of Buxtehude, playing a violfrom Musical Company by Johannes Voorhout Snyder,courtesy of Oxford Music Online. German or Danish composer and organist.

He is best known as a composer of organ music, of which he was one of the most important composers before J. He also left equally impressive repertories of sacred vocal and instrumental ensemble music. Although his family must originally have come from the town of Buxtehude, south-west of Hamburg, his ancestors had settled at Oldesloe now Bad Oldesloe in the Duchy of Holstein early in the 16th century.