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His organ works represent a central part single buxtehude the standard organ repertoire and are single buxtehude performed at recitals and in church services.

He composed in a wide variety of vocal and instrumental idioms, and his style strongly influenced many composers, including Johann Sebastian Bach. Today, Single buxtehude is considered one of the most important composers in Germany of the mid-Baroque. He is thought to have been born with the name Diderich Buxtehude.

His father originated from Oldesloe in the Single buxtehude of Holsteinwhich at that time was a part of the Danish Monarchy but is now in Germany. Later in his life he Germanized his name and began signing documents Dieterich Buxtehude. His father — Johannes Buxtehude — was single buxtehude organist at St. There he succeeded Franz Tunder and followed in many of the footsteps of his predecessor. Buxtehude and Anna Margarethe had seven daughters who were baptized at the Marienkirche; however, his first daughter died as single buxtehude infant.

Johannes died a year later, and Dieterich composed single buxtehude funeral music. In he reorganized a series of evening musical performances, initiated by Tunder, known as Abendmusikwhich attracted musicians from diverse places and remained a feature of the church until In go here, Handel and Mattheson both traveled to meet Buxtehude, who was by then elderly and ready single buxtehude retire.

Both Handel and Mattheson turned the offer down and left the day after their arrival. Although more than vocal compositions by Buxtehude survive, very few of them were included the important German manuscript collections of the period, and until the early twentieth century, Buxtehude was regarded primarily as a keyboard composer.

His surviving church music is praised for single buxtehude high musical qualities rather than its progressive elements. Chamber music constitutes a minor part of the surviving output, although the only chamber works Buxtehude published during his lifetime were fourteen chamber sonatas.

The former includes several autographs, both in German organ tablature and in score. Copies made by various composers are the only single buxtehude sources for the organ works: Although Buxtehude himself most probably wrote in organ tablature, the majority of the copies are in standard staff notation.

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 pedal 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 strongest influences of J. Bach, whose organ preludes, toccatas and fugues frequently employ similar techniques. The single buxtehude are quite varied in style and structure, and are therefore hard to categorize, as no two praeludia are alike.

A fugal theme, when it recurs, does so in a new, changed way. The sections may be single buxtehude separated in the score or flow one into another, single buxtehude one ending and the other beginning in the same bar.

The texture is almost always at least three-voice, with many single buxtehude single buxtehude polyphony and occasional sections in five voices BuxWV being one of the notable examples, with five-voice structure in which two of the voices are taken by single buxtehude pedal.

The introductory sections are always improvisatory. The preludes single buxtehude 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 single buxtehude 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 single buxtehude 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 single buxtehude 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 single buxtehude 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 single buxtehude 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. There is some variation, however, in the way they are constructed: The fugal procedure dissolves at the end of single buxtehude fugue when it is followed by a free single buxtehude, as seen in Example A well-known piece is BuxWVin the rare single buxtehude of F-sharp minor; it is believed that this prelude was written single buxtehude Buxtehude especially for himself and his organ, and that he had his own way of single buxtehude 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 single buxtehude 17th century. The chorale preludes are usually four-part single buxtehude firmus settings of one stanza of the chorale; the melody is presented in an elaborately ornamented version single buxtehude the upper voice, the three lower parts engage in some form single buxtehude counterpoint not necessarily imitative.

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: Buxtehude was careful with correct word setting, paying particular attention to emphasis and interpretation.

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.

The pieces that do not fall into any of the three types are Auf meinen lieben Gott BuxWVwhich is, quite unusually for the time, a dance suite based on the chorale, and single buxtehude ones based on the chant Magnificats BuxWV —5 here Te Deum laudamusBuxWVwhich are structurally similar to chorale fantasias.

The pieces feature numerous connected sections, with many suspensions, changing meters, and even real modulation in which the ostinato single buxtehude is transposed into another key.

Some single buxtehude the praeludia also make use of ostinato models. The praeludium in C major, BuxWVbegins with a lengthy pedal solo and concludes not with a postlude of arpeggios and scale runs, but with a comparatively short chaconne single buxtehude over a three-bar ostinato pattern in the pedal:.

The praeludium in G minor, BuxWVin which the ostinato pattern is derived from the subject of one of the fugal sections, also ends in a chaconne. In addition, another praeludium in G minor, BuxWVemploys a repeating bass pattern in the beginning. BuxWV is more of a canzona two sections, both fugal and on the same subjectwhile BuxWV is more like a typical Buxtehude prelude, only beginning with a fugue rather than an improvisatory section, and for manuals only.

There are also 19 single buxtehude suites and several variation sets. The suites follow the standard model Allemande — Sarabande — Courante — Giguesometimes excluding a movement and sometimes adding a second sarabande or a couple of doubles. The gigues single buxtehude basic imitative counterpoint but never go as far as the gigue single buxtehude in the chorale fantasias or the fugal single buxtehude seen in organ preludes.

It may be that the single buxtehude developed harpsichord writing by Buxtehude simply did not survive: The several sets of arias with variations are, surprisingly, much more developed single buxtehude the organ chorale variations. From Wikipedia, the free encyclopedia.

Dieterich Buxtehude The only surviving portrait of Buxtehude, playing a violfrom A musical party by Johannes Voorhout List of compositions by Dieterich Buxtehude. Was frag ich nach der Welt BuxWV Variations on an Aria by Lully Rofilis. Buxtehude -- Variations on an Aria by Lully Rofilis. Played with organ MIDI file. Toccata in F BuxWV Cantate Domino BuxWV Ciaconna in E-moll BuxWV University of Rochester Press, pp.

The Learned Musician New York: Norton and Company, Inc. Oxford University Press, Style and Structure in the Praeludia of Dietrich Buxtehude. UMI Research Press, Retrieved from " https: Dieterich Buxtehude s births deaths 18th-century keyboardists Danish Baroque composers Composers for harpsichord Composers for pipe organ Danish classical composers Danish classical single buxtehude Danish male classical composers German classical composers German classical organists German male classical composers Organ improvisers Organists and composers in the North German tradition People from Helsingborg People from the Duchy of Holstein German Baroque composers.

Views Read Edit View history. In other projects Wikimedia Commons. This page was last edited знаем bazar bekanntschaften tulln воды 6 Decemberat By using this site, you agree to the Terms of Use and Privacy Policy. The only surviving portrait of Buxtehude, playing a violfrom Single buxtehude musical party single buxtehude Johannes Voorhout HelsingborgScaniaDenmark.

A sacred cantata for soprano and bass. Problems playing these files? Wikimedia Commons has media related to Dieterich Buxtehude.

Dieterich Buxtehude

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Petr Eben - Hommage à Dietrich Buxtehude

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Dieterich Buxtehude (German: The preludes begin almost invariably with a single motif in one of the voices which is then treated imitatively for a bar or two.
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Dieterich Buxtehude (German: The preludes begin almost invariably with a single motif in one of the voices which is then treated imitatively for a bar or two.
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