The only surviving portrait of Buxtehude, from a 1674 painting by Johannes Voorhout.

Dieterich Buxtehude (Dietrich, Diderich) (c. 1637 – 9 May 1707) was a German-Danish organist and lutenist, was a highly regarded composer of the Baroque period. Events 1457 BC - Battle of Megiddo (15th century BC between Thutmose III and a large Canaanite coalition under the King of Year 1707 ( MDCCVII) was a Common year starting on Saturday (link will display the full calendar of the Gregorian calendar (or a An organist is a musician who plays any type of organ. An organist may play solo organ works, play with an ensemble or Orchestra, or accompany Lute can refer generally to any plucked string instrument with a neck (either Fretted or unfretted and a deep round back or more specifically to an instrument from Baroque art redirects here Please disambiguate such links to Baroque painting, Baroque sculpture, etc His organ works comprise a central part of the standard organ repertoire and are frequently performed at recitals and church services. The organ repertoire consists of Music written for the organ. He wrote in a wide variety of vocal and instrumental idioms, and his style strongly influenced many composers, including Johann Sebastian Bach and Gustav Mahler^[1]. WikipediaWikiProject Composers#Lead section.2 This article is written in British English including maximised use of "-ise" Buxtehude, along with Heinrich Schütz, is considered today to be the most important German composer of the mid-Baroque. Heinrich Schütz (October 8 ( JC) 1585 Köstritz - November 6 1672 Dresden) was a German Composer and organist, generally regarded ^[2]

Life

Early years in Denmark

He is thought to have been born with the name Diderich Buxtehude. Scholars dispute both the year and country of his birth, although most now accept it taking place in 1637 in Helsingborg, Skåne, at the time part of Denmark (but now part of Sweden). Helsingborg (between 1912 and 1971 spelled Hälsingborg) is a city in Scania in the southernmost part of Sweden, which has a population Scania ( in Swedish and Danish) is a geographical region on the southernmost tip of the Scandinavian peninsula, a traditional province ( The Kingdom of Denmark ( ˈd̥ænmɑɡ̊ (archaic ˈd̥anmɑːɡ̊ commonly known as Denmark, is a country in the Scandinavian region of northern Europe "Sverige" redirects here For other uses see Sweden (disambiguation and Sverige (disambiguation. His obituary stated that "he recognized Denmark as his native country, whence he came to our region; he lived about 70 years". ^[3] Others, however, claim that he was born at Oldesloe in the Duchy of Holstein, which at that time was a part of the Danish Monarchy (but is now in Germany). Bad Oldesloe is a town located in the northern German state of Schleswig-Holstein. Holstein (ˈhɔlʃtain ( Low German: Holsteen, Danish: Holsten, Latin and historical English: Holsatia) Germany, officially the Federal Republic of Germany ( ˈbʊndəsʁepuˌbliːk ˈdɔʏtʃlant is a Country in Central Europe. Later in his life he Germanized his name and began signing documents Dieterich Buxtehude.

Lübeck: Marienkirche

He was an organist, first in Helsingborg (1657-1658), then at Elsinore (Helsingør) (1660-1668), and last from 1668 at the Marienkirche in Lübeck, where he succeeded Franz Tunder and married Tunder's daughter Anna Margarethe (1668). Helsingborg (between 1912 and 1971 spelled Hälsingborg) is a city in Scania in the southernmost part of Sweden, which has a population Elsinore redirects here For other places and things named Elsinore see Elsinore (disambiguation. The Protestant Marienkirche ( St Mary's church in Lübeck ( German: Lübecker Marienkirche or officially Marien zu Lübeck Lübeck ( is the second largest City in Schleswig-Holstein, in Northern Germany, and one of the major Franz Tunder (1614 &ndash November 5 1667 was a German Composer and Organist of the early to middle Baroque era His post in the free Imperial city of Lübeck afforded him considerable latitude in his musical career and his autonomy was a model for the careers of later Baroque masters such as George Frideric Handel, Johann Mattheson, Georg Philipp Telemann and Johann Sebastian Bach. Johann Mattheson (September 28 1681 &ndash April 17 1764 was a German composer writer Lexicographer, diplomat Georg Philipp Telemann (March 14 1681 &ndash June 25 1767 was a German Baroque music Composer, born in Magdeburg. WikipediaWikiProject Composers#Lead section.2 This article is written in British English including maximised use of "-ise" In 1673 he reorganized a series of evening musical performances, initiated by Tunder, known as Abendmusik, which attracted musicians from diverse parts and remained a feature of the church until 1810. Abendmusik ( German for "evening music" plural Abendmusiken) is an evening concert usually performed in a church In 1703, Handel and Mattheson both traveled to meet Buxtehude. Year 1703 ( MDCCIII) was a Common year starting on Monday (link will display the full calendar of the Gregorian calendar (or a Common year Buxtehude was old, and ready to retire, by the time he met them. He offered his position in Lübeck to Handel and Mattheson but stipulated that the organist who ascended to it must marry his eldest daughter, Anna Margareta. Both Handel and Mattheson turned the offer down and left the day after their arrival. In 1705, J. Year 1705 ( MDCCV) was a Common year starting on Thursday (link will display the full calendar of the Gregorian calendar (or a S. Bach, then a young man twenty years old, walked from Arnstadt to Lübeck, a distance of more than 400 kilometers, and stayed nearly three months to hear the Abendmusik, meet the pre-eminent Lübeck organist, hear him play, and as Bach explained "to comprehend one thing and another about his art. Arnstadt is a town in Ilm-Kreis, Thuringia, Germany, situated on the Gera River "^[4]

Works

For a complete list of Buxtehude's works, see List of compositions by Dieterich Buxtehude. The Buxtehude-Werke-Verzeichnis ("Buxtehude Works Catalogue" commonly abbreviated to BuxWV) is the catalogue and the numbering system used to identify Musical

General introduction

The bulk of Buxtehude's oeuvre consists of vocal music, which covers a wide variety of styles, and organ works, which concentrate mostly on chorale settings and large-scale sectional forms. Chamber music constitutes a minor part of the surviving output, although the only works Buxtehude published during his lifetime were fourteen chamber sonatas. Unfortunately, many of Buxtehude's compositions have been lost. The librettos for his oratorios, for example, survive, but none of their scores do, which is particularly unfortunate, because his German oratorios seem to be the model for later works by Johann Sebastian Bach and Georg Philipp Telemann. A libretto is the text used in an extended Musical work such as an Opera, Operetta, Masque, sacred or secular Oratorio and An oratorio is a large Musical composition including an Orchestra, a Choir, and soloists The oratorio was somewhat modeled after the Opera WikipediaWikiProject Composers#Lead section.2 This article is written in British English including maximised use of "-ise" Georg Philipp Telemann (March 14 1681 &ndash June 25 1767 was a German Baroque music Composer, born in Magdeburg.

Gustaf Düben's collection and the so-called Lubeck tablature A373 are the two most important sources for Buxtehude's vocal music. Gustaf Düben (also Gustav) (1628 in Stockholm - 1690 in Stockholm was a Swedish Organist and Composer. The former includes several autographs, both in German organ tablature and in score. Organ tablature is a form of Musical notation used by the north German Baroque organ school although there are also forms of organ tablature from other Both collections were probably created during Buxtehude's lifetime and with his permission. Copies made by miscellaneous composers are the only extant sources for the organ works: chorale settings are mostly transmitted in copies by Johann Gottfried Walther, while Gottfried Lindemann's and others' copies concentrate on free works. Johann Gottfried Walther ( September 18, 1684 &ndash March 23, 1748) was a German music theorist, organist, 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 137. Johann Christoph Bach (December 6 1642 &ndash March 31 1703 was a German composer of the Baroque period The Buxtehude-Werke-Verzeichnis ("Buxtehude Works Catalogue" commonly abbreviated to BuxWV) is the catalogue and the numbering system used to identify Musical Although Buxtehude himself most probably wrote in organ tablature, the majority of the copies are in standard staff notation.

Keyboard works

Preludes and toccatas

The 19 organ praeludia (or preludes) form the core of Buxtehude's work and are ultimately considered his most important contributions to music literature of the seventeenth century. As a means of recording the passage of Time, the 17th Century was that Century which lasted from 1601 - 1700 in the Gregorian calendar They are sectional compositions that alternate between free improvisatory sections and strict contrapuntal parts, 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 Nikolaus Bruhns, represent the highest point in the evolution of the north German organ prelude, and the so-called stylus phantasticus. Nicolaus Bruhns ( Nikolaus, Nicholas) (1665 - March 29 1697 was one of the greatest Organists and Composers of his time The 17th century organ composers of Germany can be divided into two primary schools the north German school and the south German school (sometimes a third school The stylus fantasticus is a style of early Baroque music.The root of this music is organ toccatas and fantasias particularly derived from those of Claudio Merulo They were undoubtedly among the strongest influences of JS Bach, whose organ preludes, toccatas and fugues frequently employ similar techniques.

The preludes are quite varied in style and structure, and therefore hard to categorize. Structure-wise, there usually is an introductory section, a fugue and a postlude, but this basic scheme is very frequently expanded: both BuxWV 137 and BuxWV 148 include a full-fledged chaconne along with fugal and toccata-like writing in other sections, BuxWV 141 includes two fugues, sections of imitative counterpoint and parts with chordal writing. A few pieces are smaller in scope; for example, BuxWV 144, which consists only of a brief improvisatory prelude followed by a longer fugue. The sections may be explicitly separated in the score or flow one into another, one ending and another 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 150 being one of the notable example, with five-voice structure in which two of the voices are taken by the pedal).

The introductory section is 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 1:

Example 1. This is the introduction from Prelude in F major, BuxWV 145. The motivic interaction seen here, in which a short motif is passing from one voice to another, sometimes sounding in two voices simultaneously, was frequently employed by Buxtehude in his preludes, frequently expanded to four voices with heavy use of pedal.

Occasionally the introduction will engage in parallel 3rds, 6ths, etc. For example, BuxWV 149 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. ) to various forms of non-motivic interaction between voices (arpeggios, chordal style, figuration over pedal point, etc. In tonal music, a pedal point (also pedal tone pedal note organ point or pedal is a Sustained tone typically in the bass, during which at least one ). Tempo marks are frequently present: Adagio sections written out in chords of whole- and half-notes, Vivace and Allegro imitative sections, and others. 2266-Tetramethylpiperidine-1-oxyl or TEMPO is the Chemical compound with the formula (CH23(CMe22NO

Example 2: Fugue subjects from BuxWV 137, BuxWV 140, BuxWV 142 (two) and BuxWV 153.

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 2), frequently with some degree of repercussion (note repeating, particularly in BuxWV 148 and BuxWV 153), wide leaps or simplistic runs of 16th notes. One of the notable exceptions is a fugue in BuxWV 145, which 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. Structure-wise, Buxtehude's fugues are 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 136 the second voice does not state the subject as in enters during the initial exposition; in BuxWV 153 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 150, 152, etc. Johann Jakob Froberger ( baptized May 19 1616 &ndash May 7 1667 was a German Baroque composer keyboard Virtuoso, and Organist The Frescobaldi Family is a prominent Florentine family that has been involved in the political sociological and economic history of the Tuscany region since the A ricercar (or ricercare recercar; the terms are interchangeable is a type of late Renaissance and mostly early Baroque instrumental composition In music a canzona (also Canzone) was a 16th-century multipart vocal setting of a literary canzone and a 16th - and 17th-century instrumental ):

The fugal procedure dissolves at the end of the fugue when it is followed by a free section, as seen in Example 4:

Example 4. The dissolution of the fugue before a free section. The final entry of the subject (in the pedal) is joined by highest voice engaging in a scale run.

Buxtehude's other pieces that employ free writing or sectional structure include works titled toccata, praeambulum, etc. All are similar to the praeludia in terms of construction and techniques used, except that some of these works do not employ pedal passages or do so in a very basic way (pedal point which lasts during much of the piece, etc. ). A well-known piece is BuxWV 146, in 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 an own way of tuning the instrument to allow for the tonality rarely used because of meantone temperament.

Chorale settings

Almost all Buxtehude's chorale settings fall into three distinct types: chorale preludes, chorale fantasias and chorale variations. The chorale preludes are usually four-part cantus 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). In Music, a cantus firmus ("fixed song" is a pre-existing Melody forming the basis of a polyphonic composition. Most of Buxtehude's chorale settings are in this form. Here is an example from chorale Ein feste Burg ist unser Gott BuxWV 184:

Opening bars of Ein feste Burg ist unser Gott BuxWV 184. " A Mighty Fortress Is Our God " (German Ein' feste Burg ist unser Gott) is the best known of Martin Luther 's Hymns Luther wrote The ornamented chorale in the upper voice is highlighted, original melody for the two lines present here is shown on separate staves. Note the basic imitative lines in bars 6-8 and 13-15.

The ornamented cantus firmus in these pieces represents a significant difference between the north German and the south German schools; Pachelbel and his pupils would almost always leave the chorale melody unornamented. The 17th century organ composers of Germany can be divided into two primary schools the north German school and the south German school (sometimes a third school

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. The presence of contrasting textures makes these pieces reminiscent of Buxtehude's praeludia. Each section is closely related to the text of the corresponding lines (chromatic sections to express sadness, gigue fugues to express joy, etc. ). Examples include 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 usually in two or three voices. They consist of around 3-4 variations of which only one may use the pedal. These pieces are not as important for the development of the form and not as advanced as Pachelbel's or Böhm's contributions to the genre. Georg Böhm ( September 2, 1661 - May 18, 1733) was a German Baroque Organist and Composer.

The pieces that do not fall into any of the three types are Auf meinen lieben Gott BuxWV 179, which is, quite unusually for the time, a dance suite based on the chorale, and the ones based on the chant (Magnificats BuxWV 203-5 and Te Deum laudamus, BuxWV 218), which are structurally similar to chorale fantasias. The Magnificat (also known as the Song of Mary) is a Canticle frequently sung (or spoken liturgically in Christian church services

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 six organ chaconnes, a shift from the traditional chaconne style, but are also the first truly developed north German contributions to the development of the genre. In Music, an Ostinato (derived from Italian: "stubborn" see also Oscillation) is a motif or phrase which is persistently In Music, a chaconne (ʃaˈkɔn Italian: ciaccona) is a Musical form whose primary formal feature involves variation on a repeated A passacaglia is a short usually slow and often grave musical work in any metre Passacaglia in D minor ( BuxWV 161 is an organ work by Dieterich Buxtehude. 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 Brahms. The pieces feature numerous connected sections, with lots of suspensions, changing meters, and even real modulation (in which the ostinato pattern is transposed into another key).

Some of the praeludia also make use of ostinato models. The praeludium in C major, BuxWV 137, begins with a lengthy and expressive pedal solo and concludes not with a postlude of arpeggios and scale runs, but with a fully legitimate (if somewhat short) chaconne built over a fairly complex three-bar ostinato pattern in the pedal:

The praeludium in G minor, BuxWV 148, in 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, BuxWV 149, employs a repeating bass pattern in the beginning.

Other keyboard works

The rest of Buxtehude's keyboard music does not employ pedals. Of the organ works, a few keyboard canzonas are the only strictly contrapuntal pieces in Buxtehude's oeuvre and were probably composed with teaching purposes in mind. There are also three pieces labelled fugues: only the first, BuxWV 174, is a real fugue. BuxWV 175 is more of a canzona (two sections, both fugal and on the same subject), while BuxWV 176 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 harpsichord suites and several variation sets. The suites follow the standard (Allemande - Sarabande - Courante - Gigue) model, sometimes excluding a movement and sometimes adding a second sarabande or a couple of doubles. Like Froberger's, all dances except the gigues employ the French lute style brisé, sarabandes and courantes frequently being variations on the allemande. Lute can refer generally to any plucked string instrument with a neck (either Fretted or unfretted and a deep round back or more specifically to an instrument from The gigues employ basic imitative counterpoint but never go as far as the gigue fugues in the chorale fantasias or the fugal writing seen in organ preludes. It may be that the more developed harpsichord writing by Buxtehude simply did not survive: in his writings, Mattheson mentioned a cycle of seven suites by Buxtehude, depicting the nature of planets, but these pieces are lost.

The several sets of arias with variations are, surprisingly, much more developed than the organ chorale variations. BuxWV 250 La Capricciosa may have inspired Bach's Goldberg Variations BWV 988: both have 32 variations (including the two arias of the Goldberg Variations); there are a number of similarities in the structure of individual movements; both include variations in forms of various dances; both are in G major; Bach was familiar with Buxtehude's work and admired him, as has been related above. The Goldberg Variations, BWV 988 are a set of 30 variations for Harpsichord by Johann Sebastian Bach.

Recordings

Available media

Commercial

• Organ works
  • Ulrik Spang-Hanssen (complete - recorded 1990/93)
  • Rene Saorgin (complete)
  • Michel Chapuis (complete)
  • Peter Hurford
  • David Kinsela
  • Harald Vogel
  • Ernst-Erich Stender
  • Bine Katrine Bryndorf (in progress)
  • Hans Davidsson (to be released)
  • Christopher Herrick (to be recorded from 2007)
  • Ton Koopman (Buxtehude Opera Omnia series; Vol III, Organ works 1 (BuxWV 139, 141, 146, 156, 160, 162, 169, 178, 197, 210, 213, 220) Antoine Marchand Records, CC72242
  • Ton Koopman (Buxtehude Opera Omnia series; Vol IV, Organ works 2 (BuxWV 157, 161, 163, 164, 170, 173-175, 177, 180-182, 184, 188, 211, 217, 223) Antoine Marchand Records, CC72243

• Harpsichord music
  • 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)
  • Ton Koopman (in progress as part of the Buxtehude Opera Omnia series intended as a "Complete Edition"; Vol 1 has been brought out, containing BuxWV 250, 230, 238, 233, 245, 235, 247, 228, 242, 226, 243, 234, 232)

• 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 Purcell Quartet — 2003 — Chandos Records Ltd, Chan 0691
  • Sacred Cantatas Vol. Born in Cannes in 1928 René Saorgin began his musical studies at the Nice Conservatoire and then went to Paris to study composition with Peter Hurford OBE is a British organist born St Cecilia 's day ( November 22) 1930 in Minehead, Somerset. David Kinsela is an Australian Organist and Musicologist who also specialises in ancient instruments like the Clavicytherium and chekker Harald Vogel (* 1941) is a German Organist and one of the leading experts on renaissance and baroque keyboard music Hans Davidsson (1958-) is a Swedish Organist and teacher well known all over the world Christopher Herrick (born 23 May 1942) is an English organist. Ton Koopman (born 12 October 1944 in Zwolle, Netherlands) is a conductor, Organist and Harpsichordist. Ton Koopman (born 12 October 1944 in Zwolle, Netherlands) is a conductor, Organist and Harpsichordist. Rinaldo Alessandrini (born 1960 in Rome) is a virtuoso on Baroque Keyboards, including Harpsichord, Fortepiano, and Lars Ulrik Mortensen is a Danish Harpsichordist and conductor. Ton Koopman (born 12 October 1944 in Zwolle, Netherlands) is a conductor, Organist and Harpsichordist. Collegium Vocale was founded in 1970 one of the top choirs mainly (but not exclusively in the interpretation of the vocal work of J Jos van Immerseel is a Flemish Harpsichordist. Van Immerseel studied organ, Piano and Harpsichord at the Antwerp Conservatory Dame Carolyn Emma Kirkby (b February 26, 1949) is a soprano singer and one of the world's most renowned Early music specialists 2 (BuxWV 13, 92, 77, 17, 6, 71, 58, 37, 57), Emma 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 Hill, Paul Grindlay, Aradia Ensemble, Kevin Mallon — 2004 — Naxos 8. Dame Carolyn Emma Kirkby (b February 26, 1949) is a soprano singer and one of the world's most renowned Early music specialists Michael Chance (born 7 March 1955 in Penn Buckinghamshire, England) is an English Countertenor. Charles Daniels is an English Tenor, particularly noted for his performances of Baroque music. Peter Harvey is an Australian television Journalist, currently employed with the Australian Nine Network ’s 60 Minutes program Matthew White (born 1973 in Ottawa, Ontario) is a Canadian Countertenor. 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 habe (BuxWV 38), sung by Johannette Zomer and Peter Harvey on "Death and Devotion", Netherlands Bach Society, Jos van Veldhoven, Channel Classics, CCS SA 20804
  • Wacht! Euch zum Streit gefasset macht (Das jüngste Gericht) (BuxWV Anh. Konrad Junghänel is a german Lutenist. He has given numerous solo concerts all around the world and has also worked with ensembles such as ''Les Arts Florissants'' and others Peter Harvey is an Australian television Journalist, currently employed with the Australian Nine Network ’s 60 Minutes program Jos van Veldhoven (born 1952, Den Bosch) is a Dutch Choral conductor. 3) (Dieterich Buxtehude - Opera Omnia, Volume 2, Vocal Works 1), Ton Koopman, The Amsterdam Baroque Orchestra & Choir, Antoine Marchand Records, CC72241
  • Dieterich Buxtehude - Opera Omnia, Volume V, 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, The Amsterdam Baroque Orchestra & Choir, Antoine Marchand Records, CC72244
  • Membra Jesu Nostri, Monteverdi Choir, English Baroque Soloists, Fretwork, John Eliot Gardiner, 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, Andrew Tortise tenor, Bas Ramselaar bass (the soloists act as the chorus), Channel Classics CCS SA 24006; this SACD also features the Fried- und Freudenreiche Hinfahrth (BuxWV 76), a series of 2 aria's, sung by Johannette Zomer
  • Membra Jesu Nostri, Ton Koopman, Erato 2292-45295-2
  • Membra Jesu Nostri, Masaaki Suzuki, Bach Collegium Japan, Bis Records CD-871
  • Membra Jesu Nostri, Konrad Junghänel, Cantus Cölln, Harmonia Mundi, HMC 901912

References

• Snyder, Kerala J. Ton Koopman (born 12 October 1944 in Zwolle, Netherlands) is a conductor, Organist and Harpsichordist. Amsterdam Baroque Orchestra & Choir is an early-music group based in Amsterdam The Netherlands. Ton Koopman (born 12 October 1944 in Zwolle, Netherlands) is a conductor, Organist and Harpsichordist. Amsterdam Baroque Orchestra & Choir is an early-music group based in Amsterdam The Netherlands. Membra Jesu Nostri ( English: The Limbs of our Lord Jesus) BuxWV 75 is a cycle of seven Cantatas composed by Dieterich Buxtehude The Monteverdi Choir was founded in 1964 by Sir John Eliot Gardiner for a performance of the Monteverdi Vespers (1610 in King's College The English Baroque Soloists is a chamber orchestra playing on period instruments, formed in 1978 by English conductor Sir John Eliot Gardiner Fretwork is a consort of Viols based in England, United Kingdom. Sir John Eliot Gardiner CBE FKC (born April 20, 1943, Fontmell Magna, Dorset Membra Jesu Nostri ( English: The Limbs of our Lord Jesus) BuxWV 75 is a cycle of seven Cantatas composed by Dieterich Buxtehude Jos van Veldhoven (born 1952, Den Bosch) is a Dutch Choral conductor. Membra Jesu Nostri ( English: The Limbs of our Lord Jesus) BuxWV 75 is a cycle of seven Cantatas composed by Dieterich Buxtehude Ton Koopman (born 12 October 1944 in Zwolle, Netherlands) is a conductor, Organist and Harpsichordist. Membra Jesu Nostri ( English: The Limbs of our Lord Jesus) BuxWV 75 is a cycle of seven Cantatas composed by Dieterich Buxtehude is a Japanese organist, Harpsichordist and conductor, and the founder and musical director of the Bach Collegium Japan. The Bach Collegium Japan (BCJ is an Orchestra and chorus specialising in Baroque music. Membra Jesu Nostri ( English: The Limbs of our Lord Jesus) BuxWV 75 is a cycle of seven Cantatas composed by Dieterich Buxtehude Konrad Junghänel is a german Lutenist. He has given numerous solo concerts all around the world and has also worked with ensembles such as ''Les Arts Florissants'' and others Dieterich Buxtehude: Organist in Lübeck. New York: Schirmer Books, 1987. ISBN 0-02-873080-1.

The most comprehensive life-and-works study of Buxtehude; contains an extensive bibliography. Written for both the serious scholar and casual reader. A revised edition of this book was published in May 2007 under the same title by the University of Rochester Press (see http://www.boydell.co.uk/80462537.HTM for more details). The new edition also includes a CD of Buxtehude's works which makes a splendid introduction to the work of this neglected composer.

• ____. "Buxtehude, Dieterich", The New Grove Dictionary of Music and Musicians, ed. The Grove Dictionary of Music and Musicians is an Encyclopedic dictionary of music and musicians S. Sadie and J. Tyrrell (London: Macmillan, 2001), iv, 695-710.

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

• Gorman, Sharon Lee. Rhetoric and Affect in the Organ Praeludia of Dieterich Buxtehude (1637-1707). Stanford University, diss. , 1990.

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

• Archbold, Lawrence. Style and Structure in the Praeludia of Dietrich Buxtehude. Ann Arbor: UMI Research Press, 1985. ISBN 0-8357-1646-5.

An analysis of Buxtehude's organ praeludia.

• Dietrich Buxtehude und die Europaische Musik Seiner Zeit. Kassel: Bärenreiter, 1990. ISBN 3-7618-0994-8. (German)

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

• Belotti, Michael. Die freien Orgelwerke Dieterich Buxtehudes. Frankfurt am Main: Lang, 1995. ISBN 3-631-48534-4. (German)

A study of the sources of Buxtehude's free organ works, along with a suggested chronology.

Editions

Organ music

• Broude Brothers
• Breitkopf (Klaus Beckmann)
• Bärenreiter (Christoph Albrecht)
• Hansen (Josef Hedar)
• Dover (reprint of public-domain material)

Notes

External links

• Prelude, Fugue, and Chaconne BuxWV 137, hypermedia by Jeff Hall and Tim Smith at the BinAural Collaborative Hypertext; Shockwave Player required.
• The International Dieterich Buxtehude Society, a recently formed Buxtehude-related group
• Activities Buxtehudeyear, organized by The Netherlands Bach Society
• Biography, on Goldbergweb

Scores

• Buxtehude was listed in the International Music Score Library Project
• Dieterich Buxtehude free scores in the Choral Public Domain Library (ChoralWiki)
• Free scores by Dieterich Buxtehude in the Werner Icking Music Archive (WIMA)
• Prélude et fugue en sol mineur BuxWV 150 Score from Sibley Music Library Digital Scores Collection
• Fugue en ut BuxWV 174 Score from Sibley Music Library Digital Scores Collection

Recordings and MIDI

• Complete Organ (and a few Clavier) Works of Buxtehude played on virtual instruments
• Recordings by The Netherlands Bach Society including 'Membra Jesu Nostri'
• Kunst der Fuge: Dietrich Buxtehude - MIDI files