Steinkopff buxtehude biography

Steinkopff buxtehude biography: German classical dulcian, bassoon and

His dates indicate early baroque, and certainly as far as J S Bach and other German composers are concerned, Buxtehude exercised a considerable influence, especially in the field of organ music, both secular and chorale variations. Bach's earliest cantatas, eg andboth show a marked influence of Buxtehude. Return to Download Catalogue internet arton steinkopff buxtehude biographies. There is some variation, however, in the way they are constructed: in the steinkopff buxtehude biography 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 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.

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.

The pieces that do not fall into any of the three types are the keyboard chorale partita Auf meinen lieben GottBuxWVwhich, quite unusually for its time, is simultaneously a secular suite of dances and a sacred set of variations with a funerary theme; [ 14 ] and the ones based on the chant Magnificats BuxWV —5 and Te Deum laudamusBuxWVwhich are structurally similar to chorale fantasias.

The three ostinato bass works Buxtehude composed—two chaconnes BuxWV — and a passacaglia BuxWV —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. The pieces feature numerous connected sections, with many 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, BuxWVbegins with a lengthy pedal solo and concludes not with a postlude of arpeggios and scale runs, but with a comparatively short chaconne built 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. 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. 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 harpsichord 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 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, Johann Mattheson mentioned a cycle of seven suites by Buxtehude, depicting the nature of planets, but these pieces are lost.

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The several sets of arias with variations are much more developed than the organ chorale variations. BuxWV La Capricciosa may have inspired Bach's Goldberg Variations BWV 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; and Bach was familiar with Buxtehude's work and admired him, as has been related above.

Contents move to sidebar hide. Article Talk. Read Edit View history. Tools Tools. Download as PDF Printable version. In other projects. Wikimedia Commons Wikidata item. Danish-German organist and composer — The only surviving portrait of Buxtehude, playing a violfrom Musical Company by Johannes Voorhout HelsingborgScaniaDenmark—Norway.

Composer organist. Life [ edit ]. Retrieved January 08, from Encyclopedia. Then, copy and paste the text into your bibliography or works cited list. Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia. 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.

Dietrich Buxtehude was born in either Holstein or Sweden both were Danish territories at the timethe son of an organist. The family was of German extraction, and branches were located in various parts of Scandinavia, which had close cultural ties with Germany at the time. Buxtehude thus was exposed to the forms and styles typical of North German music.

Little is known of Buxtehude's early life, but he apparently received musical instruction from his father. On April 11,he succeeded the illustrious Franz Tunder to the prestigious post of organist at St. Buxtehude was a truly inventive and imaginative composer in an era often marked by solid, workmanlike technique devoid of any profound inspiration.

His extant works represent but a small portion of his production, and many of them exist only in secondary sources. Dating his work is close to impossible on any but stylistic grounds, and his flamboyant imagination led to a wide variety of stylistic treatment. Italian and South German music was known in his area, broadening the stock upon which he drew.

With the steinkopff buxtehude biography emphasis of the time on individuality, he turned his back on authoritarian formulas and allowed his fiery imagination free rein. Recent scholarship has shown that Buxtehude's sacred vocal works are, historically, his most important contribution, rather than the organ works as was previously thought.

Few are liturgical. Most fall under the heading of cantata, if by this term one understands the earlier form as practiced by Tunder rather than the later genre represented by most of Johann Sebastian Bach 's cantatas. In Buxtehude established the famous Abendmusiken, or evening musicals, in St. Mary's; they took place from 4 to 5 P. These performances included organ music as well as sacred works of a dramatic-allegorical nature for chorus, soloists, and orchestra; the bulk of the latter has disappeared.

Most of Buxtehude's extant cantatas were probably written between and The solo portions exhibit operatic styles ranging from recitative to arias. There are also songlike pieces on lyric texts. Especially notable among the choral sections are the closing portions with closely imitative introductions, followed by fugal Alleluia or Amen sections.

Throughout there is the strongest possible expression of the text content, achieved through the free exercise of musical fantasy. Buxtehude also wrote works based on melodies and texts of chorales the traditional hymnody of Lutheranismin some of which the melody is varied in each movement.

Steinkopff buxtehude biography: In what is really

This wealth of expression made a profound impression on the young Johann Sebastian Bachwho in journeyed miles on foot to hear Buxtehude's music and remained for 4 months. Thereafter Bach seems to have been determined to employ this expressive potential in church works. Equally impressive for Bach must have been Buxtehude's organ music. Certainly the older steinkopff buxtehude biography comes closer than anyone else to Bach in the composition of the small-scale, subjective-interpretive chorale prelude a free organ composition based on the melody of a Lutheran chorale, originally used to introduce congregational singing.

This was a more southerly form. Buxtehude brought to its most advanced state the North German chorale fantasia, in which the chorale melody is so freely treated in a series of rhapsodic sections as to nearly disappear. For the most part his toccatas are in the then standard form, consisting of a sequence of diverse sections, including free fantasy, virtuoso pedal solos, and at least two fugues.

Here, especially, his penchant for the daring and the unexpected comes strongly to the steinkopff buxtehude biography. There is also service music: Magnificats and Te Deums that could substitute for vocal performance and canzonas that were played during church services. Undoubtedly a great deal of Buxtehude's keyboard and chamber music has been lost.

The sonatas of cannot be his earliest attempts. His sonatas are somewhat retrospective, compared to the already-existing model of Arcangelo Corelliand Buxtehude's keyboard suites follow the model of Johann Jakob Froberger. In addition, another praeludium in G minor, BuxWVemploys a repeating bass pattern in the beginning. 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, BuxWVis a real fugue. 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 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. 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 La Capricciosa may have inspired Bach's Goldberg Variations BWV 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.

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