Dieterich Buxtehude (c. 1637 to 1639) was a
German-Danish organist and composer of the Baroque
period. His organ works represent a central part of the
standard organ repertoire and are frequently 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. Buxtehude, along with Heinrich
Schütz, is considered today to be one of the most
important German composers of...(+)
Dieterich Buxtehude (c. 1637 to 1639) was a
German-Danish organist and composer of the Baroque
period. His organ works represent a central part of the
standard organ repertoire and are frequently 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. Buxtehude, along with Heinrich
Schütz, is considered today to be one of the most
important German composers of the mid-Baroque.
The commemoration of Buxtehude's death in 2007 resulted
in widespread interest in his vocal works. Buxtehude
left more than 120 such pieces, which is remarkable
considering that as organist of St Mary's in Lübeck he
was not responsible for the vocal music for the
liturgy. Some of his sacred music may have been
performed during the services on Sundays and feastdays,
but most of it was probably intended for performance
during public concerts, in particular the famous
Abendmusiken.
This Chorale prelude for organ in A minor (BuxWV 217)
"Puer Natus in Bethlehem" sets the melody of a chant
from the Catholic Gregorian chant repertoire that was
sung at Christmas time. The text of the chant reads as
follows, "A boy is born in Bethlehem that is why
Jerusalem rejoices. The word of the father in the
highest has taken on the flesh of a human body and as
Gabriel announced, a virgin conceived a son." The
cantus firmus appears with some embellishment in the
soprano. Most Buxtehude preludes with an embellished
chorale melody in the soprano are in common time, but
this one is in 3/2 time, perhaps because the source is
a chant rather than a chorale.
Although originally written for Organ, I created this
arrangement for Woodwind Quartet (Flute, Oboe, Bb
Clarinet & Bassoon).