Dietrich Buxtehude is probably most familiar to modern classical music audiences as the man who inspired the young Johann Sebastian Bach to make a lengthy pilgrimage to Lubeck, Buxtehude's place of employment and residence for most of his life, just to hear Buxtehude play the organ. But Buxtehude was a major figure among German Baroque composers in his own right. Though we do not have copies of much of the work that most impressed his contemporaries, Buxtehude nonetheless left behind a body of vocal and instrumental music which is distinguished by its contrapuntal skill, devotional atmosphere, and raw intensity. He helped develop the form of the church cantata, later perfected by Bach, and he was just as famous a virtuoso on the organ.

This praeludium in G major looks much more like a prelude and fugue than the typical Buxtehude praeludium. The free toccata-like section comes to a full stop before the fugue begins, but the fugue does break down into free rhapsodic material for the last six bars of the piece. The opening free section could be split into two chunks separated by a half cadence.

Source: AllMusic (https://www.allmusic.com/composition/praeludium-for-or gan-in-g-major-buxwv-147-mc0002389685).

I created this Interpretation of the Prelude & Fugue in G Major (BuxWV 147) for Woodwind Quintet (Flute, Oboe, Bb Clarinet, French Horn & Bassoon).