Friedrich Gottlieb Klingenberg (? - 1720) was a German
organist and baroque composer, a native of Berlin,
studied with Buxtehude around 1689, before taking up
the post of organist at St. Nicholas's in Berlin. In
1699, while Schnitger was building the new organ for
St. Jacobi Church, Stettin, the old organist died, the
position of organist was upgraded, and Klingenberg
received it. Perhaps he, like Schnitger, had come on
Buxtehude's recommenda-tion; a director of the church,
Johann Kohler, was an...(+)
Friedrich Gottlieb Klingenberg (? - 1720) was a German
organist and baroque composer, a native of Berlin,
studied with Buxtehude around 1689, before taking up
the post of organist at St. Nicholas's in Berlin. In
1699, while Schnitger was building the new organ for
St. Jacobi Church, Stettin, the old organist died, the
position of organist was upgraded, and Klingenberg
received it. Perhaps he, like Schnitger, had come on
Buxtehude's recommenda-tion; a director of the church,
Johann Kohler, was an old friend of Buxtehude's from
Litheck—Buxtehude addressed him as "mon tree honore
Amy a Stettin"—and it was he who had originally
written to Buxtehude for his recommendation of an organ
builder.''` Klingenberg took two full weeks to test the
organ and later complained that Schnitger's assistant,
Johann Balthasar Held, was not maintain-ing it
properly. He did not get along well with the cantor,
either, and probably had a difficult personality. As a
composer he is known only for his vocal works.36 As a
teacher, Klingenberg passed his legacy from Buxtehude
on to his pupils. He must have had a collection of
Buxtehude organ works that served as the exemplars for
the copies that Gottfried Lindemann made in Stettin in
1713 and 1714, probably while studying with
Klingenberg. Lindemann later went to Sweden, and his
copies of Buxtehude organ works are now at the
university library in Lund. Probably Klingenberg's most
illustrious pupil was the writer Martin Heinrich
Fuhrmann, who studied with Klingenberg in Berlin.
Fuhrmann must have attended a Buxtehude Abendmusik, for
he describes Buxtehude's direction of a large orchestra
—which is quoted in chapter 11— in his
Musicalischer-Trichter (1706). He later wrote of the
three great B's in German music: Buxtehude, Bach, and
Bachelbel.”
Although originally written for Chorus (SATB), Strings
& Organ, I created this interpretation of the "Es ist
Genug" (Funeral Cantata) for Winds (Flute, Oboe,
English Horn, French Horn & Bassoon) & Strings (2
Violins, 2 Violas, Cello & Bass).
PARTITION