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 v...(+)
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 cantata elaborates the Christmas chorale "In dulci
jubilo." The cantata is scored for two sopranos, bass,
two violins, and continuo. The chorale is in four
verses and Buxtehude sets all four. The melody of the
chorale appears distinctly enough in soprano, but
Buxtehude often adds little melismas at the ends of
phrases adding a bit more gentle jubilation to that
already present in the chorale melody. The text of this
chorale is interesting. It consists both of German and
Latin, alternating Latin and German phrases.
Although originally created for Accompanied Chorus, I
created this Interpretation of the Cantata: "In dulci
jubilo" (BuxWV 52) for Brass (Bb Trumpet, Flugelhorn,
French Horn & Tuba) & Strings (2 Violins, Viola &
Cellos).