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 Ciacona -- lasting just under six minutes -- may
be a brief work, but it is a substantial one
nonetheless, offering more than modest evidence to
bolster the commonly held view that Buxtehude was the
most important composer for organ before Bach. This
masterly piece, written in 3/4 time, presents a stately
theme and a highly imaginative series of variations,
following the pattern of a Baroque ciacona (or
chaconne).
The theme is gentle and builds slowly from a recurring
four-note germ of descending contour in the harmonies.
Gradually the music develops a sense of momentum, and
greater contrapuntal activity accrues, the whole always
maintaining its hymn-like character, its worshipful
feeling. Typically, a ciacona is slowly or moderately
paced, but this E minor effort has a lively character,
even if it does not move swiftly or have propulsive
rhythms. It grows from a modest, almost somber mood at
the outset to a brighter, stately character two minutes
or so into the piece. By the midpoint, however, the
music takes on a grandeur in its seriousness, with
rich, bass-laden harmonies and often thick chords. The
work ends gloriously and with a feeling of happy
resolution, the whole imparting a sense of journey
through tribulation and arrival at final triumph.
Although it was originally written for Organ, I adapted
this work for a Flute Quintet (Flutes (4) and Alto
Flute).
PARTITION