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.
Both text and music to the chorale melody used as a
source for this chorale prelude were composed by Martin
Luther. The chorale is an Easter chorale. The first
verse reads as follows, "Jesus Christ our savior, who
has overcome death, and is resurrected, and has
captured sin, Kyrie eleison." Buxtehude's setting is in
three voices with no pedal, instead of his typical
four-voice texture. The chorale melody appears in the
soprano in unembellished half notes. This particular
prelude resembles those of Pachelbel far more than it
does most of Buxtehude's other preludes.
Although it was originally scored for Organ, I adapted
this work for Clarinet Trio (Bb Clarinets (2), and Bass
Clarinet) to accentuate their warm rich tones.
PARTITION