Album insights
Dieterich Buxtehude passed away on May 9, 1707, in Lübeck, where he was the organist at Marienkirche. Although the exact details of his birth year and place remain uncertain, it is generally believed that he was born around 1637. It is widely accepted that he grew up in Denmark, spending a significant portion of his life in Lübeck. Despite the German-sounding name "Buxtehude," his Danish heritage is acknowledged by many. By 1668, he succeeded Franz Tunder as the organist at Marienkirche and became one of the prominent figures in North German organ music by the turn of the century. J.S. Bach visited Lübeck in 1705 specifically to hear Buxtehude, staying much longer than expected due to his admiration for Buxtehude's music. Handel's visit to Lübeck in 1703 further attested to Buxtehude's reputation.
Most of what Bach and Handel heard at Marienkirche during their visits was likely improvised. While improvisation remains a part of organ culture, printed music now dominates. During Buxtehude's time, none of his organ works were published, and it was only in 1875 that Spitta began to release edited editions for wider access. The culture surrounding Buxtehude was vastly different, with a strong emphasis on improvisation over carefully rehearsed performances of printed compositions. Professional organists needed to excel in improvisation, and many of Buxtehude's works possibly served as models for aspiring improvisers. Notation, however sophisticated, cannot capture every nuance of spontaneous inspiration, and his compositions may only hint at the grandeur of his improvisations that captivated Bach.
Buxtehude's organ music can be categorized into freestyle works and compositions based on existing melodies. Free works encompass Praeludia, Toccatas, Ostinato works, and Canzonas, while works based on chorales or Gregorian chants fall into the second category.
The Praeludium in G minor, BuxWV149, exemplifies Buxtehude’s style, combining extravagant improvisatory passages with strict fugal elements. It transitions from a toccata-like section to a four-voice fugue, a rapid Allegro mainly played on the manuals, and another fugue leading into a free coda.
In the Choral Fantasy on Te Deum, BuxWV218, Buxtehude displays complex techniques, intertwining various manual sounds and introducing echo effects. The piece features distinct sections, including a trio and multiple fugue passages, culminating in a fiery coda.
Buxtehude's organ works demonstrate a balance between improvisatory passages and polyphonic elements. Pieces like the Toccata in D minor, BuxWV155, showcase his mastery in combining improvisation with structured polyphony, influencing future composers like J.S. Bach.
Buxtehude's compositions reveal a profound understanding of organ music, blending innovative improvisation with traditional forms and melodic treatments. His legacy continues to inspire generations of musicians and composers, reflecting a unique period in the evolution of organ music.