Album insights
Dieterich Buxtehude passed away on May 9, 1707, in Lübeck, where he served as the organist at Marienkirche. Though the exact place and year of his birth are uncertain, it is widely believed that he was born around 1637. While his birthplaces could have been Helsingborg in Sweden, Helsingør in Denmark, or Oldesloe in Holstein, it is known with some certainty that he grew up in Denmark. Despite spending nearly forty of his approximately seventy years in Lübeck and having a German-sounding name, nobody contests the claim of the Danes on him. In 1668, he succeeded Franz Tunder as the organist at Marienkirche, and until the turn of the 18th century, he was among the most influential figures in North German organ music. Johann Sebastian Bach visited Lübeck in 1705 specifically to hear Buxtehude play the organ, being so captivated that he neglected his duties for longer than his superiors expected. Handel had visited Buxtehude two years prior, indicating the significance of the composer.
The music recorded here is over three hundred years old for us. Bach and Handel likely heard innovative organ music at its peak, largely improvised, during their visits to Marienkirche. The rapid evolution of keyboard music complexity outpaced notation printing, placing emphasis on individuality and spontaneity in the organ culture. While improvisation still holds a place in today's organ culture, performance from printed scores predominates. Skilled organists of the past needed to excel in improvisation, benefiting from elaborate compositions by Buxtehude and Bach, not published until years later. Perhaps some of the recorded works served more as a guide for improvisation practice. Buxtehude's live improvisations likely transcended the written notes, capturing nuances that printed music cannot convey entirely.
Buxtehude's organ music falls into two main categories: free-form works and those based on existing melodies. His compositions encompass a variety of genres, including Preludes, Toccatas, Canzonas, and more.
In the Prelude in D Minor, Buxtehude seamlessly transitions between lush, inventive passages and strict fugues. Beginning with evocative introductory measures, he skillfully weaves freely improvised sections with a four-part fugue, showcasing his mastery of composition. The Choral Variations on "Danket dem Herren" exhibit Buxtehude's compositional finesse in three distinct sections.
The diverse range of Buxtehude's compositions includes the cheerful Canzonetta in G Major and the intense Präludium in G Minor, highlighting his versatility and skill as a composer. From the majestic Choralfantasia to the intricate Fugues, each piece showcases Buxtehude's unique style and mastery of the organ.
From solemn Choral Preludes to lively Canzonas, Buxtehude's works encompass a wide spectrum of emotions, techniques, and musical forms. These compositions serve as a testament to his genius, influencing future composers and organists alike.