Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue

A major influence on Bach ? who once walked 200 miles to hear him perform ? Buxtehude is among the great names in Organ music and the study of counterpoint. Born five decades after Heinrich Schütz the 'father of German musicians ' and a little less than half a century before Bach he bridged the era between the founder of Protestant Baroque music and its greatest master. This collection of church chorales attests to Buxtehude's reputation as an outstanding composer of sacred Vocal music.For his texts the composer drew upon scripture as well as church hymns and contemporary or medieval sacred poetry. Albert Schweitzer in his famous biography ofBach observed that Buxtehude's chorale preludes are 'chorale fantasias of the most varied kinds from the simplest to the most ingenious. In the simple ones the melody goes its way quietly just embellished here and there with a few ornaments and accompanied by interesting and always ingenious harmonies. . . . In the large chorale preludes Buxtehude tears the melody in pieces throws the fragments into the flood of a brilliant animated fantasia.'Authoritative and modestly priced this treasury of Buxtehude's works offers organists a source of endless satisfaction and inspiration.Reprint of the Breitkopf & Härtel Leipzig 1903 edition.

Kantate. Par BUXTEHUDE DIETRICH. Buxtehude's numerous vocal compositions which was written for performance in the Lübeck Marienkirche, are stylistically quite varied. The cantata 'Singet dem Herrn ein neues Lied' is based on a text from the first verses of psalm 98 which occupies a unique position in the oeuvre of Buxtehude, since it employs only one solo instrument. The composition, which is in concertato style, offers both soloists rewarding challenges. / Date parution : 2006-02-01/ Répertoire / Solo S, Violon et Basse Continue

a-Moll. Par BUXTEHUDE DIETRICH. Einzige Quelle für die Suite in a ist der 1704 in Breitenberg bei Itzehoe entstandene Teil einer Sammelhandschrift des Organisten Johann Kruse. Aufgrund der Autorenangabe 'D. B. H. ', die in entsprechender Weise auch bei Stücken anderer Komponisten vorgenommen worden ist und sich bestätigt hat, ist es naheliegend, das Werk Dieterich Buxtehude zuzuweisen, zumal Kruse in Hamburg aller Wahrscheinlichkeit nach auch Kontakt zu ihm hatte. Unter den Buxtehude zugeschriebenen Cembalosuiten steht die hier erstmals veröffentlichte wegen der Kürze ihrer vier Sätze den ihr zugrundeliegenden Tanz-Grundmustern am nächsten - ein klein dimensioniertes, aber kunstvolles Werk./ Répertoire / Clavecin

Par BUXTEHUDE DIETRICH. This setting of Luther’s hymn perfectly typifies the basic concept of a chorale cantata as Buxtehude probably envisaged it. The first two verses are set, line by line, in a four-part homophonic texture. The two violins add interludes to the chorale, and lead in a kind of ritornello to the next verse. In the third and last verse Buxtehude departs from this model as the violins also play the chorale, and in which the lines of the hymn follow each _x000D_other without a break. This cantata has come down to us in a tabulatur from the Düben Collection. It belongs in the context of a number of chorale cantatas which were copied around 1685. / Musique religieuse / Répertoire / Choeur SATB, 2 Violons et Basse Continue

Par BUXTEHUDE DIETRICH. This work has survived in an autograph, unfortunately undated, preserved in the Düben Collection. The cantata is a setting of Ecclesiasticus 50, verses 24–26. This composition is one of the most richly scored vocal compositions of Buxtehude. A ritornello, which includes a fanfare of trumpets, and a longer vocal section based on “Nun danket alle Gott” create the work’s structure. In Nun danket alle Gott Buxtehude indicated in detail, in at least one instance, the use of an a cappella entrance of the choir. If the sections without instrumental accompaniment are sung by soloists, the choir is added in the tutti passages. / Date parution : 2007-01-01/ Répertoire / Choeur SSATB, 2 Cornets à Bouquin, 2 TrompetteSBas

Par BUXTEHUDE DIETRICH. This setting of Luther’s hymn perfectly typifies the basic concept of a chorale cantata as Buxtehude probably envisaged it. The first two verses are set, line by line, in a four-part homophonic texture. The two violins add interludes to the chorale, and lead in a kind of ritornello to the next verse. In the third and last verse Buxtehude departs from this model as the violins also play the chorale, and in which the lines of the hymn follow each _x000D_other without a break. This cantata has come down to us in a tabulatur from the Düben Collection. It belongs in the context of a number of chorale cantatas which were copied around 1685. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons et Basse Continue

Par BUXTEHUDE DIETRICH. This setting of Luther’s hymn perfectly typifies the basic concept of a chorale cantata as Buxtehude probably envisaged it. The first two verses are set, line by line, in a four-part homophonic texture. The two violins add interludes to the chorale, and lead in a kind of ritornello to the next verse. In the third and last verse Buxtehude departs from this model as the violins also play the chorale, and in which the lines of the hymn follow each other without a break. This cantata has come downto us in a tabulatur from the Düben Collection. It belongs in the context of a number of chorale cantatas which were copied around 1685. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons et Basse Continue

Par BUXTEHUDE DIETRICH. This work has survived in an autograph, unfortunately undated, preserved in the Düben Collection. The cantata is a setting of Ecclesiasticus 50, verses 24–26. This composition is one of the most richly scored vocal compositions of Buxtehude. A ritornello, which includes a fanfare of trumpets, and a longer vocal section based on “Nun danket alle Gott” create the work’s structure. In Nun danket alle Gott Buxtehude indicated in detail, in at least one instance, the use of an a cappella entrance of the choir. If the sections without instrumental accompaniment are sung by soloists, the choir is added in the tutti passages. / Date parution : 2007-01-01/ Répertoire / Choeur SSATB, 2 Cornets à Bouquin, 2 TrompetteSBas

Par BUXTEHUDE DIETRICH. This work has survived in an autograph, unfortunately undated, preserved in the Düben Collection. The cantata is a setting of Ecclesiasticus 50, verses 24–26. This composition is one of the most richly scored vocal compositions of Buxtehude. A ritornello, which includes a fanfare of trumpets, and a longer vocal section based on “Nun danket alle Gott” create the work’s structure. In Nun danket alle Gott Buxtehude indicated in detail, in at least one instance, the use of an a cappella entrance of the choir. If the sections without instrumental accompaniment are sung by soloists, the choir is added in the tutti passages. / Date parution : 2007-01-01/ Répertoire / Choeur SSATB, 2 Cornets à Bouquin, 2 TrompetteSBas

Kantate. Par BUXTEHUDE DIETRICH. Buxtehude's numerous vocal compositions which was written for performance in the Lübeck Marienkirche, are stylistically quite varied. The cantata 'Singet dem Herrn ein neues Lied' is based on a text from the first verses of psalm 98 which occupies a unique position in the oeuvre of Buxtehude, since it employs only one solo instrument. The composition, which is in concertato style, offers both soloists rewarding challenges. / Date parution : 2006-02-01/ Répertoire / Solo S, Violon et Basse Continue

The Complete Buxtehude Organ Works in a five volume performing edition. This truly reliable and comprehensive edition of Buxtehude’s Organ works is based on the latest musicological research. Editions published previously were either incomplete or editorial amendments were not identified as such. Primarily a practical edition these volumes reflect the state of the art in Buxtehude scholarship. Each volume includes a comprehensive preface (German/English) and every editorial decision is available for examination in the critical report. All volumes also available separately: Set BA 8220; separate BA8221-8223 BA 8404 BA 8405. Volume 2 BA8222.Freely Composed Organ Works.Preludes Fugues Toccatas Canzona Ciacona in E maj E min F maj F-sharp min G maj BuxWV 141-147 156 157 160 162 169.

Par BUXTEHUDE DIETRICH. This work has survived in an autograph, unfortunately undated, preserved in the Düben Collection. The cantata is a setting of Ecclesiasticus 50, verses 24–26. This composition is one of the most richly scored vocal compositions of Buxtehude. A ritornello, which includes a fanfare of trumpets, and a longer vocal section based on “Nun danket alle Gott” create the work’s structure. In Nun danket alle Gott Buxtehude indicated in detail, in at least one instance, the use of an a cappella entrance of the choir. If the sections without instrumental accompaniment are sung by soloists, the choir is added in the tutti passages. / Date parution : 2007-01-01/ Répertoire / Choeur SSATB, 2 Cornets à Bouquin, 2 TrompetteSBas

Originaire d?une famille de musiciens allemands, Dietrich Buxtehude (1637-1707) a passé son existence en Europe du Nord, entre Lübeck et Helsingborg, voyageant de Hambourg à Copenhague. Foncièrement novateur à une période charnière de l?histoire de la musique, Buxtehude apparaît aujourd?hui comme un des pères fondateurs de l?école germanique des XVIIe et XVIIIe siècles. Son influence sur des compositeurs comme Jean-Sébastien Bach, son fils spirituel, ou Haendel, est primordiale. Célèbre par ses Abendmusiken (soirées musicales) à Lübeck, il est aussi un maître incontestable de la musique d?orgue et nous a laissé un important catalogue de plus de 200 oeuvres, dont une quarantaine de chorals. / Livre /

Kantate. Par BUXTEHUDE DIETRICH. Buxtehude's numerous vocal compositions which was written for performance in the Lübeck Marienkirche, are stylistically quite varied. The cantata 'Also hat Gott die Welt geliebet' is a concerto for solo soprano, with a text taken from the Gospel of St. John. The text employs the principle of dialog as a musical competition between individual instruments or between instruments and the voice, with the inclusion of virtuoso passages. / Date parution : 2006-01-01/ Répertoire / Solo S, 2 Violons, Viole de Gambe et Basse Continu