Dietrich Buxtehude is probably most familiar to modern
classical music audiences as the man who inspired the
young Johann Sebastian Bach to make a lengthy
pilgrimage to Lubeck, Buxtehude's place of employment
and residence for most of his life, just to hear
Buxtehude play the organ. But Buxtehude was a major
figure among German Baroque composers in his own right.
Though we do not have copies of much of the work that
most impressed his contemporaries, Buxtehude
nonetheless left behind a body of v...(+)
Dietrich Buxtehude is probably most familiar to modern
classical music audiences as the man who inspired the
young Johann Sebastian Bach to make a lengthy
pilgrimage to Lubeck, Buxtehude's place of employment
and residence for most of his life, just to hear
Buxtehude play the organ. But Buxtehude was a major
figure among German Baroque composers in his own right.
Though we do not have copies of much of the work that
most impressed his contemporaries, Buxtehude
nonetheless left behind a body of vocal and
instrumental music which is distinguished by its
contrapuntal skill, devotional atmosphere, and raw
intensity. He helped develop the form of the church
cantata, later perfected by Bach, and he was just as
famous a virtuoso on the organ.
This D major effort follows the pattern Buxtehude used
for his preludia, or preludes. It opens with an
introductory episode in free form followed by a fugal
portion, which typically comes in two related sections
or, as is the case here, three. The work begins with an
exchange of arpeggiated chords from the two manuals,
after which the pedals enter with their heftier
sonorities to further enrich the musical canvas, and to
impart the sense the notes are in lively dialogue amid
the increasingly lively, regal atmosphere. The first
fugal section soon follows, presenting a modest single
line at the outset, which then quickly accrues
contrapuntal activity. The pacing is lively but not
swift, the music gradually taking on an atmosphere of
grandeur as chords thicken and the busy manner
slackens. A brief Adagio section ensues, bringing on
big chords and huge washes of sound. The final panel
here is cast in toccata form, with several brilliantly
contrasting sections, Buxtehude deftly mixing virtuosic
with epic music. The work ends in a blaze of triumph,
with powerful sustained chords from the manuals and
pedals alike.
Source: AllMusic
(https://www.allmusic.com/composition/praeludium-for-or
gan-in-d-major-buxwv-139-mc0002362954).
I created this Transcription of the Praeludium
(Prelude, Adagio & 2 Toccatas) in D Major (BuxWV 139)
for Pipe Organ.