Julia Brown - Buxtehude: Organ Music 5 [CD]
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Dietrich Buxtehude (c.1637-1707) Organ Works, Volume 5 The imperial free city of L??beck, a member of the Hanseatic League, had held a position second only to Hamburg. The development of the latter during the seventeenth century was very considerable. L??beck, on the other hand, fared less well, but remained, nevertheless, an important commercial centre. Much of the musical life of the city centred on the Marienkirche, the church of the city council, where Franz Tunder had been appointed organist in 1641. Tunder, a composer able to further the synthesis of the Lutheran with the Italian influences exemplified in the music of Heinrich Sch??tz, established weekly Thursday organ recitals that grew into more elaborate concerts, with instrumental players from among the seven official town musicians and others, and with singers. Dietrich Buxtehude, who identified himself as Danish, was seemingly born in Oldesloe about the year 1637, the son of an organist and schoolmaster. His father moved briefly from Oldesloe, in the Duchy of Holstein, to Helsingborg as organist at the Mariekirke there and soon after to the Danish city of Helsing?\xa9r, Hamlet's Elsinore, as organist at the St Olai Kirke, a position he held for some thirty years, until his retirement in 1671. Buxtehude was taught by his father and from 1657 or 1658 until 1660 was organist at the Mariekirke in Helsingborg, a city separated from Helsing?\xa9r by a narrow stretch of water. His next appointment was at the Mariekirke in the latter city. In 1668 he was elected organist at the Marienkirche in L??beck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunder's younger daughter. Tunder's elder daughter's security had already been assured by her marriage to Samuel Franck, Cantor of the Marienkirche and the Catherineum Lateinschule, the choir-school that provided singers for the services of the Marienkirche. At the Marienkirche in L??beck Buxtehude made some changes in the musical traditions of the church, establishing a series of Abendmusik concerts given now on five Sunday afternoons in the year, events that attracted wide interest. As an organist Buxtehude represented the height of North German keyboard traditions, exercising a decisive influence over the following generation, notably on Johann Sebastian Bach, who undertook the long journey from Arnstadt to L??beck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited L??beck in 1703, with his Hamburg friend and colleague Mattheson. By this time there was a question of appointing a successor to Buxtehude, who was nearly seventy and had spent over thirty years at the Marienkirche. The condition of marriage to his predecessor's daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann Christian Schieferdecker, who married Bux
All items shipped within 3 working days of payment.
Please note that all our DVDs are Region 2.
Please note that not all audio CDs are shrink-wrapped fom the factory.
Dietrich Buxtehude (c.1637-1707) Organ Works, Volume 5 The imperial free city of L??beck, a member of the Hanseatic League, had held a position second only to Hamburg. The development of the latter during the seventeenth century was very considerable. L??beck, on the other hand, fared less well, but remained, nevertheless, an important commercial centre. Much of the musical life of the city centred on the Marienkirche, the church of the city council, where Franz Tunder had been appointed organist in 1641. Tunder, a composer able to further the synthesis of the Lutheran with the Italian influences exemplified in the music of Heinrich Sch??tz, established weekly Thursday organ recitals that grew into more elaborate concerts, with instrumental players from among the seven official town musicians and others, and with singers. Dietrich Buxtehude, who identified himself as Danish, was seemingly born in Oldesloe about the year 1637, the son of an organist and schoolmaster. His father moved briefly from Oldesloe, in the Duchy of Holstein, to Helsingborg as organist at the Mariekirke there and soon after to the Danish city of Helsing?\xa9r, Hamlet's Elsinore, as organist at the St Olai Kirke, a position he held for some thirty years, until his retirement in 1671. Buxtehude was taught by his father and from 1657 or 1658 until 1660 was organist at the Mariekirke in Helsingborg, a city separated from Helsing?\xa9r by a narrow stretch of water. His next appointment was at the Mariekirke in the latter city. In 1668 he was elected organist at the Marienkirche in L??beck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunder's younger daughter. Tunder's elder daughter's security had already been assured by her marriage to Samuel Franck, Cantor of the Marienkirche and the Catherineum Lateinschule, the choir-school that provided singers for the services of the Marienkirche. At the Marienkirche in L??beck Buxtehude made some changes in the musical traditions of the church, establishing a series of Abendmusik concerts given now on five Sunday afternoons in the year, events that attracted wide interest. As an organist Buxtehude represented the height of North German keyboard traditions, exercising a decisive influence over the following generation, notably on Johann Sebastian Bach, who undertook the long journey from Arnstadt to L??beck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited L??beck in 1703, with his Hamburg friend and colleague Mattheson. By this time there was a question of appointing a successor to Buxtehude, who was nearly seventy and had spent over thirty years at the Marienkirche. The condition of marriage to his predecessor's daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann Christian Schieferdecker, who married Bux
Toccata in F major, Bux157
Von Gott will ich nicht lassen, BuX220
Praeludium in A major, BuxWV 151
Nun freut euch, BuxWV210
Canzonetta in G Major, BuxWV172
Kommt her zu mir, spricht Gottes Sohn, BuxWV201
Fugue in G major, BuxWV 175
Mensch, willst du leben seliglich, BUxWV206
Praeludium in G Minor, BuxWV148
Ich Ruf Zu Dir, Herr Jesu Christ, BuxWV196
Fugue in B flat major, BuxWV176
Vater unser im Himmelreich, BUxWV219
Toccata in F major BuxWV156
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Brand New From Reputable UK Company With 30 Years Experience In Retail, Please Note Not All Our New Items Are Shrink Wrapped.
All items shipped within 3 working days of payment.
Please note that all our DVDs are Region 2.
Please note that not all audio CDs are shrink-wrapped fom the factory.
Dietrich Buxtehude (c.1637-1707) Organ Works, Volume 5 The imperial free city of L??beck, a member of the Hanseatic League, had held a position second only to Hamburg. The development of the latter during the seventeenth century was very considerable. L??beck, on the other hand, fared less well, but remained, nevertheless, an important commercial centre. Much of the musical life of the city centred on the Marienkirche, the church of the city council, where Franz Tunder had been appointed organist in 1641. Tunder, a composer able to further the synthesis of the Lutheran with the Italian influences exemplified in the music of Heinrich Sch??tz, established weekly Thursday organ recitals that grew into more elaborate concerts, with instrumental players from among the seven official town musicians and others, and with singers. Dietrich Buxtehude, who identified himself as Danish, was seemingly born in Oldesloe about the year 1637, the son of an organist and schoolmaster. His father moved briefly from Oldesloe, in the Duchy of Holstein, to Helsingborg as organist at the Mariekirke there and soon after to the Danish city of Helsing?\xa9r, Hamlet's Elsinore, as organist at the St Olai Kirke, a position he held for some thirty years, until his retirement in 1671. Buxtehude was taught by his father and from 1657 or 1658 until 1660 was organist at the Mariekirke in Helsingborg, a city separated from Helsing?\xa9r by a narrow stretch of water. His next appointment was at the Mariekirke in the latter city. In 1668 he was elected organist at the Marienkirche in L??beck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunder's younger daughter. Tunder's elder daughter's security had already been assured by her marriage to Samuel Franck, Cantor of the Marienkirche and the Catherineum Lateinschule, the choir-school that provided singers for the services of the Marienkirche. At the Marienkirche in L??beck Buxtehude made some changes in the musical traditions of the church, establishing a series of Abendmusik concerts given now on five Sunday afternoons in the year, events that attracted wide interest. As an organist Buxtehude represented the height of North German keyboard traditions, exercising a decisive influence over the following generation, notably on Johann Sebastian Bach, who undertook the long journey from Arnstadt to L??beck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited L??beck in 1703, with his Hamburg friend and colleague Mattheson. By this time there was a question of appointing a successor to Buxtehude, who was nearly seventy and had spent over thirty years at the Marienkirche. The condition of marriage to his predecessor's daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann Christian Schieferdecker, who married Bux
All items shipped within 3 working days of payment.
Please note that all our DVDs are Region 2.
Please note that not all audio CDs are shrink-wrapped fom the factory.
Dietrich Buxtehude (c.1637-1707) Organ Works, Volume 5 The imperial free city of L??beck, a member of the Hanseatic League, had held a position second only to Hamburg. The development of the latter during the seventeenth century was very considerable. L??beck, on the other hand, fared less well, but remained, nevertheless, an important commercial centre. Much of the musical life of the city centred on the Marienkirche, the church of the city council, where Franz Tunder had been appointed organist in 1641. Tunder, a composer able to further the synthesis of the Lutheran with the Italian influences exemplified in the music of Heinrich Sch??tz, established weekly Thursday organ recitals that grew into more elaborate concerts, with instrumental players from among the seven official town musicians and others, and with singers. Dietrich Buxtehude, who identified himself as Danish, was seemingly born in Oldesloe about the year 1637, the son of an organist and schoolmaster. His father moved briefly from Oldesloe, in the Duchy of Holstein, to Helsingborg as organist at the Mariekirke there and soon after to the Danish city of Helsing?\xa9r, Hamlet's Elsinore, as organist at the St Olai Kirke, a position he held for some thirty years, until his retirement in 1671. Buxtehude was taught by his father and from 1657 or 1658 until 1660 was organist at the Mariekirke in Helsingborg, a city separated from Helsing?\xa9r by a narrow stretch of water. His next appointment was at the Mariekirke in the latter city. In 1668 he was elected organist at the Marienkirche in L??beck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunder's younger daughter. Tunder's elder daughter's security had already been assured by her marriage to Samuel Franck, Cantor of the Marienkirche and the Catherineum Lateinschule, the choir-school that provided singers for the services of the Marienkirche. At the Marienkirche in L??beck Buxtehude made some changes in the musical traditions of the church, establishing a series of Abendmusik concerts given now on five Sunday afternoons in the year, events that attracted wide interest. As an organist Buxtehude represented the height of North German keyboard traditions, exercising a decisive influence over the following generation, notably on Johann Sebastian Bach, who undertook the long journey from Arnstadt to L??beck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited L??beck in 1703, with his Hamburg friend and colleague Mattheson. By this time there was a question of appointing a successor to Buxtehude, who was nearly seventy and had spent over thirty years at the Marienkirche. The condition of marriage to his predecessor's daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann Christian Schieferdecker, who married Bux
Toccata in F major, Bux157
Von Gott will ich nicht lassen, BuX220
Praeludium in A major, BuxWV 151
Nun freut euch, BuxWV210
Canzonetta in G Major, BuxWV172
Kommt her zu mir, spricht Gottes Sohn, BuxWV201
Fugue in G major, BuxWV 175
Mensch, willst du leben seliglich, BUxWV206
Praeludium in G Minor, BuxWV148
Ich Ruf Zu Dir, Herr Jesu Christ, BuxWV196
Fugue in B flat major, BuxWV176
Vater unser im Himmelreich, BUxWV219
Toccata in F major BuxWV156
