D. Buxtehude - Buxtehude: Organ Music Vol. 2 [CD]
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Dietrich Buxtehude (c.1637-1707)Organ Music Vol. 2The imperial free city of Lübeck, 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. Lübeck, 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 Schütz, 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 Helsingør, Hamlets 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 Helsingør 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 Lübeck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunders younger daughter. Tunders elder daughters 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 Lübeck 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 Lübeck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited Lübeck 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 predecessors daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann
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 Music Vol. 2The imperial free city of Lübeck, 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. Lübeck, 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 Schütz, 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 Helsingør, Hamlets 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 Helsingør 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 Lübeck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunders younger daughter. Tunders elder daughters 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 Lübeck 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 Lübeck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited Lübeck 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 predecessors daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann
Praeludium in C major, BuxWv137
Komm heiliger Geist, BuxWv199
Von Gott will ich nicht lassen, BuxWv221
Vater unser im Himmelreich, BuxWv207
Nun bitten wir den heiligen Geist, BuxWv208
Toccata in G major, BuxWv164
Nun lob mein Seel, BuxWv212
In dulci jubilo, BuxWv197
Fuga in C major, BuxWv174
Ciaccona in E minor, BuxWv160
Mit Fried und Freud ich fahr dahin, BuxWv75
Wie schon leuchtet der Morgenstern, BuxWv223
Praeludium in A minor, BuxWv153
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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 Music Vol. 2The imperial free city of Lübeck, 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. Lübeck, 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 Schütz, 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 Helsingør, Hamlets 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 Helsingør 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 Lübeck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunders younger daughter. Tunders elder daughters 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 Lübeck 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 Lübeck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited Lübeck 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 predecessors daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann
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 Music Vol. 2The imperial free city of Lübeck, 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. Lübeck, 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 Schütz, 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 Helsingør, Hamlets 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 Helsingør 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 Lübeck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunders younger daughter. Tunders elder daughters 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 Lübeck 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 Lübeck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited Lübeck 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 predecessors daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann
Praeludium in C major, BuxWv137
Komm heiliger Geist, BuxWv199
Von Gott will ich nicht lassen, BuxWv221
Vater unser im Himmelreich, BuxWv207
Nun bitten wir den heiligen Geist, BuxWv208
Toccata in G major, BuxWv164
Nun lob mein Seel, BuxWv212
In dulci jubilo, BuxWv197
Fuga in C major, BuxWv174
Ciaccona in E minor, BuxWv160
Mit Fried und Freud ich fahr dahin, BuxWv75
Wie schon leuchtet der Morgenstern, BuxWv223
Praeludium in A minor, BuxWv153
