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Fantasia #6
Uploaded by: OrganoPleno
Composer: Anthoni Van Noordt Organ: Ruckers Cembalo by František Vyhnálek Software: Hauptwerk VI Views: 23
Echo Fantasia in d
Uploaded by: Bartfloete
Composer: Sweelinck, Jan Pieterszoon Organ: Zwolle, St. Michael Software: Hauptwerk IV Views: 685
Echo Fantasia
Uploaded by: Hoofdwerk
Composer: Steinsland, Njål Organ: Bergen op Zoom, Ibach Software: Hauptwerk IV Views: 93
Capriccio
Uploaded by: mweyand
Composer: Froberger, Johann Jakob Organ: 1761/2005 J. A. Silbermann-Metzler, Arlesheim, Switzerland Software: Hauptwerk IV Views: 528
In Dulci Jubilo - BWV 608
Uploaded by: HMaier
Composer: Bach, J. S. Organ: 1761/2005 J. A. Silbermann-Metzler, Arlesheim, Switzerland Software: Hauptwerk IV Views: 1079
Liebster Jesu, wir sind hier 3
Uploaded by: EdoL
Composer: Bach, J. S. Organ: 1761/2005 J. A. Silbermann-Metzler, Arlesheim, Switzerland Software: Hauptwerk IV Views: 343
Bildersturm
Uploaded by: josephhaspel
Composer: Hans-Peter Sommeregger Organ: 1761/2005 J. A. Silbermann-Metzler, Arlesheim, Switzerland Software: Hauptwerk IV Views: 81
Uploaded by:
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EdoL (11/24/14)
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Composer:
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Buxtehude, Dieterich
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Sample Producer:
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OrganArt Media
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Sample Set:
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1761/2005 J. A. Silbermann-Metzler, Arlesheim, Switzerland
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Software: | Hauptwerk IV |
Genre: | Baroque |
Description: | The most conservative of Buxtehude’s settings are those in the format of chorale versets, continuing the tradition of Scheidemann and Weckmann (though avoiding the scale of Weckmann’s larger cycles), but Buxtehude’s individual voice is arguably heard more clearly in the freedom of the fantasias and in the more intimate surroundings of the chorale prelude.
One of his most attractive chorale works to display a wide variety of approaches is his setting of the Epiphany chorale Wie schon leuchtet der Morgenstern. The composition comprises three different sections in triple time (6/4, 6/8, 12/8, probably implying a gradual increase in tempo) broken up by a single passage in common time which concludes with a free cadential section, similar to connecting passages in the contemporary praeludium.
Stylistically there are both conservative and modern elements, the former evident in the demisemiquaver flourishes and echos, the latter in the modern harmonic sequences and gigue-like idiom adopted in the concluding sections, reflecting the cross-over of sacred and secular styles seen in the chorale suite.
At the opening of the work Buxtehude leaves the characteristic rising fifth of the chorale melody clearly audible before introducing a lilting pastorale idiom in the upper voices |
Performance: | Live |
Recorded in: | Stereo |
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