Buxtehude Praeludium in A major BuxWV 151 скачать в хорошем качестве

Buxtehude Praeludium in A major BuxWV 151

Performed on April 22nd, 2019 at the Bales Organ Recital Hall at the University of Kansas by Jacob Hofeling in his second DMA organ recital. Best known as a composer of organ music, and one of the great major influences on J.S. Bach, Dieterich Buxtehude (1637-1707) represents the color and power of musical composition in north Germany. Originally born in Helsingborg Denmark ca. 1637, Buxtehude’s family origins perhaps lie in the town of Buxtehude, a few miles outside of Hamburg, Germany. When Bach visited Lubeck, he came specifically to meet and study with Buxtehude, who was at the time employed at the Marienkirche. Buxtehude’s praeludia form the heart of his compositions. The north German tradition of organ playing involved accompanying chorales and chants in combination with the choir and/or congregation. The majority of the music supplied for this role was improvised. The few written examples give us an idea of what the improvisations sounded like. Buxtehude’s praeludia generally feature alternation between free, improvisatory sections alternated with fixed fugal sections. The improvisatory sections are characterized by brilliant flourishes of notes, trills and ornaments, and expressive dissonant moments. The structured, fugal sections use imitation in multiple musical lines and exceptional counterpoint to move the music along. Buxtehude’s praeludia feature a vast array of textures, and colorful registrations. The Praeludium in A major features a brilliant flourish of notes in the first free section, followed by an exciting quasi-Alberti bass section filled with momentum and energy. Following this section we have a fugal section using the sesquialtera on the Positif. The next free section is written in a durezze e ligature style with long, slow notes on a gentle flute, followed by an imitative section with a bombastic registration to end the piece.