Dammann buxtehude biography

One of the notable exceptions is a fugue in BuxWVwhich features a six-bar subject. The answers are usually tonal, on scale degrees 1 and 5, and there is little real modulation. Stretto and parallel entries may be employed, with particular emphasis on the latter. Short and simple countersubjects appear, and may change their form slightly during the course of the fugue.

In terms of structure, Buxtehude's fugues are a series of expositions, with non-thematic material appearing quite rarely, if ever. There is some variation, however, in the way they are constructed: in the first and last fugues of BuxWV the second voice does not state the subject as it enters during the initial exposition; in BuxWV the second exposition uses the subject in its inverted form, etc.

Fugue subjects of a particular prelude may be related as in Froberger 's and Frescobaldi 's ricercars and canzonas BuxWV, etc. The fugal procedure dissolves at the end of the fugue when it is followed by a free section, as seen in Example Buxtehude's other pieces that employ free writing or sectional structure include works titled toccatapraeambulumetc.

A well-known piece is BuxWVin the rare key of F-sharp minor; it is believed that this prelude was written by Buxtehude especially for himself and his organ, and that he had his own way of tuning the instrument to allow for the tonality rarely used because of meantone temperament. There are over 40 surviving chorale settings by Buxtehude, and they constitute the most important contributions to the dammann buxtehude biography in the 17th century.

Buxtehude's principal contributions to the organ chorale are his 30 short chorale preludes. The chorale preludes are usually four-part cantus firmus settings of one stanza of the chorale; the melody is presented in an elaborately ornamented version in the upper dammann buxtehude biography, the three lower parts engage in some form of counterpoint not necessarily imitative.

Most of Buxtehude's chorale settings are in this form. The ornamented cantus firmus in these pieces represents a significant difference between the north German and the south German schools ; Johann Pachelbel and his pupils would almost always leave the chorale melody unornamented. The chorale fantasias a modern term are large-scale virtuosic sectional compositions that cover a whole strophe of the text and are somewhat similar to chorale concertos in their treatment of the text: each verse is developed separately, allowing for technically and emotionally contrasting sections within one composition.

Buxtehude was careful with correct word setting, paying particular attention to emphasis and interpretation. Buxtehude's chorale variations are usually in two or three voices. They consist of around 3—4 variations of which only one may use the pedal. There are only a few chorale variations, and there are no distinctive qualities that characterize them.

The pieces that do not fall into any of the three types are the keyboard chorale partita Auf meinen lieben GottBuxWVwhich, quite unusually for its time, is simultaneously a secular suite of dances and a sacred set of variations with a funerary theme; [ 14 ] and the ones based on the chant Magnificats BuxWV —5 and Te Deum laudamusBuxWVwhich are structurally similar to chorale fantasias.

The three ostinato bass works Buxtehude composed—two chaconnes BuxWV — and a passacaglia BuxWV —not only represent, along with Pachelbel's six organ chaconnes, a shift from the traditional chaconne style, but are also the first truly developed north German contributions to the development of the genre. The pieces feature numerous connected sections, with many suspensions, changing meters, and even real modulation in which the ostinato pattern is transposed into another key.

Some of the praeludia also make use of ostinato models. The praeludium in C major, BuxWVbegins with a lengthy pedal solo and concludes not with a postlude of arpeggios and scale runs, but with a comparatively short chaconne built over a three-bar ostinato pattern in the pedal:. The praeludium in G minor, BuxWVin which the ostinato pattern is derived from the subject of one of the fugal sections, also ends in a chaconne.

In addition, another praeludium in G minor, BuxWVemploys a repeating bass pattern in the beginning. The rest of Buxtehude's keyboard music does not employ pedals. Of the organ works, a few keyboard canzonas are the only strictly contrapuntal pieces in Buxtehude's oeuvre and were probably composed with teaching purposes in mind.

BuxWV is more of a canzona two sections, both fugal and on the same subjectwhile BuxWV is more like a typical Buxtehude prelude, only beginning with a fugue rather than an improvisatory section, and for manuals only. There are also 19 harpsichord suites and several variation sets. The suites follow the standard model Allemande — Sarabande — Courante — Giguesometimes excluding a movement and sometimes adding a second sarabande or a couple of doubles.

The gigues employ basic imitative counterpoint but never go as far as the gigue fugues in the chorale fantasias or the fugal writing seen in organ preludes. It may be that the more developed harpsichord writing by Buxtehude simply did not survive: in his writings, Johann Mattheson mentioned a cycle of seven suites by Buxtehude, depicting the nature of planets, but these pieces are lost.

The several sets of arias with variations are much more developed than the organ chorale variations. BuxWV La Capricciosa may have inspired Bach's Goldberg Variations BWV both have 32 variations including the two arias of the Goldberg Variations ; there are a number of similarities in the structure of individual movements; both include variations in forms of various dances; both are in G major; and Bach was familiar with Buxtehude's work and admired him, as has been related above.

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Dammann buxtehude biography

Download as PDF Printable version. In other projects. Wikimedia Commons Wikidata item. Danish-German organist and composer — The only surviving portrait of Buxtehude, playing a violfrom Musical Company by Johannes Voorhout HelsingborgScaniaDenmark—Norway. Composer organist. Life [ edit ]. Early years in Denmark [ edit ]. Influence and legacy [ edit ].

Works [ edit ]. Main article: List of compositions by Dieterich Buxtehude. General introduction [ dammann buxtehude biography ]. Keyboard works [ edit ]. Preludes and toccatas [ edit ]. Chorale settings [ edit ]. Ostinato works [ edit ]. Other keyboard works [ edit ]. There is still innumerable Dammanns these aren't included yet and this one let follow perhaps the already available family trees.

So who is interested should address a member of the family council and give us his data and that one of his ancestors! The family association Dammann founded in had engaged Heraldiker for one to make a family arms in The coat of arms shows the origin and the stand of the Dammann extended family with the Niedersachsenhaus, the way in front of this, the dam, and the helmet with the ears.

Being part of the Dammann family council. One can purchase the coat of arms as a sticker or as embroidering presentation, flags with the coat of arms, genealogical tables of the different family trees etc. Here we would like to tell thanks to everyone who helped us with the recording of the names and data and these have made us available generously.

Later in his life he Germanized his name and began signing documents Dieterich Buxtehude. In he organized a series of evening musical performances known as Abendmusikwhich attracted musicians from divers parts and remained a feature of the church until Buxtehude was old and ready to retire by the time he met both Bach and Handel. But a condition of the post was that the organist who followed him must marry his eldest daughter, Anna Margareta.

Both Bach and Handel turned the offer down.