Page 81 - (DK) The Classical Music Book - Big Ideas Simply Explained

BAROQUE 1600–1750 79

See also: Plainchant 22–23 ■ Magnus liber organi 28–31 ■ Great Service 52–53 ■ Pièces de clavecin 82–83 ■
St. Matthew Passion 98–105 ■ The Art of Fugue 108–111 ■ Elijah 170–173

An Allegory of Friendship by Dutch them, or is presented as the first them imitatively, while at other
artist Johannes Voorhout shows (and “strongest-sounding”) of a times opting for a chordal approach.
Buxtehude leaning on his elbow. collection of four notes. In this manner the tune is
Among the other musicians is the The accompaniment in the presented once from beginning
harpsichordist Johann Adam Reincken.
left hand and pedals is generally to end. This particular style of
in two- or three-part harmony, setting influenced J.S. Bach,
Sweelinck (1562–1621) and his pupil sometimes using motifs from the who followed a similar model
Samuel Scheidt (1587–1654), but chorale melody and interweaving in his Chorale Preludes. ■
while Scheidt often presented
the tune of the chorale in slower, Dieterich Buxtehude
unornamented notes and wove the
variations around it, Buxtehude It is uncertain exactly when position of organist at St. Mary’s
made the chorale melody itself the and where Dieterich Buxtehude in Lübeck. Tradition held that
clearest and most ornamented line, was born, but by his early new organists should marry a
with the variations being simpler. childhood, his family was living daughter of their predecessor,
Buxtehude’s prelude on Ein feste in Helsingborg (in modern-day an obligation that Buxtehude
Burg ist unser Gott, composed Sweden), from where they later fulfilled within weeks of taking
around 1690, is a perfect example moved to Helsingør in Denmark. up office. He retained his role as
of this approach. The right hand It was there that Buxtehude organist of Lübeck until his
presents a spontaneous-sounding learned his musical craft from death in 1707.
solo melody that follows the contour his organist father.
After working at his father’s
of the chorale tune. The chorale former church in Helsingborg Other key works
itself is made clearer by the fact and then at St. Mary’s church in 1680 Membra Jesu Nostri
that each of its notes is either Helsingør, in 1668 Buxtehude c.1680 Praeludium in C major
held for longer than the decorative, accepted the prestigious 1694 Trio Sonatas, Op. 1
improvisatory notes that connect

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