This is the eighth release in a series of recordings which is presenting the complete works of the highly influential17th century composer Dieterich Buxtehude, and the third volume devoted to his organ works. The cycle is being produced by one of the world’s foremost experts in early music performance, the Dutch keyboard player and musical director Ton Koopman, who as president of the International Dieterich Buxtehude Society is considered to be the leading authority on his music.
None of the original instruments played by Buxtehude as organist in Helsingborg, Helsingør, and Lübeck has survived. Therefore, it is in no way possible to obtain information on the quality of sound of the individual organs that might have inspired the composer. The organs used for the present recordings were not Buxtehude’s instruments, but they represent excellent examples of historical instruments from Buxtehude’s time which resemble the typical range of large and medium-sized instruments characteristic of the North German organ landscape. The Schnitger organ of Hamburg’s Jacobi Church of 1689-93 actually represents an instrument that Buxtehude would surely have known, for he travelled frequently to Lübeck’s sister city. He also wanted Arp Schnitger to thoroughly renovate his own organ at St. Mary’s, but he did not succeed with his plans. On the other hand, in 1696-99 Schnitger and his companion Hans Hantelmann built the new large organ for the Lübeck cathedral, an instrument not only tested officially by Buxtehude but probably frequently played by him as well.
Five different types of pieces are included among the works collected in this CD, all representing distinct genres of improvisatory styles that make up the broad spectrum of the daily practice of organists in Lutheran Germany, whether designed as functional music for worship services, for presenting them in recitals, or for purposes of compositional study. The five pedaliter preludes in C BuxWV 137, in D BuxWV 140, in F BuxWV 145, in G BuxWV 148, and again in G,BuxWV 149, include some of Buxtehude’s most mature, attractive, and exemplary large-scale compositions. Fugal writing for organ is represented by two examples, the Fuga in B-flat BuxWV 176, written in canzona manner, and the Canzonetta in A BuxWV 225. Both works don’t make use of the organ pedal. Instead they require most demanding fingerwork on the manuals. The Ciacona in C BuxWV 159, one of three independent ostinato compositions, demonstrates how this type of variation setting not only can sustain an entire work, but can also introduce innovative elements. The organ chorales represent two basic types, multi-movement variations and chorale preludes.
