Dieterich Buxtehude

Dieterich Buxtehude
Master of Lübeck
May 19, 2:30 PM
Multnomah Central Library
Collins Gallery
THE WILDWOOD CONSORT
Michael Wilhite, Director & viola da gamba
Leslie Hirsch, baroque violin
Everett Redburn, archlute & theorbo
Hannah Brewer, harpsichord
joined by Melanie Downie Robinson, soprano
PROGRAM
Sonata in G, Op.1 no.2 (BuxWV 253)
Lento – Vivace
Adagio – Allegro
Largo – Arioso
Gen Himmel zu dem Vater mein (BuxWV 32)
Suite in e (BuxWV 235)
Allemande – Courante
Sonata in a (BuxWV 272)
4/4 – Allegro
Adagio
3/2 – Allegro
Singet dem Herrn (BuxWV 98)
Suite in e (BuxWV 235)
Sarabande – Gigue
Klag-lied (BuxWV 76-2)
Sonata in D, Op.2 no.2 (BuxWV 260)
Adagio – Allegro
Largo – Ariette, Parte I-X
Largo – Vivace
Herr, wenn ich nur dich hab (BuxWV 38)
Dieterich Buxtehude: Master of Lübeck
Program Notes
Dieterich Buxtehude, born in Denmark circa 1637, served as organist at the Marienkirche in Lübeck
from 1668 to his death in 1707. Many of his keyboard works have remained in circulation through the
centuries, and Buxtehude has long been recognized as one of the most important composers for the
organ prior to J.S. Bach. This might easily have remained the extent of Buxtehude's reputation, but
fortunately the music connoisseur and patron Gustaf Düben collected 99 of the composer's vocal
manuscripts, which were donated in 1732 to Uppsala University Library. Rediscovered in 1889, these
works became the basis of a 20th century revival which reached a peak in 2007, the 300th anniversary
of the composer's death. Dieterich Buxtehude is now recognized for his outstanding contributions in
not one but three genres: keyboard, vocal and chamber ensemble.
It may be asked how Buxtehude, who never held a position that required him to compose anything
other than organ music, came to write so much vocal and chamber ensemble music. As organist at
the Marienkirche, he held one of the most important musical posts in North Germany, and as such he
was the leading musical citizen of Lübeck. Though past its former Hanseatic League glory, 17 th century
Lübeck remained a center of great commercial activity and wealth, and thus offered many
opportunities for Buxtehude to compose music for weddings, funerals and other private and civic
events. Buxtehude also directed the Abendmusiken, a public concert series similar to today's music
festivals. Under his leadership the Abendmusiken grew to regional fame; extra balconies were
constructed in the Marienkirche to accommodate a large orchestra and chorus. At his disposal for
such events were elite musicians on the Lübeck municipal payroll, who no doubt inspired some of
Buxtehude's virtuosic writing.
Scholar Kerala J. Snyder has suggested that the diverse circumstances under which Buxtehude
composed his vocal music – for assorted private commissions, for the Abendmusiken, or as
communion and vesper music in church services – help to explain its great variety. Today's concert
offers a sampling of Buxtehude's works for solo voice and small instrumental ensemble. We present
two vocal concertos, one based upon a Lutheran chorale and the other freely composed upon a
Psalm; then a strophic aria, and conclude with a vocal ciaccona.
Buxtehude's sonatas for chamber ensemble stand nearly alone in the history of chamber music.
Rather than two violins plus continuo as the Italians favored, Buxtehude wrote most of his sonatas for
the combination of violin, viola da gamba and cembalo (harpsichord). Other North German
composers used this same scoring, however Buxtehude's sonatas are quite unlike the suites of
Erlebach and Becker who composed dance suites according to a set formula. Buxtehude's sonatas are
anything but predictable, varying in length from 3 to 14 contrasting sections and featuring a
compendium of musical styles and techniques. Buxtehude, himself a viola da gamba player, exploits
the entire 3 octave range of the instrument, pairing it alternately with the violin in high range or with
the cembalo in basso range, often from one to the other in the same passages.
Sonata in G, Op.1 no.2 consists of three fast movements separated by Buxtehude's characteristic
short expressive slow passages. The Vivace is a pithy mini-concerto in double counterpoint with four
sets of canonic entries and episodes. The center movement is a driving Allegro in 6/8 meter, and the
final movement a set of variations on a pleasing Arioso theme.
Gen Himmel zu dem Vater mein is Buxtehude's setting of two verses the chorale Nun freut euch (Dear
Christians rejoice) by Martin Luther. Beginning with an instrumental sonata, it is written in triple
concerto style, the soprano singing the chorale melody with strings engaging in extensive concertato
interchange. The text is divided into short phrases, creating sections that contrast yet remain bound
together by the chorale. Gen Himmel concludes with a brisk alleluia in triple counterpoint.
Suite in e is one of Buxtehude's 19 extant keyboard suites. Unlike his variation sets for harpsichord,
some of which reach great length, the suites are brief and straightforward, possibly intended for
domestic use rather than concert performance. They are composed in the style brisé or broken style
first practiced by French lutenists.
Sonata in a is one of Buxtehude's eight unpublished sonatas. Structurally it is the simplest of all the
sonatas, consisting of two ciaccona movements separated by a 10-measure Adagio. The sonata is
unified by two ground bass patterns, a 4-measure pattern repeated 26 times in the opening
movement, then another in triple meter repeated 14 times in the final movement. Above this basso
ostinato the strings trade riffs that have a modern, almost improvised quality.
Singet dem Herrn ein neues Lied is also a concerto, this time a duet with soprano and violin as equal
partners, to the text of Psalm 98 with music freely composed by Buxtehude. Unlike Gen Himmel, the
soprano is not restricted to a chorale melody, but here joins in a succession of florid and lyrical
exchanges with the violin.
Klag-lied was composed by Buxtehude for the funeral of his father Johannes, also a church organist as
seen in the text which is attributed to Buxtehude himself. Klag-lied is an aria in pure strophic form for
soprano with two string instruments in contrapuntal texture, and basso continuo.
Sonata in D, Op.2 no.2 Following the opening Adagio is a fugue in lilting triple meter which comes to
a sudden unexpected halt. A short Largo modulates to the relative minor key for the sonata's
centerpiece, an Arietta with nine variations. Following a chorale-like Largo, the piece closes on a
driving Vivace with walking bass line.
Herr, wenn ich nur dich hab is a vocal ciaccona with text from Psalm 73. Its four measure basso
ostinato, a simple descending tetrachord, provides a steady backdrop for the effusion of melodic
interplay between voice and strings. For this performance, viola da gamba is substituted for the
original 2nd violin part.
Acknowledgements
Kerala J. Snyder, Dieterich Buxtehude: Organist in Lübeck Schirmer Books, 1987
Edition Güntersberg, Heidelberg: series of Buxtehude performance editions
Wildwood Consort, founded in 2008, is a chamber ensemble specializing in music of the renaissance
and baroque for mixed instruments and voices. We create programs depicting vital cultural and
historical themes, each illustrated by a selection of rarely performed musical works. We invite you to
join our mail list at www.wildwoodconsort.com for announcements of upcoming concerts.
Gen Himmel zu dem Vater mein (Martin Luther)
Gen Himmel zu dem Vater mein
fahr ich aus diesem Leben,
Da will ich sein der Meister dein,
den Geist will ich dir geben,
der dich in Trübsal trösten soll,
und lehren mich erkennen wohl,
und in der Wahrheit leiten.
To heaven, to my Father
To heaven, to my Father
I depart from this life.
There I shall be your master,
and give you the spirit
that shall console you in distress,
and teach you to recognize me
and lead you to truth.
Was ich gethan hab’ und gelehrt,
das sollst du thun und lehren;
damit das Reich Gott’s wird gemehrt
zu Lob und seinen Ehren;
Und hüt dich vor der Menschen Gesatz,
davon verdirbt der edle Schatz.
Das lass’ ich dir zur Letze. Alleluja.
What I have done and taught,
you shall also do and teach;
so that God’s kingdom will grow
to his praise and glory;
And beware of the law of man,
for the precious treasure is corrupted by it.
This I leave you as a token of farewell. Alleluia.
Singet dem Herrn (Psalm 96:1-4)
Singet dem Herrn ein neues Lied;
denn er macht Wunder.
Er sieget mit seiner Rechten
und mit seinem heiligen Arm.
Der Herr läßt sein Heil verkündigen,
vor den Völkern
läßt er seine Gerechtigkeit offenbaren.
Er gedenket an seine Gnade
und Wahrheit dem Hause Israel.
Aller Welt Ende sehen das Heil unsers Gottes.
Jauchzet dem Herrn, alle Welt;
singet, rühmet und lobet!
Sing to the Lord
Sing unto the Lord a new song,
for He hath done marvelous things!
His right hand and His holy arm
hath gotten Him the victory.
The Lord hath made known His salvation;
His righteousness hath He openly shown
in the sight of the heathen.
He hath remembered His mercy and His truth
toward the house of Israel;
all the ends of the earth have seen the salvation of our God.
Make a joyful noise unto the Lord, all the earth!
Make a loud noise, and rejoice, and sing praise!
Klaglied (Dieterich Buxtehude)
Muß der Tod denn auch entbinden,
was kein Fall entbinden kann?
Muß sich der mir auch entwinden,
der mir klebt dem Herzen an?
Ach! der Vater trübes Scheiden
machet gar zu herbes Leiden,
wenn man unsre Brust entherzt,
solches mehr als tödlich schmerzt.
Lament
Must death then also break those chains
No earthly circumstance can unfetter?
Must it also wrest from me
The one who cleaves unto my heart?
Alas! a father’s mournful passing
Brings too bitter sorrow with it,
When from the breast the heart is torn
The pain exceeds the throes of death.
Er spielt nun die Freuden-Lieder
auf des Himmels-Lust-Clavier,
da die Engel hin und wieder
singen ein mit süßer Zier.
Hier ist unser Leid-Gesänge
schwarze Noten Traur-Gemenge
mit viel Kreuzen durchgemischt
dort ist alles mit Lust erfrischt.
Now he plays his songs of joy
Upon celestial instruments,
While angels now and then chime in
And sweetly grace the chorus.
Here below in our songs of sorrow
Dark and mournful notes abound,
With many crosses interwoven.
There, all is restored with joyfulness.
Schlafe wohl, du Hochgeliebter,
lebe wohl, du seelge Seel;
ich, dein Sohn, nun Hochbetrübter,
schreib auf deines Grabes Höhl:
“Allhie liegt, des Spielens Gaben
selbsten Gott erfreuet haben:
danumb ist sein Geist beglückt
zu des Himmels-Chor gerückt.”
Sleep in peace, beloved one,
Live in peace, O blessed soul;
I, your son, now deep in grief,
Inscribe upon your hollow grave:
‘Here lies one whose gifts of music
Once gave joy to God Himself;
Now his spirit, full of gladness
Has joined the heavenly choir above’.
Herr, wenn ich nur dich hab (Psalm 73:25-6)
Herr, wenn ich nur dich hab,
so frag ich nichts nach Himmel und Erden,
wenn mir gleich Leib und Seele verschmacht.
So bist du doch Gott allezeit
meines Herzens Trost und mein Heil. Alleluja.
Lord, if I have only you
Lord, if I have only you,
I ask nothing from heaven and earth
If my body and soul are dying,
You, God, are always
my heart and salvation. Alleluia.