dietrich buxtehude
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Author(s):  
Т. О. Медведнікова ◽  
Т. Л. Фещенко

The purpose of the article is to study the baroque principles ofplaying the organ and the advantages of authentic performance of works ofthe Baroque era in our time. The methods, which are used into therepresented work, are historical, comparative, structurally analytical,axiological as well as generalizing. Scientific novelty consists in revealingthe features and specifics of authentic performance on a modern organ andcomparing the authentic and modern interpretation of works of theBaroque era. Conclusions. The organ has a long history of its evolution.The path of its formation began in the 7th century BC. with the advent ofPan's flute. Over the centuries, the instrument that we know today has beenshaped. The peak of the evolution of the organ is the period of the Baroqueera (XVII – the first half of the XVIII century). At that time, many organmasters worked on improving the instrument, including the North German master Arp Schnitger, whose organs are directly connected with the workof Dietrich Buxtehude and his contemporaries. In the second half of the18th century, organ art lost its primacy to symphonic and chamber music.Only at the beginning of the 19th century did composers and masters againturn to the organ. The instrument acquires new qualities, in connectionwith which the performers' attitude to the interpretation of baroque worksis changing. The main task of the performer is to achieve maximum soundeffect, behind which the true meaning of Baroque works is lost. Therefore,at the same time, supporters of an authentic interpretation appear whoadvocate baroque principles of performance on authentic instruments.Authentic sounding on a modern organ is possible due to following certainrules and using only those features of a modern organ that are inherent in abaroque instrument.


Bach-Jahrbuch ◽  
2018 ◽  
Vol 79 ◽  
pp. 205-212
Author(s):  
Gottfried Simpfendörfer

Viele Kantatentexte, die Bach vertonte, sind von den Bibelauslegungen des Rostocker Theologen Heinrich Müller geprägt. Bach besaß einige von ihnen selbst. Es ist unwahrscheinlich, daß Bach diese schon in der Schulzeit kennengelernt hat. Zwischen Rostock und Lübeck bestanden aber enge Verbindungen. Dietrich Buxtehude kannte die Schriften Müllers. Darum liegt die Vermutung nahe, daß Bach bei Buxtehude Müllers Bibelauslegungen kennenlernte. (Autor, Quelle: Bibliographie des Musikschrifttums online)


2017 ◽  
Vol 22 ◽  
pp. 29-47
Author(s):  
Pieter Dirksen
Keyword(s):  

Im 17. Jahrhundert war die Toccata nicht nur vorwiegend auf Tasteninstrumente beschränkt, sondern auch eine fast ausschließlich italienische beziehungsweise süddeutsche Angelegenheit. Das bedeutende Toccatenwerk Jan Pieterszoon Sweelincks, das auf venezianischen Vorbildern fußt, bildet eine wichtige Ausnahme. Die Gattung wurde offensichtlich von den meisten seiner deutschen Schüler nicht weitergeführt und findet sich als Sondererscheinung nur bei den zwei bedeutendsten unter ihnen, Samuel Scheidt und Heinrich Scheidemann. Erst in der nächsten Generation norddeutscher Organisten (Matthias Weckmann, Dietrich Buxtehude, Johann Adam Reincken) wurde die Toccata zu einer etablierten Kompositionsgattung. (Autor, Quelle: Bibliographie des Musikschrifttums online)


1956 ◽  
Vol 4 (1) ◽  
pp. 64-66
Author(s):  
William S. Newman
Keyword(s):  

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