Buxtehude on CD: a tercentenary survey
2007; Oxford University Press; Volume: 35; Issue: 3 Linguagem: Inglês
10.1093/em/cam071
ISSN1741-7260
Autores Tópico(s)Historical Influence and Diplomacy
ResumoTHE 300th anniversary of the death of Dieterich Buxtehude is a good moment to survey recordings of his music for what they reveal about changing attitudes to the performance of 17th-century music. Buxtehude is important partly because of his historical position as an important precursor of, and influence on, the young J. S. Bach, which ensured that his music was revived earlier than that of most of his German contemporaries. Many of the organ works were published in 1875–6, edited (significantly) by Philipp Spitta, who was then in the process of writing and publishing his Bach biography.1 1903 saw the appearance of an almost-complete edition of the chamber music and a selection of the sacred vocal works.2 A projected complete edition, begun in 1925 by Ugrino Verlag, is still incomplete, though there is now at least one modern edition of all the ‘cantatas’.3 (I use scare-quotes here because cantatas are properly Italian-style works with an alternation of recitatives and arias, making the term anachronistic for Buxtehude.) Recordings of Buxtehude began to appear soon after the development of electrical recording in the mid-1920s. The earliest seems to be Alfred Sittard’s performance of the Praeludium in G minor, BuxWV 149, recorded on the Walcker organ of the Michaeliskirche, Hamburg on 15 June 1928 (Deutsche Grammophon 95160).4 The earliest recording of a vocal work appears to be Send hid din Engel, a Danish version of Befiehl dem Engel, daß er komm, BuxWV 10, recorded on 28 October 1936 by the Copenhagen Boys’ and Men’s Choir and a string ensemble directed by Mogens Wøldike (Columbia CCX19).
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