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dissolving into homophony after a few entrances. It is manualiter works. Among these, his most original and Lars Ulrik Mortensen through the gigue, however, that the dance makes itself most justly famous works are praeludia and toccatas in the stylus Lars Ulrik Mortensen studied at the Royal Academy of Music in strongly felt in the other genres of Buxtehude’s keyboard phantasticus, which intermingles highly unpredictable free Copenhagen and with Trevor Pinnock in London. From 1988 to 1990 music. sections in virtuosic and idiomatic keyboard styles with he was harpsichordist with London Baroque and until 1993 with BUXTEHUDE Each of Buxtehude’s three variation sets is grounded in more structured fugal sections. Since organists naturally Collegium Musicum 90. He now works extensively as a soloist and dance rhythms. His most famous variation set, labelled prefer the pedaliter works, those for manuals alone are chamber-musician in Europe, the United States, Mexico, South Aria, but subtitled La Capricciosa, BuxWV 250, follows much less frequently performed, thus offering rich America, and Japan, performing regularly with distinguished Suites in A major and F major the Bergamasca, a dance that originated in Italy during the opportunities to adventurous harpsichordists. Even in these colleagues such as Emma Kirkby, John Holloway and Jaap ter Linden. sixteenth century and was widespread throughout Europe free works one can find elements of dance and variation. In Between 1996 and 1999 he was professor for harpsichord and La Capricciosa in the seventeenth. Its first half also appears as the the Prelude in G major, BuxWV 162, the second fugue is a performance practice at the Munich Musikhochschule, and he now Thuringian song Kraut und Rüben that J.S. Bach used in the variation, in gigue rhythm, of the first. Buxtehude may have teaches at numerous early music courses throughout the world. Until quodlibet concluding the Goldberg Variations, BWV 988, conceived his canzonas as teaching pieces; they are all recently Lars Ulrik Mortensen was also active as a conductor in but it is unlikely that Buxtehude knew it in this form. Bach manualiter works, and students most often practised on the Sweden and Denmark, where his activities at the Royal Theatre in Lars Ulrik Mortensen, Harpsichord may have known La Capricciosa, on the other hand, since, clavichord or harpsichord. They are variously titled canzon, Copenhagen met with great critical acclaim, although he has now like his Goldberg Variations, it is a virtuoso showpiece canzonet, or fuga and consist either of a single fugue or of returned to work primarily with period instrument ensembles. Since consisting of 32 variations on an aria in G major. In La three related fugues, as in BuxWV 168, in the manner of the 1999 he has been artistic director of the Danish Baroque orchestra Capricciosa Buxtehude layers dance upon dance, changing variation canzona inherited from Frescobaldi and Froberger. Concerto Copenhagen and in 2004 succeeded Roy Goodman as the simple duple metre of the Bergamasca to that of a gigue Friedrich Wilhelm Marpurg, in his Abhandlung von der musical director of the European Union Baroque Orchestra. He has (Partite 9 and 19), a sarabande (Partita 25), and a minuet Fuge (1753), used the third fugue of BuxWV 168 as an recorded extensively for numerous labels, and his recording of Bach’s (Partite 29 and 30). illustration of a counter fugue, in which the answer moves Goldberg Variations was awarded the French Diapason d’Or. The Buxtehude’s free keyboard works, those independent of in contrary motion to the subject. series of Buxtehude recordings from the 1990s for the Danish Dacapo a preexisting melody or dance pattern, are mainly label has met with universal critical acclaim, and recordings of transmitted in manuscripts that include both pedaliter and Abridged from a note by Kerala Snyder, 1998 chamber music and cantatas by Buxtehude have won Danish Grammy awards, among other honours. In 2000 he was named Danish Musician of the Year for his recordings of harpsichord music by Buxtehude, which also received the Cannes Classical Award 2001. As a conductor his recordings include releases of harpsichord concertos by Bach and piano concertos by Haydn, in addition to symphonies by the Danish composers J.E.Hartmann, F.L.A.E.Kunzen and G.Gerson. Lars Ulrik Mortensen has received a number of prizes and distinctions, among them the Danish Music Critics’ Award in 1984 and in 2007 Denmark’s most prestigious music award, the Léonie Sonning Music Prize. Get this free download from Classicsonline! Fischer: Musicalischer Parnassus: Terpsichore, Suite No. 7 Copy this Promotion Code Nax6vL5wiUVg and go to http://www.classicsonline.com/mpkey/fisc7_main. Downloading Instructions C 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at http://www.classicsonline.com/UserLogIn/SignUp.aspx. M 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. Y K 5 8.570581 6 8.570581 570581bk Buxtehude US:557541bk Kelemen 3+3 15/7/08 9:38 PM Page 2

Dietrich Buxtehude (1637–1707) Dietrich Buxtehude was most likely born in 1637 in the pastor of St Mary’s. concerts Abendmusiken and changed the time of their particular instruments: free works such as praeludia and Harpsichord Music • 3 Danish town of Helsingborg, now part of Sweden. His Buxtehude swore the oath of citizenship on 23rd July presentation to Sundays after vespers. In time these toccatas, many of them designated “pedaliter”, and thus for father Johannes (Hans), also an organist, had immigrated 1668, enabling him to marry Anna Margarethe Tunder, a concerts took place regularly on the last two Sundays after organ; settings of German chorales, most of them also to Denmark at an unknown time from Oldesloe in Holstein. daughter of his predecessor, on 3rd August, 1668. Of seven Trinity and the second, third and fourth Sundays of Advent requiring the pedal; and a distinctly secular repertoire Suite in A major, Aria: “La Capricciosa” in § Partita 16 0:34 In the year 1641 Johannes Buxtehude was employed as daughters born to the couple three died in infancy, a fourth each year. By 1678 he had introduced the practice of consisting of dance suites and variations, presumably for BuxWV243 8:19 G major, BuxWV250 28:23 ¶ Partita 17 0:30 the organist at St Mary’s Church, Helsingborg, and soon survived to early adulthood, and three remained in the presenting oratorios of his own composition in serial harpsichord. These boundaries are by no means rigid, 1 Allemande 3:05 ! Partita 1 1:18 • Partita 18 0:31 after that he moved across the Øresund to become organist household at the time of Buxtehude’s death. Godparents to fashion on these Sundays. He also directed performances however, and this series of recordings exploits such fluidity 2 Courante 1:36 @ Partita 2 1:18 ª Partita 19 0:36 of St Olai Church in Helsingør. The exact date of Dietrich’s the Buxtehude children came from the higher strata of of concerted music from the large organ during the regular by drawing from all three genres for its programmes. 3 Sarabande 1:55 # Partita 3 1:01 º Partita 20 1:17 birth is unknown, but at the time of his death on 9th May, Lübeck society. Buxtehude himself belonged to the fourth church services, although this activity, like the presentation Nearly all of Buxtehude’s suites and variations on 4 Gigue 1:43 $ Partita 4 0:46 ⁄ Partita 21 0:43 1707, he was said to be about seventy years old. social class, however, together with lesser wholesalers, of the Abendmusiken, lay outside his official duties to the secular tunes are preserved in a single Danish manuscript, now at the Royal Library in Copenhagen, which contains 5 Canzonetta in D minor, % Partita 5 0:46 ¤ Partita 22 0:41 The knowledge of Latin that Buxtehude displayed in retailers and brewers. In inviting his social superiors to church. later life indicates that he must have attended a Latin school serve as godparents, and in some cases naming his children By 1703 Buxtehude had served for 35 years as organist the history of the Ryge family reading in one direction and BuxWV168 4:30 ^ Partita 6 0:35 ‹ Partita 23 0:40 & Partita 7 0:30 › Partita 24 0:55 as a boy. Although he undoubtedly began his organ studies after them, Buxtehude was also cultivating their patronage of St Mary’s; he was about 66 years old and he was no a collection of keyboard music, mainly by Buxtehude, in Suite in F major, * Partita 8 0:56 ﬁ Partita 25 1:53 with his father, further information concerning his teachers for his musical enterprises. doubt concerned about the future of his three unmarried the other. The musical portion was probably copied early is totally lacking. Other possible teachers in Denmark As organist of St Mary’s, Buxtehude’s chief respons- daughters, so he began to look for a successor who would in the eighteenth century. The fact that two of the suites BuxWV238 7:26 ( Partita 9 0:35 ﬂ Partita 26 0:59 include Claus Dengel, organist at St Mary’s, Helsingør, ibility lay in playing the organ for the main morning and marry the eldest, now 28. The first prospective candidates attributed to Buxtehude in this manuscript were actually 6 Allemande 3:00 ) Partita 10 0:49 ‡ Partita 27 1:24 7 Courante 1:27 from 1650 to 1660, and the younger Johann Lorentz, the afternoon services on Sundays and feast days. He also held of whom we know were Johann Mattheson and Georg composed by Nicolas-Antoine Lebègue underlines the ¡ Partita 11 1:03 ° Partita 28 0:59 famous organist at St Nicholas’s Church in Copenhagen the position of Werkmeister of St Mary’s, the administrator Frideric Handel, both of whom were employed at the stylistic similarity of the German keyboard suite to French 8 Sarabande 1:32 ™ Partita 12 1:33 · Partita 29 0:29 9 Gigue 1:26 from 1634 until his death in 1689. Lorentz was a pupil and and treasurer of the church, a position of considerable Hamburg opera at the time. They travelled to Lübeck models, particularly in the use of stile brisé, which the £ Partita 13 0:54 ‚ Partita 30 0:31 son-in-law of Jacob Praetorius in Hamburg, and the responsibility and prestige. The account books that he kept together on 17th August 1703 and listened to Buxtehude French clavecinistes had adapted from lute music. The 0 Prelude in G major, ¢ Partita 14 0:43 a Partita 31 0:28 Buxtehude family made his acquaintance in 1650 upon in this capacity document the life of the church and its “with dignified attention”, but since neither of them was at standardisation of the movements to Allemande, Courante, BuxWV162 5:42 ∞ Partita 15 1:25 b Partita 32 0:59 the death of his father, an organ builder. Buxtehude might music in considerable detail. The cantor of St Mary’s, also all interested in the marriage condition, they returned to Sarabande, and Gigue, however, can be credited to German later have studied with Heinrich Scheidemann in Hamburg a teacher at the Catharineum, held the responsibility for Hamburg the following day. Johann Sebastian Bach made composers. or Franz Tunder in Lübeck. providing the liturgical music, using his school choir of his famous trip to visit Buxtehude in the autumn of 1705, The two suites offered here present the intimate, dom- In late 1657 or early 1658, Buxtehude took up the same men and boys. They performed together with most of the coinciding with the Abendmusik season, and he remained estic aspect of Buxtehude’s keyboard art. In each case the position as organist of St Mary’sChurch, Helsingborg, that Lübeck municipal musicians from a large choir-loft in the in Lübeck for nearly three months. Bach, too, may have allemande is the weightiest element, “the proposition in a his father had occupied before coming to Helsingør. He front of the church, over the rood screen. Two municipal been interested in obtaining the succession to Buxtehude’s musical suite, from which the corrente, sarabande and worked there until October 1660, when he became organist musicians, a violinist and a lutenist, regularly performed position, but there is no evidence that this was the case. The gique [sic] flow as parts”, in the words of Buxtehude’s of St Mary’s, Helsingør, called the German church because with Buxtehude from the large organ. account of the trip in Bach’s obituary states unambiguously grandstudent Martin Heinrich Fuhrmann. Indeed, the it served foreigners of the community and the military Buxtehude inherited a tradition established by Franz that its purpose was to hear Buxtehude play the organ, and openings of Buxtehude’s correnti often follow the melodic garrison of Kronborg. In Helsingør Buxtehude was Tunder of performing concerts from the large organ of St in his report to the Arnstadt consistory upon his return the contour of the allemande, and in the case of the F major expected to play at the beginning of the service while the Mary’s at the request of the business community. Tunder following February, Bach stated that he had made the trip suite, BuxWV 238, the corrente approaches an actual pastor was robing himself; he and the cantor were to had gradually added vocalists and instrumentalists to his “in order to comprehend one thing and another about his variation of it. The Ryge manuscript usually spells this provide instrumental and vocal music for the church on organ performances, which are said to have taken place art”. Buxtehude died on 9th May 1707 and was succeeded movement “Courent“ in a curious mixture of French and feast days and at other times at the pastor’s request. on Thursdays prior to the opening of the stock exchange. by Johann Christian Schieferdecker, who married Italian; in fact Buxtehude usually follows the Italian The position of organist and Werkmeister at St Mary’s, Within a year of his arrival in Lübeck, Buxtehude had Buxtehude’s eldest daughter on 5th September 1707. corrente, with its lightly running quaver motion, rather than Lübeck, became vacant upon the death of Franz Tunder greatly expanded the possibilities for the performance of Keyboard music of the seventeenth century was not the more subtle French courante. Fuhrmann characterizes on 5th November 1667, and Dietrich Buxtehude was concerted music from the large organ by having two new usually designated for particular instruments, and most of the Sarabande as an “instrumental aria, usually eight formally appointed the following April. This was a much balconies installed at the west end of the church, each paid it could be played on organ, harpsichord, or clavichord. measures, going slowly in triple”, and this is the shortest and more prestigious and well paid position than the one he for by a single donor. These new balconies, together with The manuscripts that transmit Buxtehude’s keyboard simplest movement of a Buxtehude suite. The gigues in had held in Helsingør; Buxtehude was the most highly paid the four that were already there, could accommodate about music, however, generally restrict themselves to one of Buxtehude’s suites have a more contrapuntal texture than the musician in Lübeck, and he earned nearly as much as the forty singers and instrumentalists. Buxtehude called his three types of music that can indeed be associated with other movements, but they are not strictly fugal, usually

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dissolving into homophony after a few entrances. It is manualiter works. Among these, his most original and Lars Ulrik Mortensen through the gigue, however, that the dance makes itself most justly famous works are praeludia and toccatas in the stylus Lars Ulrik Mortensen studied at the Royal Academy of Music in strongly felt in the other genres of Buxtehude’s keyboard phantasticus, which intermingles highly unpredictable free Copenhagen and with Trevor Pinnock in London. From 1988 to 1990 music. sections in virtuosic and idiomatic keyboard styles with he was harpsichordist with London Baroque and until 1993 with BUXTEHUDE Each of Buxtehude’s three variation sets is grounded in more structured fugal sections. Since organists naturally Collegium Musicum 90. He now works extensively as a soloist and dance rhythms. His most famous variation set, labelled prefer the pedaliter works, those for manuals alone are chamber-musician in Europe, the United States, Mexico, South Aria, but subtitled La Capricciosa, BuxWV 250, follows much less frequently performed, thus offering rich America, and Japan, performing regularly with distinguished Suites in A major and F major the Bergamasca, a dance that originated in Italy during the opportunities to adventurous harpsichordists. Even in these colleagues such as Emma Kirkby, John Holloway and Jaap ter Linden. sixteenth century and was widespread throughout Europe free works one can find elements of dance and variation. In Between 1996 and 1999 he was professor for harpsichord and La Capricciosa in the seventeenth. Its first half also appears as the the Prelude in G major, BuxWV 162, the second fugue is a performance practice at the Munich Musikhochschule, and he now Thuringian song Kraut und Rüben that J.S. Bach used in the variation, in gigue rhythm, of the first. Buxtehude may have teaches at numerous early music courses throughout the world. Until quodlibet concluding the Goldberg Variations, BWV 988, conceived his canzonas as teaching pieces; they are all recently Lars Ulrik Mortensen was also active as a conductor in but it is unlikely that Buxtehude knew it in this form. Bach manualiter works, and students most often practised on the Sweden and Denmark, where his activities at the Royal Theatre in Lars Ulrik Mortensen, Harpsichord may have known La Capricciosa, on the other hand, since, clavichord or harpsichord. They are variously titled canzon, Copenhagen met with great critical acclaim, although he has now like his Goldberg Variations, it is a virtuoso showpiece canzonet, or fuga and consist either of a single fugue or of returned to work primarily with period instrument ensembles. Since consisting of 32 variations on an aria in G major. In La three related fugues, as in BuxWV 168, in the manner of the 1999 he has been artistic director of the Danish Baroque orchestra Capricciosa Buxtehude layers dance upon dance, changing variation canzona inherited from Frescobaldi and Froberger. Concerto Copenhagen and in 2004 succeeded Roy Goodman as the simple duple metre of the Bergamasca to that of a gigue Friedrich Wilhelm Marpurg, in his Abhandlung von der musical director of the European Union Baroque Orchestra. He has (Partite 9 and 19), a sarabande (Partita 25), and a minuet Fuge (1753), used the third fugue of BuxWV 168 as an recorded extensively for numerous labels, and his recording of Bach’s (Partite 29 and 30). illustration of a counter fugue, in which the answer moves Goldberg Variations was awarded the French Diapason d’Or. The Buxtehude’s free keyboard works, those independent of in contrary motion to the subject. series of Buxtehude recordings from the 1990s for the Danish Dacapo a preexisting melody or dance pattern, are mainly label has met with universal critical acclaim, and recordings of transmitted in manuscripts that include both pedaliter and Abridged from a note by Kerala Snyder, 1998 chamber music and cantatas by Buxtehude have won Danish Grammy awards, among other honours. In 2000 he was named Danish Musician of the Year for his recordings of harpsichord music by Buxtehude, which also received the Cannes Classical Award 2001. As a conductor his recordings include releases of harpsichord concertos by Bach and piano concertos by Haydn, in addition to symphonies by the Danish composers J.E.Hartmann, F.L.A.E.Kunzen and G.Gerson. Lars Ulrik Mortensen has received a number of prizes and distinctions, among them the Danish Music Critics’ Award in 1984 and in 2007 Denmark’s most prestigious music award, the Léonie Sonning Music Prize. Get this free download from Classicsonline! Fischer: Musicalischer Parnassus: Terpsichore, Suite No. 7 Copy this Promotion Code Nax6vL5wiUVg and go to http://www.classicsonline.com/mpkey/fisc7_main. Downloading Instructions C 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at http://www.classicsonline.com/UserLogIn/SignUp.aspx. M 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. Y K 5 8.570581 6 8.570581 NAXOS NAXOS Born fifty years after Heinrich Schütz, the ‘father of German music’, and little less than half a century before J. S. Bach, Dietrich Buxtehude provided a link between the founder of Protestant Baroque music and its greatest master. While Buxtehude's organ music is comparatively well known, his harpsichord music has attracted less 8.570581

BUXTEHUDE: attention. The third volume of the present series includes two Suites of French dances BUXTEHUDE: and the brilliant series of variations on an aria under the title La Capricciosa. DDD

Playing Time Dietrich 54:28 BUXTEHUDE (1637–1707)

Suites in A major and F Harpsichord Music • 3 Suites in A major and F

1-4 Suite in A major, BuxWV 243 8:19 5 Canzonetta in D minor, BuxWV 168 4:30 6-9 Suite in F major, BuxWV 238 7:26 0 www.naxos.com Printed & Assembled in USA Disc Made in Canada Booklet notes in English Ltd. Naxos Rights International ൿ

Prelude in G major, BuxWV 162 5:42 1999 & !-b Aria: “La Capricciosa” in G major, BuxWV 250 28:23

Full track details will be found on page 2 of the booklet Ꭿ 2008

Lars Ulrik Mortensen, Harpsichord C Includes free downloadable bonus track from the Naxos catalogue available at www.classicsonline.com. Please see booklet for full details. M 8.570581 Recorded at St Matthew’s Church, Copenhagen, 22–28 September 1998 8.570581 Producer & Engineer: Michael Petersen • This recording was previously released on Dacapo 8.224118 Y Booklet notes: Kerala Snyder • Harpsichord by Thomas Mandrup-Poulsen Cover picture: Conversation by Pieter de Hooch or Hoogh (1629–1684+) (The Art Archive / Museo de Arte Antiga Lisbon / Gianni Dagli Orti) K