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For the Degree of MASTER of MUSIC by Ray Fernando Luper, B. A

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For the Degree of MASTER of MUSIC by Ray Fernando Luper, B. A A S a TE THREE-VOICE CANTATAS WITH INSTRUMENTAL ACCOMPANIMENT BY DIETRICH BUXTEHUDE THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Ray Fernando Luper, B. A. Denton, Texas August, 1957 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS'. .* ....... iv Chapter I. BIOGRAPHY OF BUXTEHUDE.4. ..... I II. ORIGIN AND DEVELOPMENT OF THE CANTATA. 10 III. ANALYSIS OF THE THREE-VOICE CANTATAS OF BUXTEHUDE . 23 The Cantata Forms The Chaconne Cantata Cantatas in the Motet Style The Free-Style Cantatas The Strophic Cantatas The Chorale Cantatas IV. SUMMARY AND CONCLUSIONS. 90 APPENDIX. 96 BIBLIOGRAPHY. 98 1i LIST OF ILLUSTRATIONS Figure Page 1. Jesu Dulis Memoria, Measures 1-3. .. 25 2. Jesu Dulcis Memoria, Measures 55-59..*. 26 30 Jesu Dulcis Memoria, Measures 97-99..o.o 27 4. Jesu Dulcis MeasuresMemoria, 100-101. 0 . .0 28 50 Jesu Dulcis femoria, Measures 22-24. .. * . 0 0 .0 29 6. J esu Dulcis MemoriaMeasures 31-33. - - 9 9 -0 29 7. es u Dulcis Memoria, Measures 25-26..*.* . 0 .9 30 8. Jesu Duleis Memoria, Measure 17. .. .0. 0 .0 31 90 Jesu Duleis Memoria, Measures 91-93. .. I . 0 . .5 31 34.1.o.. 10. Meine Seele, Wiltu Ruhn, Measures 21-22 2 . 02 0 0*0 .9 34 12.-.2. 11. Meine Seele, Willtu Ruhn Measures 16-50 36 .9.-.9.o 12. Meine Seele, Willtu uhn, Measures 37-40 37 13. Kommst Du, Licht Der Heiden, Measure 1+0. 38 14. Surrexit Christus Qodi, Measures 29-3+. 39 15. Surrexit Christus Hodie, Measures 45-51. 40 16. Anerite Mihi Portas Justitiae, Measures7L3-17. 40 17. A*Perite jifPortas Justitiae, Measures 20-21. 41 . 18. Aperite Mihi Portas Justitiae, Measures 34-40. 41 19. Ap~erite Mgi Portas Justitiaq, Measures 124+-127. 42 20. Aperite Mihi Portas Justitiae, Measures 196-198. 42 21. Kommst Du, Licht Der Heiden, Measure 12. iv LIST OF ILLUSTRATIONS--Continued Figure Page 22. Surrexit Christus Hodie, Measure 6....... 44 23. InTe, Domine, pra vi, Measures 4-7 . 45 24. In Te, Domine, Speravi, Measures 8-10. 46 25. Kommst Du, Lish Der , Measures 95-103.. 47 26. Kommst Du, Licht Der Heiden, Measures 191-195. 48 27. Kommst Du, Lieht Der Heiden, Measures 211-214. 48 28. In 'e., D e, pravi, Measures 36-38 . 49 29. Afferte Domino Gloriam, Honorem, Measures 99-100 50 30. APerite Mihi Portas Justitiae, Measures 90-97. 51 31. Icb Habe Lust Abzuscheiden; a) Measures 6-8, bT Measure B2 7TT.0 0 .. .0 .0 .0 . 55 32. lob Babe Lust Abtuseheiden, Measures 121-137 . 5? 33. Ioh Habe Lust Abzuseheiden, Measures 181-182 . 58 34. Welt, Packe g icb., Measure 18 .......... 59 35. Gott Fhret Auf Mit Jauchzen; a) Measures 32-40, b) Measures~5354 . .* -*0- . .. * - 62 36. 0 Jesu Mi Dulcissimq, Measures 48-51...... 66 37. 0 Jesu Mi Dulcissime, Measures 64-66 . 66 38. LaudaSion Salvatorem, Measures 44-46. 67 39. lob Babe Lust Abzuscheiden, Measures 27-32 . 68 40. Ich Habe Lust Abzuscheiden, Measures 67-74 . 69 41. Je Hfber Du Bist, Measures 124-132 . 70 42. Goft Fhret Auf Mit Jauchzen, Measures 54-61 . 71 V LIST OF ILLUSTRATIONS--Continued Figure Page 1+3. Gott Fghret Auf Mit Jauchzen, Measures 257,-258. 71 44. An Filius Non Est Dei, Measures 124-127. 72 45. Jesulein, DuTausendschbn, Measures 76-79. 72 46. Au! Stimmet Die Saiten, Measures 10-12 . 74 47. Mein Gemit Erfreuet Sic, Measure 56 . 77 48. 'Me Gemtt Erfreuet Sich, Measures 63-65 . 78 49. j Gemft Erfreuet Sich, Measures 71-72 . 78 50. In Dulci Jubilo, Measures 246-259. 81 51. Du Frieden Ftrst Herr Jesu Christ; a) Measures 119-123, b) Measures 123-127....... 81+ 52. a) Original Chorale Melody; b) In Dulci Jubilo, Measures 4-6. 84 53. Du Frieden Ftrst Herr Jesu Christ; a) Measures 35-38, bT asures 135-137. 85 54. Wachet Auf, R Uf . Die sti;me a) Measures 65-6~6b) Measures 332-333. 85 55. Wachet Auf, Ruft. Uns Die fStimme; a) Measure 38, T)Measure 39 . 86 56. Jesu Meine Freude, Measures 85-86...0.... * 87 57. J ~ Meine Freude, Measure 93...... .. 87 58. Jesu Meine Freude, Measures 135-139. 88 59. Jesu Meine Freude; a) Measures 151-159, T) MeasuresT160-1662. ....* ... 88 vi CHAPTER I BIOGRAPHY OF BUXTEHUDE The present investigation deals with the cantatas of Dietrich Buxtehude written for three voice parts with instrumental accompaniment. An examination of the various musical forms which Buxtehude employed in these cantatas will comprise one of the two areas in this study. The other area shall be concerned with Buxtehude's usage of word painting (i.e., musical portrayal of word meanings). Before entering an investigation of Buxtehude's music, his life and background should be considered. "Diderik's father, Johann Buxtehude, can be traced back to a place called Oldesloe, which today is under German Sovereignty, but which then belonged to the Danish crown."I His mother, Helle Japersdaater, was Danish; 2 -wthis caused Buxtehude to be given the title, "the great Dane." However, there were many families with the name Buxtehude in Germany, and it was usually preceded by the preposition de. One 1Hanna Lund, "Diderik Buxtehude, 'The Great Dane' (1637-1707)," Etude, LXVII (February, 1949), 82. 2Allan Burt, "The Horizontal and Vertical Sonorities of Buxtehude," unpublished master's thesis, Eastman Schbool of Music, The University of Rochester, Rochester, 1939, p. 1. I 2 small town, located about thirty miles outside of Hamburg in the direction of Bremen, also bears that name. For this reason, German musicologists do not consider Buxtehude a true Dane, but believe him to be a German by ancestry and a Dane by adoption.3 Very little is known about the birth of Buxtehude. The consensus is that he was born in 1637, but the place of his birth is unknown. "Historians disagree on whether Diderik was born in Oldesloe, Elsinore, or Helsingborg, but as all three places were Dani-sh at that time, it has no effect on establishing his nationality definitely as Danish." Johann Buxtehude was an excellent musician for Dietrich to emulate, and from him Dietrich received much of his early training. "Sans rfle4chir beaucoup "' ce que tout cela signifiait, il lui 4tait aise de comprendre que la musique 4tait un art tres 4lev qui plait a Dieu, et que les hommes tiennent en grande estime." 5 Besides learning from his father, he attended the highly reputed Elsinore grammar school, where he received a thorough music education. Every morning school began with the reading of the Bible, followed by a half hour's practice of old 3W. E. Buszlin, "Dietrich Buxtehude on the Tercenten- ary of His Birth," Musical jgarterly, XXIII (October, 1937), 467. '+Lund, "Diderik Buxtehude," p. 82. 5Andre Pirro, Dietrich Buxtehude (Paris, 1913), p. 7. 3 Gregorian chants, and after that exercises in singing several parts. Besides the choral training, much weight was laid upon the playing of an instrument, so Diderik was fortunate in receiving very fine instruc- tion during his childhood.6 The country where Buxtehude lived was a midway point for travelers going to and from the capital cities of Hamburg and Stockholm. Musicians often found it necessary to pass through this area in traveling to these metropolitan centers. Buxtehude probably heard these men play and thus, while quite young, was influenced by the music of many countries. When Dietrich was twenty, he was appointed organist at the Saint Marie Church in Helsingborg. From this church he moved to the Saint Marie Church in Elsinore where he lived with his parents. It is interesting to note that the three churches which he served during his lifetime were all named Saint Marie. "It is from the Elsinore years, 1660-1668, that we have his oldest preserved composition, a Motet in three parts with two violins and continuo.t 7 From Elsinore, Buxtehude moved to the Saint Marie Church in Ltbeck, to the position he would hold for the remainder of his life. To gain this position he had to pass a severe test in competition with other aspirants for the post formerly held by the famous Franz Tunder. "Each 6 Lund, "Diderik Buxtehude," p. 82. 7Ibid. If contestant was given a fugue theme to look at for a few minutes, and from that he had to improvise and play a strict fugue on the organ." 8 Passing this test did not complete the requirements, however. The rule at that time was that the successor must maintain the family of the deceased organist by marrying the young widow, or if she were aged, the eldest daughter. Buxtehude was rather fortunate in that the widow was aged, the eldest daughter married, and there remained only a younger daughter who was twenty years of age. Since Buxtehude was in his early thirties and since marriages at that time were merely marriages arranged by the parents, he gladly consented. One unfortunate part of this position, though, was the fact that he had to pay his mother-in-law's maintenance for a number of years. Buxtehude never seemed to accept this idea willingly. Except for this added financial burden, his marriage was a happy one. Along with the position as organist at Ltibeck, he was also the Werkmeister (general overseer). His duties as Werkmeister were almost menial at times, but he did not seem to object. He served as secretary and treasurer of the church. It was his duty to suggest necessary repairs, to purchase materials, to employ workmen, to supervise all repairs and to pay out wages and salaries.
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