|
Georg Karstädt
The Buxtehude-Werke-Verzeichnis ("Buxtehude Works Catalogue", commonly abbreviated to BuxWV) is the catalogue and the numbering system used to identify musical works by the German-Danish Baroque composer Dieterich Buxtehude (c. 1637 – 9 May 1707). It was compiled by Georg Karstädt and published in 1974 as ''Thematisch-Systematisches Verzeichnis der Musikalischen Werke von Dietrich Buxtehude''. The second edition, published in 1985, contains minor additions and corrections. The catalogue is organized thematically, not chronologically, and contains 275 individual pieces. The ''Anhang'' ("Appendix") adds 13 spurious and falsely attributed works. The fourteen trio sonatas (BuxWV 252–265) were the only works published during Buxtehude's lifetime. Originally issued in two volumes, the first seven are now commonly referred to as Buxtehude's opus 1 and the next seven as opus 2. Vocal music Cantatas (1–112) * BuxWV 1 — ''Accedite gentes, accurite populi'' * BuxWV 2 — ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dieterich Buxtehude
Dieterich Buxtehude (; ; born Diderik Hansen Buxtehude; c. 1637 – 9 May 1707) was a Danish organist and composer of the Baroque period, whose works are typical of the North German organ school. As a composer who worked in various vocal and instrumental idioms, Buxtehude's style greatly influenced other composers, such as Johann Sebastian Bach. Buxtehude is considered one of the most important composers of the 17th century. Life Early years in Denmark He is thought to have been born with the name Diderich Buxtehude.Snyder, Kerala J. Dieterich Buxtehude: Organist in Lübeck. New York: Schirmer Books, 1987. His parents were Johannes (Hans Jensen) Buxtehude and Helle Jespersdatter. His father originated from Oldesloe in the Duchy of Holstein, which at that time was a part of the Danish realms in Northern Germany. Scholars dispute both the year and country of Dieterich's birth, although most now accept that he was born in 1637 in Helsingborg, Skåne at the time part of De ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Illustra Faciem Tuam
Illustra was a commercialized version of the Postgres object-relational database management system (DBMS) sold by Illustra Information Technologies, a company formed by Michael Stonebraker and Gary Morgenthaler and several of Michael Stonebraker's current and former students including: Wei Hong, Jeff Meredith, Michael Olson, Paula Hawthorn, Jeff Anton, Cimarron Taylor and Michael Ubell. The technology's extensibility model centered on DataBlade modules that defined types and associated index methods, operators, and functions for purposes and data domains that included Web publishing, search and manipulation of text, and management of geospatial information. The company was sold to Informix IBM Informix is a product family within IBM's Information Management division that is centered on several relational database management system (RDBMS) offerings. The Informix products were originally developed by Informix Corporation, whose I ... Corp. in 1997. The technology was folded ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Phrygian Mode
The Phrygian mode (pronounced ) can refer to three different musical modes: the ancient Greek ''tonos'' or ''harmonia,'' sometimes called Phrygian, formed on a particular set of octave species or scales; the Medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter. Ancient Greek Phrygian The octave species (scale) underlying the ancient-Greek Phrygian ''tonos'' (in its diatonic genus) corresponds to the medieval and modern Dorian mode. The terminology is based on the '' Elements'' by Aristoxenos (fl. c. 335 BC), a disciple of Aristotle. The Phrygian ''tonos'' or ''harmonia'' is named after the ancient kingdom of Phrygia in Anatolia. In Greek music theory, the ''harmonia'' given this name was based on a ''tonos'', in turn based on a scale or octave species built from a tetrachord which, in its diatonic genus, consisted of a series of rising intervals of a whole tone, followed by a semitone, followed by a whole tone. : In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abendmusik
(German for "evening music", plural ') usually refers to a series of musical concert held in the St. Mary's Church, Lübeck ('), Germany, begun in the 17th century and lasting until the early 19th century. Most of the music for these occasions, composed by Franz Tunder, Dieterich Buxtehude, and their successors, has been lost. Modern usage of term may also refer to any concerts in a church. History The exact origins are uncertain. C. Ruetz, then cantor and the Marienkirche, wrote a first detailed study in 1752, where he could, based on his own memories, only trace back the practice to that of the organist entertaining business people on Thursdays, before the opening of the stock exchange, a practice which was also present in other trading cities such as Amsterdam or Copenhagen. It is most likely that this began during the tenure of Franz Tunder, who was organist at the from 1641 to 1667: Tunder referred to revenue received from an "''Abendspiel''" in a letter dated January 11, 16 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Canon (music)
In music, a canon is a contrapuntal (counterpoint-based) compositional technique that employs a melody with one or more imitation (music), imitations of the melody played after a given duration (music), duration (e.g., quarter rest, one measure, etc.). The initial melody is called the leader (or ''dux''), while the imitative melody, which is played in a different part (music), voice, is called the follower (or ''comes''). The follower must imitate the leader, either as an exact replication of its rhythms and Interval (music), intervals or some transformation thereof. Repeating canons in which all voices are musically identical are called round (music), rounds—"Row, Row, Row Your Boat" and "Frère Jacques" are popular examples. An accompanied canon is a canon accompanied by one or more additional independent parts that do not imitate the melody. History Medieval and Renaissance During the Medieval music, Middle Ages, Renaissance music, Renaissance, and Baroque music, Baroque ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aria
In music, an aria (Italian: ; plural: ''arie'' , or ''arias'' in common usage, diminutive form arietta , plural ariette, or in English simply air) is a self-contained piece for one voice, with or without instrumental or orchestral accompaniment, normally part of a larger work. The typical context for arias is opera, but vocal arias also feature in oratorios and cantatas, or they can be stand-alone concert arias. The term was originally used to refer to any expressive melody, usually, but not always, performed by a singer. Etymology The Italian term ''aria'', which derives from the Greek ἀήρ and Latin ''aer'' (air), first appeared in relation to music in the 14th century when it simply signified a manner or style of singing or playing. By the end of the 16th century, the term 'aria' refers to an instrumental form (cf. Santino Garsi da Parma lute works, 'Aria del Gran Duca'). By the early 16th century it was in common use as meaning a simple setting of strophic poetry; me ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wedding
A wedding is a ceremony where two people are united in marriage. Wedding traditions and customs vary greatly between cultures, ethnic groups, religions, countries, and social classes. Most wedding ceremonies involve an exchange of marriage vows by a couple, presentation of a gift (offering, rings, symbolic item, flowers, money, dress), and a public proclamation of marriage by an authority figure or Celebrant (Australia), celebrant. Special wedding garments are often worn, and the ceremony is sometimes followed by a wedding reception. Music, poetry, prayers, or readings from religious texts or literature are also commonly incorporated into the ceremony, as well as Wedding superstitions, superstitious customs. Common elements across cultures Some cultures have adopted the traditional Western custom of the white wedding, in which a bride wears a white wedding dress and veil. This tradition was popularized through the marriage of Queen Victoria. Some say Victoria's choice of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mass (music)
The Mass ( la, missa) is a form of sacred musical composition that sets the invariable portions of the Christian Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion, and Lutheranism), known as the Mass. Most Masses are settings of the liturgy in Latin, the sacred language of the Catholic Church's Roman Rite, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there have been many Masses written in English for a United States context since the Second Vatican Council, and others (often called "communion services") for the Church of England. Masses can be ''a cappella'', that is, without an independent accompaniment, or they can be accompanied by instrumental ''obbligatos'' up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass. History Middle Ages The earli ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Motet
In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond.Margaret Bent,The Late-Medieval Motet in ''Companion to Medieval & Renaissance Music'', edited by Tess Knighton and David Fallows, 114–19 (Berkeley, California: University of California Press, 1992): 114. . The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts". Etymology In the early 20th century, it was generally believed the name ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wie Soll Ich Dich Empfangen
"Wie soll ich dich empfangen" ("Ah! Lord, how shall I meet Thee", literally: How shall I receive you) is a Christian hymn for Advent by Paul Gerhardt. It was first published in 1653 in the fifth edition of the hymnal ''Praxis Pietatis Melica'' by Johann Crüger, who also created a melody. Johann Sebastian Bach used it as a chorale in his ''Christmas Oratorio'', but with a different melody. Catherine Winkworth translated five of its ten stanzas. History Paul Gerhardt wrote the lyrics in the first person, beginning with the theme, the question how to receive Jesus who is expected to arrive. The poet alludes to biblical narrations, such as his entry into Jerusalem and the parable of the ten virgins. The lyricist was also inspired by prophetic words from the Old Testament. The hymn appeared first in the fifth edition of the hymnal ''Praxis Pietatis Melica'' by Johann Crüger in 1653. Text The song is structured in ten stanzas of eight lines each, in bar form. The singer, speaking ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wär Gott Nicht Mit Uns Diese Zeit
"" (; "Were God not with us at this time") is a Lutheran hymn, with words written by Martin Luther based on the Psalm 124. The hymn in three stanzas of seven lines each was first published in 1524. It was translated to English and has appeared in 20 hymnals. The hymn formed the base of several compositions, including chorale cantatas by Buxtehude and Bach. History Luther wrote "" as a paraphrase of Psalm 124 in three stanzas of seven lines each. It was first printed in 1524 in Johann Walter's ''Eyn geystlich Gesangk Buchleyn''. It was translated to English and has appeared in 20 hymnals. Lyrics Melodies and settings When the hymn was first published in 1524 in the ''Eyn geystlich Gesangk Buchleyn'', it was associated with a hymn tune in Doric mode, Zahn No. 4434, which was also used for "Wo Gott der Herr nicht bei uns hält", a paraphrase of the same psalm by Justus Jonas in eight stanzas. Luther had a tendency to retain traditional texts and melodies. In 1537, the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Klag-Lied
("With peace and joy"), BuxWV 76, is the common name for a piece of funeral music composed by Dieterich Buxtehude as an homage to his father in 1674. The composer named the work (Departure enriched by Peace and Joy) when he published it the same year. It is a bundle of two compositions, the earlier , BuxWV 76a, a setting of Luther's hymn composed in 1671 reflecting the death of Menno Hanneken, and the elegy (Song of mourning, lament), BuxWV 76b, an aria in seven stanzas. The incipit of the elegy, "", translates roughly to "Even if death must separate us". It is one of few compositions published during Buxtehude's lifetime. History In 1671, Buxtehude composed funeral music on the death of , a superintendent and minister at the Marienkirche in Lübeck, where Buxtehude performed his concert series, the ''Abendmusiken''. Buxtehude composed a canon, ''Divertisons nous'' (BuxWV 124), written in an album of Menno's son and dated 1670, showing that he had good relations with th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
