The chant intones the passage from the New Testament in Luke in which Mary contemplates the message she received from the angel Gabriel in which she was told that she would give birth to the Son of God. This particular magnificat setting by Buxtehude works much more like a typical seventeenth century magnificat than the other two extant magnificats. Typically organ magnificat settings would be performed in alternation with a choir intoning portions of the magnificat chant. The organ versets performed would include the chant melody in one verse or another so that although the choir would not sing the entire chant, the organ would play the portions of the chant melody not sung by the choir. This magnificat setting includes two versets. The first is in four-voice counterpoint with the chant melody appearing in the bass.
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These file s are part of the Werner Icking Music Collection. Navigation menu Personal tools Log in Request account. From here Buxtehude continues with a string of four more contrapuntal sections alternating with free toccata sections ending with one last wild culminating toccata frenzy.
Great European Organs No. Work Title Magnificat noni toni Alt ernative. The Magnificat is a chant sung at Vespers.
Magnificats ; Religious works ; Vespers ; For organ ; Scores featuring the organ ; For 1 player ; For 2 trumpets, 2 trombones arr ; For 4 players ; Scores featuring the trumpet ; Scores featuring the trombone ; For 4 guitars arr ; Scores featuring mxgnificat guitar ; For 2 guitars arr ; For 2 players.
Magnificat (Dietrich Buxtehude)
Chamber music constitutes a minor part of the surviving output, although the only chamber works Buxtehude published during his lifetime were fourteen chamber sonatas. The former includes several autographs, both in German organ tablature and in score. Although Buxtehude himself most probably wrote in organ tablature, the majority of the copies are in standard staff notation. They are sectional compositions that alternate between free improvisation and strict counterpoint. They are usually either fugues or pieces written in fugal manner; all make heavy use of pedal and are idiomatic to the organ. These preludes, together with pieces by Nicolaus Bruhns , represent the highest point in the evolution of the north German organ prelude , and the so-called stylus phantasticus.
BUXTEHUDE MAGNIFICAT PDF