North German Church Music in the Age of Buxtehude
Series: Oxford Monographs on Music;
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81 217 Ft
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Product details:
- Publisher Clarendon Press
- Date of Publication 14 March 1996
- ISBN 9780198162124
- Binding Hardback
- No. of pages248 pages
- Size 243x163x21 mm
- Weight 554 g
- Language English
- Illustrations music examples, 1 map, tables 0
Categories
Short description:
This book surveys North German church music from the period of one of the most well-known of J.S. Bach's immediate German predecessors, Dietrich Buxtehude (c.1637-1707). Particular emphasis is placed on composers whose work has suffered unjust neglect, and on the influence of contemporary Italian church music. As well as providing a detailed study of the music itself, Geoffrey Webber also examines the religious and social background, and aspects of performance practice.
MoreLong description:
Dietrich Buxtehude (c. 1637-1707) was the greatest figure in the history of German music between Schutz and Bach. His church music is performed today, yet that of his North German contemporaries (such as Matthias Weckmann, Christoph Bernhard, Nicolaus Bruhns, and Johann Meder) has received comparatively little attention. This book, taking its lead from Jerome Roche's illuminating study North Italian Church Music in the Age of Monteverdi (OUP, 1984), presents an overview of the North German church music of Buxtehude's lifetime, much of which remains unavailable in modern editions. It challenges widely-held beliefs about the nature and development of the repertory, and of the place held by Buxtehude within it. The picture that emerges is of a repertory that is far more beholden to Italian influence that has previously been appreciated, and one that is not dominated by any single figure. After discussion of the religious background and liturgical context in which the music was performed, Geoffrey Webber examines the manner in which Italian church music became known and performed in the region, and surveys composers from all the principal courts and cities in the extensive North German and Baltic area. He highlights the relationship between the social context in which individual composers worked and the nature of their output. After a detailed analysis of the repertory itself, the book concludes with an examination of issues relating to performance practice.
Geoffrey Webber's book will undoubtedly inspire exploration and programme development...Webber's writing is lucid and succinct, and conveys a strong sense of the relative interest and values of composers and music discussed. He has covered virtually all aspects of the repertory. Sections on structure and on compositional techniques and styles will be of interest to music historians. The book will be most useful as an excellent guide to what is worth investigating and how to find it.
