Dieterich Buxtehude - Toccata in F BuxWV 156 [ w/score ]
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- เผยแพร่เมื่อ 28 ส.ค. 2024
- Toccata in F BuxWV 156 by Dieterich Buxtehude performed by Martin Wadsack at the organ (built 1985 by Bruno Riedl) of the Lutherian St. Marc's church, Vienna
Audio File : By DerHHO (Martin Wadsack) (Own work) [CC BY-SA 3.0 (creativecommons...) or GFDL (www.gnu.org/cop...)], via Wikimedia Commons.
commons.wikime...
Score : Public Domain
www.free-scores...
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1:19 💪 Baroque waltz
Toccata - 00:01
(Gigue part) - 00:39
(Postlude) - 01:19
(Fugue 1) - 01:46
(Interlude 1) - 03:04
(Fugue 2) - 04:45
(Interlude 2/Coda) - 05:56
Bravo bravo bravo grandiose genial music
1:46 fuga! The first subject sounds like the phrase that inspired Bach composing his aria for bass "wer bist du?".
Amazing
3:33 from
Is it Koopman playing?
Avoiding the 16’ stops in the pedal?
The performer is Martin Wadsack. I'm not knowledgeable enough about organ technic to help you on that matter !
In the fugal sections in Buxtehudes organ works, the lowest voice often crosses the tenor. In order to avoid "wrong" intervals concerning cobtrapunctual rules, the organist has to decide on fitting registrations. When the lowest voice is crossing the tenor and is a fifth above him, the organist has got two options:
1. complementary registrations (e.g. 8' in the manuals and 8' in the pedal),
these will lead to the 'right' interval, the fifth.
2. a normal 16' pedal and higher registrated manuals. In that case, the lowest voice will sound a contrapunctually 'forbidden' fourth below the tenor.
Another point to be taken into consideration is the way of notation, Buxtehude chose for his organ works. He chose the north-german organ tabulatura (i am not sure, whether there is a special term for this in english), which is slightly comparable to lute tabulatura. It does not provide any information on which notes are supposed to be played in the manual or in the pedal. Basically, it's like a big pile of notes, condensed in a small amount of space. Therefore the organist has to decide it himself for each seperate phrase. Modern sheet music (like the one displayed here), whith it's three-lined notation, suggests the organist a certain (mostly well fitting) way of ordering the voices. But it still does not provide any registration at all.
Thinking of the endless variety of possible stop combinations the north- german baroque organs offer, it is always quite challenging to adjust a certain piece to a certain organ. The organist in this case chose to change registrations well in the fugal sections, and vividly displayed his ability of understanding the music of Buxtehude.
An organist from the Hamburg Music Conservatory (HfMT), hoping to give you some insights. :)
Fuhrken A 16' stop doesn't transpose the pedal line though. I don't believe that this is a problem. Not having a good foundation is utterly unmusical.
There are ways to treat that, eg coupling the pedal to the manual, or adding a 8' reed to accompany the chorus. But anything with a mixture requires at least a 16' principal.
@@Hecatonicosachoron in fact, a 16' base line sounds an octave lower than a 8' one and will therefore change the relations between the independently written voices.
You can check on those facts by researching the musicoligists, who are concentrating their work on this repertoire (Harald Vogel, Jon Laukvik, Hans Ola Davidson etc.).
What you described as utterly unmusical is also a stylistic manner of that era, called 'Bassetchensatz'.
The player is phookin numpty. A great example of how not to play this piece.