Overview

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.

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9780198162124

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Webber's writing style and presentation simultaneously meet the demands of advanced scholars and of novices--no mean feate. Highly recommended for general readers and upper-division undergraduates through faculty. --Choice<br>

Webber's writing style and presentation simultaneously meet the demands of advanced scholars and of novices--no mean feate. Highly recommended for general readers and upper-division undergraduates through faculty. --Choice

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. The Musical Times. This is a handbook for scholars who may, in future years, embark on research that will make manifest its secrets. It does, however contain chapters of value to today's music-listeners (and lovers) ... Techniques of performance practice, especially embellishment, benefit from the beautifully produced music examples. Wilfrid Mellers, Choir & Organ, May/June 1997 It is only by studying the total pattern that we may adequately assess any part of it, including even Bach's. For this reason, the most important aspect of the book must be Webber's meticulous citation of the sources wherein this material may be found. Choir & Organ, May/June 1997 His insights into the uben and Bokemeyer collections ... give us a fresh perspective on the German Baroque, and one looks forward to seeing more of this music made available in prtactical editions and realized in performance. Gregory S. Johnston, Music and Letters 78

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