Buxtehude (GER) (1 janv. 1637 – 1 janv. 1707)

Description:

- Concerto
- Took all German texts from the Luther Bible, and Latin texts from the Vulgate (Psalms)
- His vocal concerti generally follow the procedure of breaking up the text into clauses, setting each clause to a short motive composed to reflect its meaning, and trading each motive through the voices and instruments.

- Aria
- Buxtehude typically uses strophic texts for his arias. They almost always employ the use of instruments in concerto-like interjections or in the form of instrumental ritornelli between verses.

- Chorale Settings
- “Although in purely poetic terms a chorale text is identical to a strophic poem, there is an important musical difference in that it is usually identified with a specific melody, and with only a few exceptions Buxtehude used this as a cantus firmus. Four different compositional styles can be seen in his chorale settings: the chorale concerto and the chorale sinfonia, both inherited from earlier generations, the concertato chorale harmonization and the transformation of the choral melody into aria style.” (Snyder, 5)

- Cantatas
- Buxtehude combined the above three vocal genres to form the individual movements of his cantatas. Generally, his cantatas have a structurally symmetrical design: they begin with a concerted movement including a preceding sinfonia, the middle is generally comprised of arias, and concerto style is often brought back for the last movement as well. His cantatas laid the foundation for cantatas of the early 18th-Century like those of Johann Sebastian Bach (1685-1750)

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