renowned organist, Dietrich Buxtehude.[1] Buxtehude had thoughts of retiring, and was looking for a successor. The two young men were greatly affected by his talent, but they did not care to succeed him in the post, for it was necessary to wed his daughter[2] to have his organ, and, said Mattheson, "neither of them wanted her."—Two years later they would have met on the road to Lubeck a young musician also going, like them, to pay Buxtehude a visit, not like them, however, in a carriage, but more humbly on foot: J. S. Bach.[3] Nothing makes us realise the importance of Buxtehude in German music better than this magnet-like attraction which he exercised over the German musicians of the eighteenth century. Pirro has remarked at some length his influence on the organ style of J. S. Bach. I consider that it was no less marked, though quite different, on the oratorio style of Handel.[4]
- ↑ See in the Ehrenpforte the story of this journey, and the frolics which happened on the way to the two joyful companions.
Buxtehude was a Dane, born at Elsinore in 1637. He settled at Lubeck, where he remained as the organist of St. Mary's Church, from the age of thirty years until his death in 1707.
- ↑ It was the custom that the organ of a church should be given with the daughter, or the widow of the organist. Buxtehude himself, in succeeding Tunder, had married his daughter.
- ↑ J. S. Bach went to Lubeck in October, 1705, and instead of staying a month, as arranged, he spent four months there; an irregularity which cost him his position at Celle.
- ↑ The organ works of Buxtehude have been republished by Spitta and Max Seiffert, in 2 volumes by Breitkopf (see the short, but pithy, study of Pirro in his little book on L'Orgue de J. S. Bach, Paris, 1895, and Max Seiffert: Buxtehude, Handel, Bach, in the Peter's Annual, 1902). A selection (too restricted) of the cantatas has been published in a volume of the Denkmäler deutscher Tonkunst. Pirro is preparing a longer work on Buxtehude.
