2-Track 7 1/2 IPS Staggered Reel to Reel BUXTEHUDE: MISSA BREVIS CANTATA URANIA

Description: This is a very rare staggered 2 track tape of Buxtehude by Urania . Very hard to find. Visually it's in VG to Excellent condition but I do not have a player to test it out. Please view all pictures closely as they are part of the condition statement. We take pride in packing our items well to protect them during the shipping process. Please browse our other reel to reel tapes. We can combine listings for lower shipping rates. 7-1/2 IPS 2-TRACK REEL TAPEURANIA UST 1210DIETRICH BUXTEHUDEMISSA BREVIS for five-part chorus, supporting strings and continuoAlfred Mann, conductorCANTATA “Alles, was ihr tut"Helen Boatright — SopranoRusssell Oberlin — Counter-TenorCharles Bressler — TenorPaul Matthew — BassThe Cantata SingersString OrchestraJohn Strauss — OrganAlfred Mann — ConductorThe Cantata Singers, vocal soloists, and the anonymous string orchestra conducted by Alfred Mann turn in sterling performances of Buxtehude’s compositions on this Urania tape album. Urania Records, Inc. was an American record label founded April 15, 1951, by Czech-born New York industrialist Rudolf Koppl (1895–1956), who served as its founding president.Urania Records initially released opera recordings from East Germany. The label was later run by Rudolph's son, Werner J. Koppl (1923–1996), also Czech-born, who, on March 23, 1956, sold Urania to American Sound Corporation – Daken Karl Broadhead (1905–1999), chairman; and Siegfried Bart (né Siegfried Gerold Bart; 1913–1997), president. American Sound was a joint venture of Allied Record Manufacturing Company (founded 1933) of Hollywood and Bart Manufacturing Company of Belleville, New Jersey.American Sound took over actual operations of Urania April 16, 1956.In 1958, American Sound Corporation sold Urania Records to Bart Manufacturing Corporation, which henceforth ran Urania as its subsidiary based in Bellville, New Jersey. Simultaneously in 1958, American Sound, itself, was sold to Allied Record Manufacturing Company, which was headed by Daken Karl Broadhead from 1945 to 1979 as president and principal owner. In 1979, Allied was sold to Warner Communications and became part of WEA Manufacturing.Urania Records of this article is not to be confused with the Italian-based classical label, Urania Records, founded in 1998.Dieterich Buxtehude (ca. 1637/39 – 9 May 1707) was a Danish organist and composer of the Baroque period, whose works for the organ represent a central part of the standard organ repertoire usually performed at recitals and church services. As a composer who worked in various vocal and instrumental idioms, Buxtehude's style greatly influenced other composers, such as his student Johann Sebastian Bach. Historically, Buxtehude is among the important composers of the mid-Baroque period in Germany.He is thought to have been born with the name Diderich Buxtehude. His parents were Johannes (Hans Jensen) Buxtehude and Helle Jespersdatter. His father originated from Oldesloe in the Duchy of Holstein, which at that time was a part of the Danish realms in Northern Germany. Scholars dispute both the year and country of Dieterich's birth, although most now accept that he was born in 1637 in Helsingborg, Skane at the time part of Denmark (but now part of Sweden). His obituary stated that "he recognized Denmark as his native country, whence he came to our region; he lived about 70 years". Others, however, claim that he was born at Oldesloe. Later in his life he Germanized his name and began signing documents Dieterich Buxtehude.His father — Johannes Buxtehude — was the organist at St. Olafs Church in Helsingør. Dieterich was employed as an organist, first in Helsingborg (1657–1658), and then at Helsingør (1660–1668). St. Mary's in Helsingør is the only church where Buxtehude was employed that still has the organ in its original location.Buxtehude's last post, from 1668, was at the Marienkirche, Lübeck which had two organs, a large one for big services and a small one for devotionals and funerals. There he succeeded Franz Tunder and followed in many of the footsteps of his predecessor. He married Tunder's daughter Anna Margarethe in 1668 – it was not uncommon practice that a man marry the daughter of his predecessor in his occupation. Buxtehude and Anna Margarethe had seven daughters who were baptized at the Marienkirche; however, his first daughter died as an infant. After his retirement as organist at St Olaf's Church, his father joined the family in Lübeck in 1673. Johannes died a year later, and Dieterich composed his funeral music. Dieterich's brother Peter, a barber, joined them in 1677.His post in the free Imperial city of Lübeck afforded him considerable latitude in his musical career, and his autonomy was a model for the careers of later Baroque masters such as George Frederick Handel, Johann Mattheson, Georg Philipp Telemann and Johann Sebastian Bach. In 1673 he reorganized a series of evening musical performances, initiated by Tunder, known as Abendmusik, which attracted musicians from diverse places and remained a feature of the church until 1810. In 1703, Handel and Mattheson both traveled to meet Buxtehude, who was by then elderly and ready to retire. He offered his position in Lübeck to Handel and Mattheson but stipulated that the organist who ascended to it must marry his eldest daughter, Anna Margareta. Both Handel and Mattheson turned the offer down and left the day after their arrival. In 1705, J.S. Bach, then a young man of twenty, walked from Arnstadt to Lübeck, a distance of more than 250 miles, and stayed nearly three months to hear the Abendmusik, meet the pre-eminent Lübeck organist, hear him play, and, as Bach explained, "to comprehend one thing and another about his art". In addition to his musical duties, Buxtehude, like his predecessor Tunder, served as church treasurer.Although more than 100 vocal compositions by Buxtehude survive, very few of them were included in the important German manuscript collections of the period, and until the early twentieth century, Buxtehude was regarded primarily as a keyboard composer. His surviving church music is praised for its high musical qualities rather than its progressive elements.The bulk of Buxtehude's oeuvre consists of vocal music, which covers a wide variety of styles, and organ works, which concentrate mostly on chorale settings and large-scale sectional forms. Chamber music constitutes a minor part of the surviving output, although the only chamber works Buxtehude published during his lifetime were fourteen chamber sonatas. Unfortunately, many of Buxtehude's compositions have been lost. The librettos for his oratorios, for example, survive; but none of the scores do, which is particularly unfortunate, because his German oratorios seem to be the model for later works by Johann Sebastian Bach and Georg Philipp Teleman. Further evidence of lost works by Buxtehude and his contemporaries can be found in the recently discovered catalogue of a 1695 music-auction in Lübeck.Gustaf Düben's collection and the so-called Lübeck tablature A373 are the two most important sources for Buxtehude's vocal music. The former includes several autographs, both in German organ tablature and in score. Both collections were probably created during Buxtehude's lifetime and with his permission. Copies made by various composers are the only extant sources for the organ works: chorale settings are mostly transmitted in copies by Johann Gottfried Walther, while Gottfried Lindemann's and others' copies concentrate on free works. Johann Christoph Bach's manuscript is particularly important, as it includes the three known ostinato works and the famous Prelude and Chaconne in C major, BuxWV 137. Although Buxtehude himself most probably wrote in organ tablature, the majority of the copies are in standard staff notation.The nineteen organ praeludia (or preludes) form the core of Buxtehude's work and are ultimately considered his most important contributions to the music literature of the seventeenth century. They are sectional compositions that alternate between free improvisation and strict counterpoint. They are usually either fugues or pieces written in fugal manner; all make heavy use of pedal and are idiomatic to the organ. These preludes, together with pieces by Nicolaus Bruhns, represent the highest point in the evolution of the north German organ prelude, and the so-called stylus phantasticus. They were undoubtedly among the influences of J.S. Bach, whose organ preludes, toccatas and fugues frequently employ similar techniques.The preludes are quite varied in style and structure, and are therefore hard to categorize, as no two praeludia are alike. The texture of Buxtehude's praeludia can be described as either free or fugal. They consist of strict diatonic harmony and secondary dominants. Structure-wise, there usually is an introductory section, a fugue and a postlude, but this basic scheme is very frequently expanded: both BuxWV 137 and BuxWV 148 include a full-fledged chaconne along with fugal and toccata-like writing in other sections, BuxWV 141 includes two fugues, sections of imitative counterpoint and parts with chordal writing. Buxtehude's praeludia are not circular, nor is there a recapitulation. A fugal theme, when it recurs, does so in a new, changed way. A few pieces are smaller in scope; for example, BuxWV 144, which consists only of a brief improvisatory prelude followed by a longer fugue. The sections may be explicitly separated in the score or flow one into another, with one ending and the other beginning in the same bar. The texture is almost always at least three-voice, with many instances of four-voice polyphony and occasional sections in five voices (BuxWV 150 being one of the notable examples, with five-voice structure in which two of the voices are taken by the pedal).The introductory sections are always improvisatory. The preludes begin almost invariably with a single motif in one of the voices which is then treated imitatively for a bar or two. After this the introduction will most commonly elaborate on this motif or a part of it, or on a short melodic germ which is passed from voice to voice in three- or four-voice polyphonic writing.Occasionally the introduction will engage in parallel 3rds, 6ths, etc. For example, BuxWV 149 begins with a single voice, proceeds to parallel counterpoint for nine bars and then segues into the kind of texture described above. The improvisatory interludes, free sections and postludes may all employ a vast array of techniques, from miscellaneous kinds of imitative writing (the technique discussed above, or "fugues" that dissolve into homophonic writing, etc.) to various forms of non-motivic interaction between voices (arpeggios, chordal style, figuration over pedal, etc.). Tempo marks are frequently present: Adagio sections written out in chords of whole- and half-notes, Vivace and Allegro imitative sections, and others.The number of fugues in a prelude varies from one to three, not counting the pseudo-fugal free sections. The fugues normally employ four voices with extensive use of pedal. Most subjects are of medium length (see Example 2), frequently with some degree of repercussion (note repeating, particularly in BuxWV 148 and BuxWV 153), wide leaps or simplistic runs of 16th notes. One of the notable exceptions is a fugue in BuxWV 145, which features a six-bar subject. The answers are usually tonal, on scale degrees 1 and 5, and there is little real modulation. Stretto and parallel entries may be employed, with particular emphasis on the latter. Short and simple countersubjects appear, and may change their form slightly during the course of the fugue. In terms of structure, Buxtehude's fugues are a series of expositions, with non-thematic material appearing quite rarely, if ever. There is some variation, however, in the way they are constructed: in the first and last fugues of BuxWV 136 the second voice does not state the subject as it enters during the initial exposition; in BuxWV 153 the second exposition uses the subject in its inverted form, etc. Fugue subjects of a particular prelude may be related as in Froberger's and Frescobaldi’s ricecars and canzonas (BuxWV 150, 152, etc.): The fugal procedure dissolves at the end of the fugue when it is followed by a free section.Buxtehude's other pieces that employ free writing or sectional structure include works titled toccata, praeambulum, etc. All are similar to the praeludia in terms of construction and techniques used, except that some of these works do not employ pedal passages or do so in a very basic way (pedal point which lasts during much of the piece, etc.). A well-known piece is BuxWV 146, in the rare key of F-sharp minor; it is believed that this prelude was written by Buxtehude especially for himself and his organ, and that he had his own way of tuning the instrument to allow for the tonality rarely used because of meantone temperament.

Price: 244.3 USD

Location: Fair Lawn, New Jersey

End Time: 2024-12-29T01:08:36.000Z

Shipping Cost: N/A USD