Klaus Beckmann: Difference between revisions
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[[File:Beckmann Klaus 100px.jpg|alt=Picture of Klaus Beckmann|thumb|Beckmann]] | [[File:Beckmann Klaus 100px.jpg|alt=Picture of Klaus Beckmann|thumb|Beckmann]] | ||
'''Klaus Beckmann''' (1935-) is a German organist and musicologist. He has published editions of early organ music for Breitkopf & Härtel<ref>[https://obis.oberlin.edu/record=b2585134~S4 obis.oberlin.edu]</ref>, Forum music<ref>[https://obis.oberlin.edu/record=b1859730~S4 obis.oberlin.edu]</ref>, and Edition Schott<ref>[https://obis.oberlin.edu/record=b2343194~S4 obis.oberlin.edu]</ref> | '''Klaus Beckmann''' (1935-) is a German organist and musicologist. He has published editions of early organ music for Breitkopf & Härtel<ref>[https://obis.oberlin.edu/record=b2585134~S4 obis.oberlin.edu]</ref>, Forum music<ref>[https://obis.oberlin.edu/record=b1859730~S4 obis.oberlin.edu]</ref>, and Edition Schott<ref>[https://obis.oberlin.edu/record=b2343194~S4 obis.oberlin.edu]</ref>. | ||
Beckmann's contributions to early organ music are countless and unmistakable, and his editorial style, analysis, and re-attributions have reshaped the landscape of this repertoire. He was instrumental in developing a new approach to playing early organ music in which the surviving sources are examined more critically in order to arrive at a more original music instead of being lead astray from later additions and mistakes, showing a deeply-ingrained knowledge of this music. In 1963, he discovered that one section of the Toccata in D Minor by [[Dietrich Buxtehude]] should be notated in 3/4 time instead of 4/4 time. His research into this music goes beyond simple stylistic analysis to reach striking new conclusions that increase our understanding and help us reach new solutions regarding performance practice. In one instance, his re-attribution of a piece to [[Hieronymus Praetorius III]] was based on thorough research over decades, including not only stylistic analysis of the organ piece itself, but also information about the surviving source of the piece and new discoveries of epitaphs for members of the Praetorius family. This research manifests itself in his editions of music from the [[North German Organ School]]. Through his 36-volume series [[Meister der Norddeutschen Orgelschule]], published from 2003-2015 and edited in conjunction with [[Claudia Schumacher]], Beckmann brought the works of countless composers with surviving outputs large and small to performing organists. In addition to scores, he has published many monumental works of literature such as the two-volume [[Die Norddeutsche Schule (book)|Die Norddeutsche Schule]] and the staggering [[Repertorium Orgelmusik]], a bio-bibliography of all organ music. | |||
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Feeling a lack of suitable literature for school and church choirs, Klaus Beckmann got his first experience creating editions while working with original sources while preparing an edition of chansons and passions for choir by composers including Sermisy, Passerau, Costeley, Scandello and Beber. | Feeling a lack of suitable literature for school and church choirs, Klaus Beckmann got his first experience creating editions while working with original sources while preparing an edition of chansons and passions for choir by composers including Sermisy, Passerau, Costeley, Scandello and Beber. | ||
==References== | ==References== | ||
Latest revision as of 21:15, 31 October 2025
Klaus Beckmann (1935-) is a German organist and musicologist. He has published editions of early organ music for Breitkopf & Härtel[1], Forum music[2], and Edition Schott[3].
Beckmann's contributions to early organ music are countless and unmistakable, and his editorial style, analysis, and re-attributions have reshaped the landscape of this repertoire. He was instrumental in developing a new approach to playing early organ music in which the surviving sources are examined more critically in order to arrive at a more original music instead of being lead astray from later additions and mistakes, showing a deeply-ingrained knowledge of this music. In 1963, he discovered that one section of the Toccata in D Minor by Dietrich Buxtehude should be notated in 3/4 time instead of 4/4 time. His research into this music goes beyond simple stylistic analysis to reach striking new conclusions that increase our understanding and help us reach new solutions regarding performance practice. In one instance, his re-attribution of a piece to Hieronymus Praetorius III was based on thorough research over decades, including not only stylistic analysis of the organ piece itself, but also information about the surviving source of the piece and new discoveries of epitaphs for members of the Praetorius family. This research manifests itself in his editions of music from the North German Organ School. Through his 36-volume series Meister der Norddeutschen Orgelschule, published from 2003-2015 and edited in conjunction with Claudia Schumacher, Beckmann brought the works of countless composers with surviving outputs large and small to performing organists. In addition to scores, he has published many monumental works of literature such as the two-volume Die Norddeutsche Schule and the staggering Repertorium Orgelmusik, a bio-bibliography of all organ music.
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Life
Klaus Beckmann was born in Wanne-Eickel (in Ruhr), Germany, in 1935.
Beckmann's early musical education was hindered by WWII. During WWII, his father Wilhelm Beckmann worked as a military band director (previously as a school teacher and headmaster). Due to threats of bombings in the Ruhr area, his family moved to Preussisch-Holland (in Poland, now Pasłęk). In 1945, his family fled back to Wanne-Eickel, where his father continued to direct musical productions including symphonies, choirs, and operas.
Klaus started learning the piano when he was 12 years old from his father, later with Elfi Gerlach. He performed the A Major Piano Concerto by Wolfgang Amadeus Mozert conducted by Wilhelm Beckmann.
During his confirmation around March 1950, Beckmann heard the organ for the first time, and he started taking lessons shortly after. His first organ teacher was Ernst Richter, who later taught Klaus harmony as well. He later studied with Gisbert Schneider, Dietram Schubert, and Dr. Eckart. While still a student, Klaus Beckmann directed a performance of Wir bauen eine Stadt by Paul Hindemith and played the Sergei Rachmaninoff Prelude in C-Sharp Minor Op. 3 No. 2. Around February, 1956, after graduating from high school, Klaus Beckmann performed his first organ recital, which included the Ciaconna in E Minor by Dietrich Buxtehude.
Klaus Beckmann attended secondary level 1 music conservatory in Detmold. His thesis was concerning the structure of settings of vocal songs by contemporary composers. Some organ pieces he studied include Trio Sonata no. 4 by Johann Sebastian Bach, Max Reger Introduction and Passacaglia in D Minor, Jean Langlais Te Deum, and Jehan Alain Variations sur un theme de Clément Janequin. After this, he further studied music in Köln. His thesis covered Antoine de Bertrand's settings of the "Amours" by Pierre de Ronsard.
Feeling a lack of suitable literature for school and church choirs, Klaus Beckmann got his first experience creating editions while working with original sources while preparing an edition of chansons and passions for choir by composers including Sermisy, Passerau, Costeley, Scandello and Beber.
References
Beckmann, Klaus. Dietrich Buxtehudes Orgelwerke: Überlieferung, Edition, Historisch legitimierte Aufführungspraxis. Mainz: Schott, 2021. p. 342-344.
Katalog der Deutschen Nationalbibliothek. Accessed 19 July, 2023.
