Today I was playing Buxtehude’s harpsichord works from the still common Hansen edition of 1941.
Before this edition, Buxtehude (1637-1707) was mainly known as a composer of excellent organ and church music.
Then the Ryge family in Denmark submitted to a local organist a book that had belonged to their ancestor Johan Christian Ryge (1688-1758), choirmaster at the Roskilde Cathedral. This was a German organ tablature bearing the name “Buxtehude”. Musical analysis provided the following conclusions:
1- Not only the tablature title but the music style was certainly in agreement with already-known Buxtehude works.
2- The music was entered into the Ryge book c1690 (although IMSLP gives it the 1712 date).
In 1941 the organist at the Roskilde Cathedral, Emilius Bangert, translated the German tablature into modern musical score and Hansen produced the well-known edition.
Over the decades, I have played these pieces many times. Some are of scarce value, other are real gems, such as the Suites I and V and the Aria with variations in a minor (brilliantly played in 1970 by Scott Ross in Paris into a private recording of which I posses a rare copy). The score provides some tantalising further clues:
3- Quite a few pieces are decidedly in the style of the ones composed by Louis Couperin (forget about the claim that he was not the author: this hypothesis has been disproved in a publication of mine) in the 1650s. This is consistent with Buxtehude’s harpsichord pieces having been produced in the composer’s youth c1660.
4- Another clue is the range used: by Louis Couperin’s time the French had moved onto the GG/BB short octave bass range. The Ryge book is systematically written for the C/E short octave bass range, including quite a few passages that cannot be played in the later fully chromatic instruments. This also suggests a composition date from Buxtehude’s youth, in the 1660s.
5- Temperament suggests a later date: with major thirds involving not only the customary Eb and G# but also D# and A# (the latter very rarely included in the split-sharps of 17th c. instruments), this suggests a peculiar variant of the “Early French” temperament (in Mersenne-Chaumont F#-A# is a dissonant third mistuned by 31 Cents, in François COuperin’s temperament it is a wolf with 41 Cents deviation) or probably a more circular temperament, of which the earlier 17th century examples are some Pachelbel works composed c.1680. This suggests a much later date, in the 1680s.
6- Finally, the Ryge book is dated not earlier than the 1690s: therefore, the tablature must be a copy of the original manuscripts by Buxtehude written at an earlier date.
I have been unable to find online more information about the above.
However, there are no less than 3 CD records on sale with these works.
Therefore, it is most likely that their booklets provide some scholarly opinion on the above matters.