The beautiful setting of the Lord’s Prayer, Vater unser im Himmelreich
, BWV762, in what has come to be known as ‘the Buxtehude style’, has a decorated cantus firmus accompanied by imitative lines which foreshadow the phrases of the chorale. After a leisurely introduction in which the chorale is anticipated in full-length notes, the speed of the accompanying lines is doubled from the second line onwards. The slight angularity of the melodic line is softened by the introduction of triplets in the penultimate phrase, a particularly affecting touch.
from notes by Stephen Westrop © 1999