Dieterich Buxtehude

Opera Omnia XIV - Vocal Works 5

Ton Koopman / Amsterdam Baroque Orchestra & Choir

Label: Challenge Classics
Format: CD
Barcode: 0608917225327

Catalog number: CC 72253
Releasedate: 13-09-11

Fifth volume of Vocal Music in the Opera Omnia Series of Dieterich Buxtehude (XIV). Dieterich Buxtehude played a major role in shaping the various types of vocal music current at the time. His experience as organist, composer, and director as well as his extensive knowledge of the contemporary repertoire, including much Italian music, made him the most original and significant contributor to the early cantata in Northern Germany. On this beautiful cd Ton Koopman, his Amsterdam Baroque Orchestra & Choir and soloists expose the "unknown Buxtehude", as Koopman puts it. It is a great experience to discover yet another side of Buxtehude.

This CD is part of the 'Aangenaam Klassiek' campaign!
The substantial repertoire of his vocal art ranks among the most attractive ones in the later 17th century and forms a climactic point in Lutheran church music between Heinrich Schütz and Johann Sebastian Bach
This beautiful cd contains works of "the unknown Buxtehude" according to Ton Koopman
Koopman won the ECHO Klassik Award, for Buxtehude,Opera Omnia, Vocal Works III (CC72246)
Koopman won the Editor's Choice in Gramophone (september 2009) for Opera Omnia X- Organ Works, Vol.5 (CC72249)
In 2008 Ton Koopman won the BBC Music Award for part 22 of the Bach-Cantata series. The jury says: ‘….with superb control of style and technique.’

Fifth volume of Vocal Music in the Opera Omnia Series of Dieterich Buxtehude (XIV)

This CD could be subtitled “The Unknown Buxtehude”. It presents eight somewhat unfamiliar vocal works that differ greatly from each other, undoubtedly because of dates of their composition. Notable, of course, is the richly instrumented Ich bin die Auferstehung BuxWV 44, with five strings, dulcian, two cornettos, two trumpets and basso continuo, the only concerto for solo vocalist with such lavish instrumentation.

The other solo concerto for bass, Ich bin eine Bume zu Saron BuxWV 45, is much simpler, but more touching. The basic instrumentation of the solo concertos on this CD is two violins, violone and organ. Aside from the more elaborately instrumented BuxWV 44, two other concertos deviate slightly: Jesu, komm, mein Trost und Lachen BuxWV 58 adds a viola and Bedenke Mensch das Ende BuxWV 9 an extra violin. Notable in the latter is that it has three singers throughout, thus without the solo passages normally heard in Buxtehude. This is also the case in BuxWV 57 Jesu dulcis memoria, which is dominated by the bass theme. For basso continuo players, it is such a pleasure to play and vary this theme, especially when there are two players, as on this recording. We basso continuo players try to zestfully enliven the festive character of this very Italian concerto (compare Monteverdi!) – this relatively unknown concerto is one of his Buxtehude’s vocal works.

But there is plenty more. Two soprano solo concertos, for example, on the same text: Herr wenn ich nur dich habe BuxWV 38 and 39 -- a shorter and a longer version sung here by different sopranos. I couldn’t choose between them – both have their own charm. " (Linernotes written by Ton Koopman) But there is plenty more. Two soprano solo concertos, for example, on the same text: Herr wenn ich nur dich habe BuxWV 38 and 39 -- a shorter and a longer version sung here by different sopranos. I couldn't choose between them - both have their own charm.

Je höher du bist BuxWV 55