With Seelenfrieden, tenor Martin Platz, the lautten compagney Berlin, and their artistic director Wolfgang Katschner present an impressive recording of 17th-century sacred music. The program combines vocal and instrumental works by Johann Philipp Krieger, Heinrich Schütz, Andreas Hammerschmidt, Dietrich Buxtehude, Johann Rosenmüller, and Johann Theile - composers who sought musical forms of expression for comfort, trust, and inner reflection during a time of profound social, political, and religious upheaval. The album focuses on psalm settings and sacred concertos whose texts touch on fundamental existential questions: fear and distress, lamentation and supplication, but also confidence, trust in God, and hope. Martin Platz, a member of the ensemble at the Nuremberg State Theater, interprets these sacred texts with extraordinary clarity and depth. His tenor voice combines a natural, effortless tone with precise articulation and a fine sense of musical rhetoric. The words always retain their weight; emotions are not displayed, but developed organically from the text. The result is an interpretation that is both emotionally immediate and stylistically reflective. The lautten compagney Berlin accompanies and comments on the stylistically confident vocal performance with the tonal transparency and stylistic sovereignty for which the ensemble is internationally renowned. The instrumental sound remains agile, colorful, and breathing; the continuo sensitively nuanced; the lines clearly contoured. Under Wolfgang Katschner's direction, a dialogical musical performance unfolds in which words and sound interpenetrate and deepen each other.

This second volume in the Naxos series of Buxtehude’s vocal music was previously issued on Dacapo (Dacapo 8.224160). It is made up of four sacred cantatas – and one ‘interloper’, a setting of the Magnificat mistakenly identified as Buxtehude’s back in 1931 by Bruno Grusnick, but pretty certainly not his.

The four cantatas give us the chance to hear Buxtehude employing a variety of strategies.

Das neugeborne Kindelein sets the four verses of a Christmas hymn first published in 1588 by Cyriacus Schneegass (1546-1597), German hymn-writer, composer and music theorist. The words have a simple radiance, each of the four stanzas made up of four lines rhymed aabb. Buxtehude treats them interestingly; he adopts different approaches for each of the four stanzas. In the first he sets the opening three lines, the initial announcement of the recurrent ‘new’ birth of Christ and its significance, relatively plainly, allowing the words to dominate and hold the attention. Then, as if to celebrate the significance of the words of proclamation, the final line of Schneegass’s first stanza is richly elaborated through repetition and contrapuntal echo. Between each stanza we get an instrumental ritornello and after its first return, the second stanza offers yet more vocal elaboration and responds beautifully to the text’s assertion that the angels are singing in the sky, a response heightened by a greater use of instrumental accompaniment interwoven with the vocal phrases than was allowed to happen in the first stanza. The third stanza speaks of the battle against “Teufel, Welt und Höllenpfort” and the sense of conflict is heightened by much greater use of instrumental interjections which break up the vocal phrases and the lines of the verse. In the fourth stanza, as the text grows to a full realisation that the birth of “das Jesuslein” guarantees the possibility of human salvation, the musical metre changes and the instruments and voices work more obviously together, so that verse, voice and instruments embody, in their new relationship, the transformation into coherent meaning of which the hymn speaks. Buxtehude, in short, has integrated text, singers and instrumental ensemble with a completeness of achieved purpose that makes Das neugeborne Kindelein a minor masterpiece.

In Der Herr ist mit mir the text is taken from the Psalms (Psalm 118 verses 6-7). In the Authorized Version it reads thus: “The Lord is on my side; I will not fear: what can man do unto me. The Lord taketh my part with them that help me: therefore shall I see my desire upon them that hate me”. To the German translation of these verses is added a concluding ‘Hallelujah’. Buxtehude sets the Psalm text in predominantly homophonic fashion, the text remaining clearly and emphatically audible, its meaning emphasised by some patterned rhythmic and harmonic touches. With the ‘Hallelujah’ Buxtehude launches into a virtuoso ciacona made up of nineteen variations over two-bar ostinato bass. The contrast with what has gone before is startling and exciting.

The most dramatically expressive work here is Fürwahr, er trug unsere Krankheit, setting verses from Isaiah prophetic of the crucifixion. There is some powerful instrumental writing and Buxtehude’s music articulates a powerful response to the idea of the Passion; the writing, both for the bass soloist and for the chorus, as well as for the sections of the chorus, is consistently intense and moving. The response to the imagery of Christ’s wounds and “stripes” is especially poignant. Fürwahr, er trug unsere Krankheit is a fine piece, full of sustained melodies and aching harmonies, and it comes off particularly well in this recording.

Alles, was ihr tut is perhaps the most familiar of these four cantatas. It is an exhortation to ensure that (in the words of the Epistle to the Colossians) “whatsoever ye do in word or deed, [ye] do all in the name of the Lord Jesus, giving thanks to God and the father by him”, as well as a petition that God might assist both individual and community. Buxtehude fruitfully juxtaposes elements of the sacred concerto and the aria, as well as the setting of a chorale text to an already existing melody; homophonic passages and contrapuntal writing are employed by turns; the interplay of instruments and voices is always effective and interesting. In passing phrases – both textual and musical – between soloist and chorus, Buxtehude seems to offer an artistic statement as to the proper relationship between the individual and the community in a Christian society. The whole work breathes an untroubled faith and the continuo work from the Dufay Ensemble is particularly striking here.

The external evidence makes it unlikely that the Magnificat is Buxtehude’s; although one copy of the work was found in the collection of Buxtehude’s friend Gustav Düben, who certainly owned copies of works by Buxtehude, it has to be said that he also owned works by other composers too; other surviving copies of this setting come from areas of Europe where Buxtehude is not known to have had any connections. Nor, indeed, does it really sound like Buxtehude; it lacks the subtlety and inventiveness of Buxtehude at anything like his best. It is pleasant but undistinguished and is perhaps best attributed to that old favourite ‘Anon’.

These are not perfect performances. The closing ‘Hallelujah’ of Der Herr ist mit mir hasn’t quite the brilliance and lightness of touch that the music deserves; Johan Reuter’s bass, though tonally very apt and attractive, isn’t quite as expressive as one might wish; just now and then, by the highest standards, the voices of one or two of the choir’s soloists sound overtaxed. On the other hand, the Choir as a whole sings beautifully, their work tonally lovely, their diction exemplary. The performances are certainly plenty good enough to give the hearer a pretty good idea of just how fine this music is.

-- Glyn Pursglove, MusicWeb International

An outstanding volume in Koopman's complete Buxtehude cycle from Challenge will delight, stimulate and please in every respect.

Ton Koopman's survey of the entire works of Buxtehude seems to be getting more enjoyable and exciting with each release. Here we are at what must be (just under) about two-thirds of the way through - volume 14, the fifth in the series of the composer's vocal works. The five high soloists and a tenor and bass are lively, confident, sensitive - the dialogue in Bedenke Mensch das Ende [tr.5] is a good example of real, studied drama - and technically brilliant (listen to the ensemble singing and pacing towards the end of Jesu, komm, mein Trost und Lachen [tr.7], for instance). They infuse their performances with joy, depth, clarity, devotion and the other emotions required by the glorious - yet almost unknown - writing of Buxtehude … essentially Germanic but with the inevitable influence of Italy in general and Monteverdi in particular also much in evidence.

Some of the works on this CD were recorded as long ago as 2007 and 2008; the booklet is unusually unforthcoming about which and where. This suggests that Koopman may be 'collecting' from Buxtehude's œuvre at this stage in the project. But there is nothing about the collection on this generous and amply-recorded CD to make us think we're experiencing the 'also-rans' or dregs. This is music of great exactness: penetrating, striking and original. Buxtehude's gift for melody, structure and the creation of complex, subtle yet highly meaningful textures is in evidence from first note to last.

Only three or four of the works presented here are otherwise available - in compilations and on DVD, for example. So there is every reason to acquire this CD without hesitation - even were its performances not of the extremely high calibre that they are. Each of the soloists has something definite, communicative and enriching to offer. The Amsterdam Baroque Orchestra is also on typically excellent form.

The new impetus given to music after the devastation of the Thirty Years War (1618-1648) by the evolving Geistliches Konzert (sacred concerto) is also responsible for much of the measured yet unmistakable vivacity of Buxtehude's choral writing here … usually a short instrumental introduction, an impactful, self-contained and focused Biblical phrase or section of text is explored by one or more soloists - with instrumental 'support' rather than intricate comment in its own right. A true point of departure for and from the church cantata. The musicians involved in this excellent CD from Challenge thoroughly understand the idiom of the Geistliches Konzert.

This CD has other forms which are as striking by their then innovative nature at Buxtehude's time as by their 'stability' and overseeing command of the blend of musical form and idea with text are to us now. These include the strophic arias and ciacconne; and the concerto-aria cantatas ( Je hoher du bist [tr.1] and Herr, wenn ich nur dich habe [tr.2]). One senses Buxtehude's delight at the freedom of expression which these forms afford him. And the performers' responsiveness and involvement … Buxtehude was laying all sorts of ground for others - not least Bach. But he was also writing devotional music for local 'consumption' and probably specific occasions in Lübeck. So the singers need to steer a fairly narrow course between emphasising the historical moment in which the music was written; and its more general meaning. They do. At the same time, their singing and playing have a modern touch … it's immediate, 'edgy' almost, the singers' articulation of the all-important texts are crystalline, liquid, limpid - without ever being florid.

The acoustic is clean, though perhaps a touch too dry for the not ostentatious but peacefully declamatory nature of some of the music. The booklet with notes by Christoph Wolff is highly informative and has the texts in German (and Latin for Jesu, dulcis memoria) and English. If you're already collecting this cycle, don't hesitate for a second. If you want to sample historically significant and beautiful music from the under-performed Buxtehude, this is a great place to start.

-- Mark Sealey, MusicWeb International

[Ton Koopman's recordings of Buxtehude for Novalis] stands out, alongside the maverick recording by Lena Jacobson for Deutsche Harmonia Mundi, as among the most dissident performances of the repertoire ever committed to disc. Koopman indeed commented in a 1991 article for the Musical Times that, in order to perform Buxtehude, one had to "take the risk to be dissident"...

-- Chris Bragg, MusicWeb International

Naxos launches a survey of Buxtehude's complete organ works with a well-varied selection of chorale preludes, fugal works, and virtuoso showpieces. Volker Ellenberger's fluent technique and intelligent musicianship particularly come across in the chorale preludes and in larger-scaled works like the Magnificat primi toni (BuxWV 203), where the four fugues effortlessly emerge from their more freely conceived preceding episodes. The bassoon-like clarity of the pedal registration in the G major Prelude and Fugue BuxWV 147 helps move the music forward, as does Ellenberger's sharply etched phrasing in the fugue. The latter contrasts with Rene Saorgin's slower, more yielding (though no less valid) treatment. On the other hand, Saorgin's ebullient dash through the BuxWV 149 G minor Praeludium's introduction presents the music in a more improvisatory light compared to the shorter phrase lengths Ellenberger stresses.


The 1997 organ of the Evangelical Lutheran City Church in Bückeburg, Germany benefits from clear and close-up engineering, similar to what producer Wolfgang Rübsam enjoyed in his fine (and sadly out-of-print) Buxtehude cycle recorded for Bellaphon in the early 1980s. Should the remaining releases in this series match Volume 1's high performance and engineering standards, we'll have a Buxtehude cycle on par with Saorgin's classic Harmonia Mundi recordings from the late '60s/early '70s.
--Jed Distler, ClassicsToday.com

For this recording of music by Buxtehude, Jonathan Cohen, founder of the ensemble Arcangelo, is joined by a distinguished trio, including two regulars on the Alpha label, Sophie Gent and Thomas Dunford, alongside the gambist Jonathan Manson. Although Dietrich Buxtehude is famous above all for his organ music and cantatas, and for the long journey the young Bach undertook to meet him, his chamber music is virtually unknown. In the mid-1690s, at the height of his fame, Buxtehude published two collections in rapid succession, each comprising seven sonatas for violin, viola da gamba and basso continuo. It is the works of the first collection (1694) – designated Opus 1 in the print – that Arcangelo has recorded here. These sonatas are characterized by pronounced experimental features in both the scoring and the handling of the instruments.

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REVIEWS:

Arcangelo makes the most of Buxtehude’s highly imaginative counterpoint, at times emphasizing the arresting dissonances and dramatic cadences that will remind more than a few listeners of similar moments in Bach’s chamber music.

– All Music Guide

A factor that has allowed Arcangelo to be so adaptable is the ever-effective policy of employing to-rate musicians; and, with violinist Sophie Gent and gambist Jonathan Manson proving master of this music’s sometimes virtuoso demands and Thomas Dunford among the most sought-after continuo lutenists of the moment, the standards here are as high as ever.

– Gramophone

This exquisitely balanced recording instantly captures the sense of conversation between the instrumental parts, highlighting the egalitarian approach of Buxtehude's melodic writing. What's more, the content of these conversations allows us to glimpse the composer's esteemed artistic stature in miniature.

– BBC Music Magazine

"This release heralds a new association between Opus Arte and the Magdalen College Choir, Oxford, under its director, Daniel Hyde Dietrich Buxtehude's Membra Jesu Nostri is considered to be the first Lutheran oratorio Renowned soloists include John-Mark Ainsley and Robin Blaze Features Gramophone Award-winning instrumental group Phantasm"