Buxtehude: Opera Omnia Xvii - Vocal Works Volume 7
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BUXTEHUDE An filius non est Dei, BuxWV 6. All solch, BuxWV 3. Schwinget euch, BuxWV 96. Laudate, pueri, BuxWV 69. Mit Fried und Freud, BuxWV 76. O wie selig, BuxWV 90. Du Frieden-Fürst, BuxWV 21. Fürwahr, er trug, BuxWV 31. Herzlich tut mich, BuxWV 42. Nimm von uns, BuxWV 78. Quemadmodum desiderat, BuxWV 92. Ich halte, BuxWV 48. Ich sprache, BuxWV 49. Jesu, meiner Freuden Meister, BuxWV 61. Wär Gott, BuxWV 102. Dein edles Herz, BuxWV 14. Wenn ich, BuxWV 107. Domine salvum fac, BuxWV 18 • Ton Koopman,cond; Amaryllis Dieltiens, Gerlinde Sämann, Dorothee Wohlgemuth (sop); Maarten Engeltjes (alt); Tilman Lichdi (ten); Klaus Mertens (bs); Amsterdam Baroque O • CHALLENGE 72256 (2 CDs: 146:44 Text and Translation)
BUXTEHUDE Wachet auf, BuxWV 101. O clemens, BuxWV 82. Gen Himmel, BuxWV 32. Surrexit Christus, BuxWV 99. Mein Herz, BuxWV 73. Singet dem Herrn, BuxWV 98. Canon, BuxWV 121. Gigue, BuxWV 121. Meine Seele, BuxWV 74. Herr, ich lasse, BuxWV 36. Wachet auf, BuxWV 100. O Gottes Stadt, BuxWV 87. Wie soll ich dich, BuxWV 109. Sicut Moses, BuxWV 97. Salve desiderium, BuxWV 93. Gott, hilf mir, BuxWV 34 • Ton Koopman, cond; Miriam Feuersinger, Bettina Pahn, Dorothee Wohlgemuth (sop); Maarten Engeltjes (alt); Tilman Lichdi (ten); Klaus Mertens (bs); Amsterdam Baroque O & Ch • CHALLENGE 72257 (2 CDs: 135:01 Text and Translation)
These four discs are the last in Ton Koopman’s complete set of Dieterich Buxtehude’s vocal works. (He has also finished recording the keyboard and chamber works.) The first two issues consisted of two CDs devoted to Das jüngste Gericht , BuxWV Anh. 3 ( Fanfare 30:6) and two CDs of some of the vocal works that Georg Karstädt numbered BuxWV 1 to 120 (31:5) in 1974. These works comprise a variety of forms; Karstädt called the first 112 works “cantatas,” a term the composer did not use. I tried to sort this out as thoroughly as possible in my review in 31:5, but unfortunately the next three issues (volumes 3 to 5, a total of five CDs) did not come my way. But then came Membra Jesu Nostri (36:3), and now, at last, we can hear volumes 7 and 8, a total of four more CDs, two in each issue.
Included are 10 first recordings, along with one work recorded only on shellac by Mogens Wöldike, three more recorded only once each on LP, and one recorded only once on CD. These rarities are mingled with 28 more familiar works. We should single out the canon and gigue that bears the number 121. These fragments of a cantata were only recently discovered, but Karstädt included them under this number (he also has number 122 that was previously recorded by both Koopman and by Magnus Kjellson on Intim). Another interesting recorded premiere is Wachet auf , BuxWV 100, a setting that uses the melody and all three verses of Philipp Nicolai’s hymn. It is in volume 8, as well as a modern strophic aria setting of the same text, BuxWV 101, already recorded three times even though doubt has been cast on its authenticity.
A more familiar work is Mit Fried und Freud , a contrapuntal setting of Luther’s hymn in four verses, followed by Buxtehude’s own lament for his father in seven verses. Early recordings offered only one part or the other; more recently the two sections have been recorded together, but the lament has never been sung complete, at most four verses (here only verses 1, 3, and 7); I can find the other four verses only by picking out three different discs. As recorded here in the original high pitch (exactly half a tone higher than Emma Kirkby), Koopman asks rhetorically, “Could there be anything more beautiful?”
One of the favorite solo cantatas, and one of the first two Buxtehude cantatas ever recorded, is Singet dem Herrn ein neues Lied , sung by soprano Bettina Pahn. Her competition is formidable, including Helen Boatwright, Honor Sheppard, and Emma Kirkby, but this is suitably stylish with vocal flourishes and a strong voice. The most recent version, exceptionally, came from a tenor, Hans Jörg Mammel (35:1).
One of the larger works is Fürwahr, er trug unsere Krankheit for five soloists, a sacred concerto based on Passion prophecies of Isaiah. The text is only eight lines long, but it is treated expansively. The setting is especially grateful for the singers, who are supported by strings in five parts.
The concluding work of the whole series is the longest one on these four discs, Gott, hilf mir , recorded only a few times, most recently by Konrad Junghänel (21:3) and Roland Wilson (31:3). The text is compiled from Isaiah, two psalms, and other sources, preceded by a long instrumental sinfonia. The setting calls for three soloists, and Koopman uses a chorus for the chorale sections, as Wilson also does. Comparisons with competing versions would be instructive, but the comprehensive survey of the entire series of vocal works on 14 discs has a unique validity. Not only do they form a compact collection, but they provide numerous recording premieres. Lacking sufficient reference sources, I cannot account for any recordings of over a dozen titles, but that will require further study. It is hard to imagine a competing set of this magnitude coming along very soon (a remark that has proved rash in other repertoire, to be sure), so accept this as a signal accomplishment, even if you want to use some other versions for comparison.
FANFARE: J. F. Weber
BUXTEHUDE Wachet auf, BuxWV 101. O clemens, BuxWV 82. Gen Himmel, BuxWV 32. Surrexit Christus, BuxWV 99. Mein Herz, BuxWV 73. Singet dem Herrn, BuxWV 98. Canon, BuxWV 121. Gigue, BuxWV 121. Meine Seele, BuxWV 74. Herr, ich lasse, BuxWV 36. Wachet auf, BuxWV 100. O Gottes Stadt, BuxWV 87. Wie soll ich dich, BuxWV 109. Sicut Moses, BuxWV 97. Salve desiderium, BuxWV 93. Gott, hilf mir, BuxWV 34 • Ton Koopman, cond; Miriam Feuersinger, Bettina Pahn, Dorothee Wohlgemuth (sop); Maarten Engeltjes (alt); Tilman Lichdi (ten); Klaus Mertens (bs); Amsterdam Baroque O & Ch • CHALLENGE 72257 (2 CDs: 135:01 Text and Translation)
These four discs are the last in Ton Koopman’s complete set of Dieterich Buxtehude’s vocal works. (He has also finished recording the keyboard and chamber works.) The first two issues consisted of two CDs devoted to Das jüngste Gericht , BuxWV Anh. 3 ( Fanfare 30:6) and two CDs of some of the vocal works that Georg Karstädt numbered BuxWV 1 to 120 (31:5) in 1974. These works comprise a variety of forms; Karstädt called the first 112 works “cantatas,” a term the composer did not use. I tried to sort this out as thoroughly as possible in my review in 31:5, but unfortunately the next three issues (volumes 3 to 5, a total of five CDs) did not come my way. But then came Membra Jesu Nostri (36:3), and now, at last, we can hear volumes 7 and 8, a total of four more CDs, two in each issue.
Included are 10 first recordings, along with one work recorded only on shellac by Mogens Wöldike, three more recorded only once each on LP, and one recorded only once on CD. These rarities are mingled with 28 more familiar works. We should single out the canon and gigue that bears the number 121. These fragments of a cantata were only recently discovered, but Karstädt included them under this number (he also has number 122 that was previously recorded by both Koopman and by Magnus Kjellson on Intim). Another interesting recorded premiere is Wachet auf , BuxWV 100, a setting that uses the melody and all three verses of Philipp Nicolai’s hymn. It is in volume 8, as well as a modern strophic aria setting of the same text, BuxWV 101, already recorded three times even though doubt has been cast on its authenticity.
A more familiar work is Mit Fried und Freud , a contrapuntal setting of Luther’s hymn in four verses, followed by Buxtehude’s own lament for his father in seven verses. Early recordings offered only one part or the other; more recently the two sections have been recorded together, but the lament has never been sung complete, at most four verses (here only verses 1, 3, and 7); I can find the other four verses only by picking out three different discs. As recorded here in the original high pitch (exactly half a tone higher than Emma Kirkby), Koopman asks rhetorically, “Could there be anything more beautiful?”
One of the favorite solo cantatas, and one of the first two Buxtehude cantatas ever recorded, is Singet dem Herrn ein neues Lied , sung by soprano Bettina Pahn. Her competition is formidable, including Helen Boatwright, Honor Sheppard, and Emma Kirkby, but this is suitably stylish with vocal flourishes and a strong voice. The most recent version, exceptionally, came from a tenor, Hans Jörg Mammel (35:1).
One of the larger works is Fürwahr, er trug unsere Krankheit for five soloists, a sacred concerto based on Passion prophecies of Isaiah. The text is only eight lines long, but it is treated expansively. The setting is especially grateful for the singers, who are supported by strings in five parts.
The concluding work of the whole series is the longest one on these four discs, Gott, hilf mir , recorded only a few times, most recently by Konrad Junghänel (21:3) and Roland Wilson (31:3). The text is compiled from Isaiah, two psalms, and other sources, preceded by a long instrumental sinfonia. The setting calls for three soloists, and Koopman uses a chorus for the chorale sections, as Wilson also does. Comparisons with competing versions would be instructive, but the comprehensive survey of the entire series of vocal works on 14 discs has a unique validity. Not only do they form a compact collection, but they provide numerous recording premieres. Lacking sufficient reference sources, I cannot account for any recordings of over a dozen titles, but that will require further study. It is hard to imagine a competing set of this magnitude coming along very soon (a remark that has proved rash in other repertoire, to be sure), so accept this as a signal accomplishment, even if you want to use some other versions for comparison.
FANFARE: J. F. Weber
Product Description:
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Release Date: June 28, 2013
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Catalog Number: CC72256
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UPC: 0608917225624
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Label: Challenge
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Number of Discs: 2
Composer: Dietrich Buxtehude
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir, Amsterdam Baroque Orchestra
Performer: Ton Koopman