Dieterich Buxtehude
Ton Koopman
Opera Omnia XVIII - Vocal works vol. 8
Tracklisting
CD 1
1
Wachet auf, ruft uns die Stimme, BuxWV 101
10:52
2
O clemens, o mitis, BuxWV 82
08:14
3
Gen Himmel zu dem Vater mein, BuxWV 32
07:32
4
Surrexit Christus hodie, BuxWV 99
05:51
5
Lauda anima mea Dominum, BuxWV 67
08:56
6
Mein Herz ist bereit, BuxWV 73
08:18
7
Singet dem Herrn ein neues Lied, BuxWV 98
08:06
8
Canon, BuxWV 121
01:10
9
Gigue, BuxWV 121
02:40
CD 2
1
Meine Seele, willtu ruhn, BuxWV 74
05:41
2
Herr, ich lasse dich nicht, BuxWV 36
09:30
3
Wachet auf, ruft uns die Stimme, BuxWV 100
11:12
4
O Gottes Stadt, o güldnes Licht, BuxWV 87
09:12
5
Wie soll ich dich empfangen, BuxWV 109
08:12
6
Sicut Moses exaltavit serpentem, BuxWV 97
06:14
7
Salve desiderium, salve clamor gentium, BuxWV 93
06:30
8
Gott hilf mir, denn das Wasser geht mir bis an die Seele, BuxWV 34
16:43
About the album
In the succession of Franz Tunder in Lübeck Buxtehude broadened the scope and format of vocal composition by adding sophisticated strophic arias, increasing the role of instrumental ensembles, refining instrumental textures of the vocal scores, and making multi- movement structures are more normative feature in sacred music.
His compositions are based on one side on Latin works, p.e. “O Clemens, o mitis”, the second part of his works are settings of Lutheran hymn texts, p.e. “Wachet auf, ruft uns die Stimme”. And on the other hand her made settings of pietist poems. The pietist movement became prominent in later 17th-century Lutheran Germany and several lyrical texts set by Buxtehude reflect this leaning toward reflective individual piety. “Meine Seele, willtu ruhn” (BuxWV 74) and “O Gottes Stadt, o güldnes Licht” (BuxWV 87) represent particularly prominent examples of sacred arias.
„ It has been an extraordinary experience to study and record so many works that have rarely if ever been performed. For example: Composed by Buxtehude for his ‘amico’ the Kappelmeister Gustav Düben in Stockholm, Membra Jesu Nostri (BuxWV 75) was little known around 1980. Now the work enjoys wide renown, appearing on many CD recordings. Singers, choirmasters and instrumentalists please take note: there is much more! Listen to this music and study and perform it. Buxtehude deserves it.“ Ton Koopman
