Dieterich Buxtehude: Opera Omnia XIV (Vokalwerke 5) (CD)

Dieterich Buxtehude (1637-1707)

Miriam Meyer, Siri Karoline Thornhill, Bettina Pahn, Dorothee Wohlgemuth, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra, Ton Koopman

CD

CD (Compact Disc)

Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.

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Je höher du bist BuxWV 55; Herr, wenn ich nur dich habe (II) BuxWV 39; Ich bin die Auferstehung und das Leben BuxWV 44; Herr, wenn ich nur dich hab (I) BuxWV 38; Bedenke Mensch das Ende BuxWV 9; Ich bin eine Blume zu Saron BuxWV 45; Jesu, komm, mein Trost und Lachen BuxWV 57

Künstler:: Miriam Meyer, Siri Karoline Thornhill, Bettina Pahn, Dorothee Wohlgemuth, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra, Ton Koopman
Label:: Challenge
Aufnahmejahr ca.:: 2007-2011
Artikelnummer:: 9848462
UPC/EAN:: 0608917225327
Erscheinungstermin:: 29.9.2011
Serie:: Buxtehude Opera Omnia

Unbekannte Konzerte, Arien und Kantaten
Acht reizvolle und bisher fast unbekannte Vokalwerke von Dieterich Buxtehude, die aus ganz unterschiedlichen Lebensabschnitten stammen, in der unvergleichlich präzisen und lebendigen Interpretation von Ton Koopman und seinen hervorragenden Solisten.

Product Information

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)