TON KOOPMAN DIETERICH BUXTEHUDE Opera Omnia VII page 1 VOCAL WORKS 3 TON KOOPMAN DIETERICH BUXTEHUDE Opera Omnia VII Arias, Concertos and Cantatas VOCAL WORKS 3 In memoriam Bruno Grusnick (1900-1992) COMPACT DISC I total time 74:03 COMPACT DISC II total time 73:14 1. Nichts soll uns scheiden von der Liebe Gottes BuxWV 77 8:36 1. Mein Gemüt erfreuet sich BuxWV 72 8:46 Miriam Meyer soprano, Patrick van Goethem alto, Klaus Mertens bass Bettina Pahn soprano, Patrick van Goethem alto, Klaus Mertens bass 2. Jesu, meines Lebens Leben BuxWV 62 7:10 2. Klinget für Freuden, ihr lärmen Klarinen BuxWV 119 A 5:46 Johannette Zomer soprano, Bogna Bartosz alto, Jörg Dürmüller tenor, Donald Bentvelsen bass Bettina Pahn, Miriam Meyer soprano, Klaus Mertens bass 3. Nun danket alle Gott BuxWV 79 10.32 3. Schlagt, Künstler, die Pauken und Saiten BuxWV 122 7:37 Bettina Pahn, Miriam Meyer soprano, Bogna Bartosz alto, Jörg Dürmüller tenor, Klaus Mertens bass Bettina Pahn, Miriam Meyer soprano, Patrick van Goethem alto, Klaus Mertens bass 4. Lauda Sion Salvatorem BuxWV 68 7:45 4. Eins bitte ich vom Herrn BuxWV 24 21:19 Bettina Pahn, Johannette Zomer soprano, Klaus Mertens bass Miriam Meyer, Bettina Pahn soprano, Patrick van Goethem alto 5. Ich habe Lust abzuscheiden BuxWV 47 10:42 5. Entreisst euch, meine Sinnen BuxWV 25 5:35 Bettina Pahn, Miriam Meyer soprano, Klaus Mertens bass Johannette Zomer soprano 6. Auf, stimmet die Saiten BuxWV 116 4:09 6. Jesulein, du Tausendschön BuxWV 63 9:11 Patrick van Goethem, Hugo Naessens alto, Klaus Mertens bass Patrick van Goethem alto, Andreas Karasiak tenor, Klaus Mertens bass 7. Aperite mihi portas justitiae BuxWV 7 5:43 7. Klinget mit Freuden, ihr klaren Klarinen BuxWV 119 B 3:25 Patrick van Goethem alto, Andreas Karasiak tenor, Klaus Mertens bass Bettina Pahn, Miriam Meyer soprano, Klaus Mertens bass 8. Herzlich lieb hab ich dich, o Herr BuxWV 41 19:20 8. Alles was ihr tut mit Worten oder mit Werken BuxWV 4 11:31 Miriam Meyer, Bettina Pahn soprano, Patrick van Goethem alto, Jörg Dürmüller tenor, Klaus Mertens bass Klaus Mertens bass page 4 page 5 Miriam Meyer, Bettina Pahn, Johannette Zomer soprano BuxWV 7, 25, 62, 63, 68 Bogna Bartosz, Patrick van Goethem, Hugo Naessens alto Amsterdam Baroque Orchestra Jörg Dürmüller, Andreas Karasiak tenor Margaret Faultless, David Rabinovich violin Donald Bentvelsen, Klaus Mertens bass (Catherine Manson 1st violin in BuxWV 62) Silvia Schweinberger, Marc Cooper viola Amsterdam Baroque Orchestra & Choir / Ton Koopman Jonathan Manson violoncello / violone Margaret Urquhart violone BuxWV 4, 24, 41, 47, 72, 77, 116, 119A, 119B, 122 Wouter Verschuren dulcian Amsterdam Baroque Orchestra & Choir Mike Fentross lute Catherine Manson, David Rabinovich violin Ton Koopman organ Silvia Schweinberger, Marc Cooper, violin / viola Tamara Mkrtychyan viola BuxWV 79 Jonathan Manson violone / bass violin Amsterdam Baroque Orchestra & Choir Alberto Rasi violone Catherine Manson, David Rabinovich violin Wouter Verschuren dulcian Jonathan Manson bass violin Gawain Glenton, Jamie Savan cornett Christine Sticher violone Stephen Keavy, James Ghigi trumpet Bruce Dickey, Gawain Glenton cornett Catherine Motuz, Charles Toet, Bernhard Rainer trombone Stephen Keavy, James Ghigi trumpet Luuk Nagtegaal timpani Luuk Nagtegaal timpani Heiko ter Schegget, Reine Marie Verhagen recorder Wouter Verschuren dulcian Mike Fentross lute Mike Fentross lute Ton Koopman, Kathryn Cok organ Ton Koopman, Kathryn Cok organ Els Bongers, Susan Jonkers, Vera Lansink soprano 1 Els Bongers, Vera Lansink, Nienke Oostenrijk soprano 1 Mariëtte Bastiaansen, Lut van de Velde, Orlanda Velez Isidro soprano 2 Henriette Feith, Margareth Iping, Dorothee Wohlgemuth soprano 2 Jürgen Banholzer, Annemieke Cantor, Hugo Naessens alto Jürgen Banholzer, Annemieke Cantor, Stephen Carter, Hugo Naessens alto Henk Gunneman, Jörg Krause, Joost van der Linden, Geraint Roberts tenor Otto Bouwknegt, Henk Gunneman, Joost van der Linden, Geraint Roberts tenor Donald Bentvelsen, Matthijs Mesdag, René Steur bass Donald Bentvelsen, Matthijs Mesdag, Jasper Schweppe, René Steur bass page 6 page 7 Producer: Tini Mathot Sound Engineer & Editing: Adriaan Verstijnen Recording Dates: March 2006, January 2007, May 2007, September 2007 Recording Location: Waalse Kerk, Amsterdam, The Netherlands Business Manager: Ron van Eeden A&R Challenge Records Int.: Anne de Jong Translations: Barbara Gessler, Brigitte Zwerver-Berret, Abigail Prohaska, Nathalie & James Chater Booklet editing & coördination: Eline Holl & Johan van Markesteijn Photo of Ton Koopman: Marco Borggreve Sleeve design: Marcel van den Broek Cover Illustration: View of Lübeck from Sebastian Münster, ‘La Cosmographie universelle de tout le monde’, 16th century more information about this project: www.buxtehude-operaomnia.com www.challengerecords.com page 8 page 9 Buxtehude Opera Omnia VII Vocal Works 3: 134 and “Templum Honoris” BuxWV 135) have sur- on essentially two vocal genres of particular promi- ‘Entreisst euch, meine Sinnen’ (BuxWV 25), based vived, but not a single note of music for these com- nence in the later 17th century: concerto and aria. on a poem of eight strophes by Ahasverus Fritsch Arias, Concertos, positions. Also the repertory in other vocal genres Both types, however, offer sheer endless formal and (1670), is a prototypical piece for solo soprano, 2 seems to have suffered considerable losses so that stylistic varieties and combinatorial possibilities that violins, and basso continuo. The medieval Latin se- and Cantatas the picture of the vocal composer Buxtehude remains constitute the early history of the protestant church quence ‘Lauda Sion Salvatorem’ (BuxWV 68), dated fragmentary. Moreover, we have no reliable chronol- cantata. It is here where Buxtehude plays a highly 1681 in the Düben Collection, makes use of modest When in 1668 Dietrich Buxtehude moved to Lübeck ogy for the 120-plus extant works, preventing a study influential role in shaping the emerging new cantata instrumental forces as well (2 violins, continuo), but in order to accept the highly regarded position of of the technical and stylistic development of the style and in raising the threshold of compositional has two sopranos and bass alternate. ‘Jesulein, du organist at St. Mary’s Church, previously held by Franz composer. Manuscripts in Buxtehude’s own hand are quality. This pertains in particular to his highly in- Tausenschön, Blümlein aus dem Himmelsgarten’ Tunder (1614-1667), it must have been clear to him extremely scarce (and none exists for his organ music) dividualized approach, his innovative instrumental (BuxWV 63), poetry by an unknown author, is treated that his musical functions were of a broader nature and were it not for the performing and collecting ac- scoring, his command of compositional technique, similarly though scored differently for alto, tenor, there than in his previous organist posts in Helsingborg tivities of his older friend Gustav Düben (1624-1690), and his effectiveness in deepening the expressive bass, 2 violins, fagotto, and continuo. and Helsingør. There is no evidence that Buxtehude organist of the German church and capellmeister at dimension of the musical language of his day. The wrote anything but organ music before coming to the Royal court in Stockholm (Sweden), the surviving present album includes a selection of works in the A more ambitious format is displayed by the wedding Lübeck, but it remains unknown when he actually out put would be even smaller. The Düben collection various genres: arias, concertos, and – as a compos- music ‘Auf, stimmet die Saiten, Gott Phoebus tritt began composing vocal works. Nevertheless, it seems (today at the University Library in Uppsala) contains ite of the two – cantatas. ein’ (BuxWV 116) that begins with a festive instrumen- logical to assume that he followed his distinguished no fewer than one hundred Buxtehude works in man- tal processional (Aufzug) involving trumpets, sack- predecessor’s footsteps more or less immediately by uscript copies, more than eighty of which happen to Arias buts, fagotto, and continuo, and is followed by four broadening the overall scope of his activities. be the sole documents of works that would otherwise The arias represent without exception the kind of strophes of poetry written in 1672 for the wedding be lost. As Düben ended his activities in 1687 and accompanied strophic song that prevails in late 17th of the Lübeck burgomaster Heinrich von Kirchring. Surveying Buxtehude’s entire extant vocal output died shortly thereafter, we have no solid evidence for century Germany. The aria is typically opened by an A similar wedding aria, composed 1680 for the mar- makes one aware of numerous uncertainties. This what vocal pieces Buxtehude may have written in the instrumental introduction (sonata or sinfonia), fol- riage of King Charles XI of Sweden with Princess pertains in particular to the significant losses of those last two decades of his life. lowed by a vocal presentation of several strophes of a Ulrika Eleonore of Denmark, is ‘Klinget für Freuden, works that contributed significantly to his reputation: poem, usually connected by refrain-like instrumental ihr lärmen Klarinen’ (BuxWV 119). The five strophes the oratorios. It is not even possible to reconstruct a The majority of Buxtehude’s vocal works belong to interludes (ritornellos). The scoring of such pieces of the wedding poem are presented by 2 sopranos complete work list for this category. Five work titles the sacred realm, but he also wrote several pieces