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Dietrich BUXTEHUDE

Vocal Music • 1

Emma Kirkby, Soprano John Holloway and Manfred Kraemer, Violins Jaap ter Linden, Viola da gamba Lars Ulrik Mortensen, Harpsichord and Organ

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Dietrich Buxtehude (1637–1707) Jaap ter Linden Vocal Music • 1 The cello and gamba soloist Jaap ter Linden is one of the best-known baroque musicians in Europe. As one of the first specialists in this field he played a central rôle in establishing many of the baroque ensembles now active on Dietrich Buxtehude was probably born in 1637 in the was formally appointed the following April. This was a the international music scene. After completing his studies Jaap ter Linden founded Musica da Camera together with Danish town of Helsingborg, now part of Sweden. His much more prestigious and well-paid position than the the Dutch harpsichordist Ton Koopman. Later he played with Musica Antiqua Köln, the English Concert, and also father Johannes (Hans), also an organist, had one he had held in Helsingør; Buxtehude was the most the Amsterdam Baroque Orchestra. He has made many recordings with these ensembles and with other leading immigrated to Denmark from Oldesloe, in Holstein and highly paid musician in Lübeck, and he earned nearly as baroque musicians such as René Jacobs, Gustav Leonhardt, Peter Schreier, and Ton Koopman. He teaches at the in 1641 was employed as the organist at St Mary’s much as the pastor of St Mary’s. On 23rd July 1668 he Conservatories of Music in the Hague and Amsterdam and at the Conservatoire de Genève, and gives courses and Church, Helsingborg. Soon after that he moved across swore the oath of citizenship, enabling him to marry master-classes all over Europe. He appears regularly as a chamber musician with Ronald Brautigam, John Holloway, the Øresund to become organist of St Olai Church in Anna Margaretha Tunder, a daughter of his predecessor. Lars Ulrik Mortensen and Alexei Lubimov. He is also a well-known interpreter of J.S. Bach’s suites for solo cello. Helsingør. The exact date of Dietrich’s birth is Seven daughters were born into the family of Dietrich As a conductor Jaap ter Linden has worked with orchestras such as the Deutsche Kammerphilharmonie, the Portland unknown, but at the time of his death on 9th May, 1707, and Anna Margaretha Buxtehude and baptized at St Baroque Ensemble, the European Community Baroque Orchestra, and Concerto Copenhagen. he was said to be about seventy years old. As a child in Mary’s. Three died in infancy, a fourth survived to early Helsingør, Dietrich Buxtehude must have been aware of adulthood, and three remained in the household at the Lars Ulrik Mortensen both his German heritage and his Danish surroundings, time of Buxtehude’s death. Lars Ulrik Mortensen studied at the Royal Academy of Music in Copenhagen and with Trevor Pinnock in London. and he appears to have grown up bilingual. In Helsingør As organist of St Mary’s, Buxtehude’s chief From 1988 to 1990 he was harpsichordist with London Baroque and until 1993 with Collegium Musicum 90. He and during his early years in Lübeck, he normally responsibility lay in playing the organ for the main now works extensively as a soloist and chamber-musician in Europe, the United States, Mexico, South America, and spelled his name “Diderich”, but later he regularly morning and afternoon services on Sundays and feast Japan, performing regularly with distinguished colleagues such as Emma Kirkby, John Holloway and Jaap ter signed it “Dieterich” or “Dietericus”. days. He also held the position of Werkmeister of St Linden. Between 1996 and 1999 he was professor for harpsichord and performance practice at the Munich The knowledge of Latin that Buxtehude displayed in Mary’s, the administrator and treasurer of the church, a Musikhochschule, and he now teaches at numerous early music courses throughout the world. Until recently Lars later life indicates that he must have attended a Latin position of considerable responsibility and prestige. The Ulrik Mortensen was also active as a conductor in Sweden and Denmark, where his activities at the Royal Theatre school as a boy. Although he undoubtedly began his account books that he kept in this capacity document the in Copenhagen met with great critical acclaim, although he has now returned to work primarily with period organ studies with his father, further information life of the church and its music in considerable detail. instrument ensembles. Since 1999 he has been artistic director of the Danish Baroque Orchestra, Concerto concerning his teachers is totally lacking. In late 1657 or The cantor of St Mary’s, also a teacher at the Copenhagen, and in 2004 he succeeded Roy Goodman as musical director of the European Union Baroque early 1658, he assumed the position his father had once Catharineum, held the responsibility for providing the Orchestra. He has recorded extensively for numerous labels, and his recording of Bach’s Goldberg Variations was held as organist of St Mary’s Church, Helsingborg. He liturgical music, using his school choir of men and boys. awarded the French Diapason d’Or. The series of Buxtehude recordings from the 1990s for the Danish Dacapo label worked there until October, 1660, when he became They performed together with most of the Lübeck met with universal acclaim, and recordings of chamber music and cantatas by Buxtehude have won Danish Grammy organist of St Mary’s, Helsingør, called the German municipal musicians from a large choir loft in the front awards, among other honours. In 2000 he was named Danish Musician of the Year for his recordings of harpsichord church because it served foreigners of the community of the church, over the rood screen. Two municipal music by Buxtehude, which also received the Cannes Classical Award 2001. As a conductor his recordings include and the military garrison of Kronborg. In Helsingør musicians, a violinist and a lutenist, regularly performed releases of harpsichord concertos by Bach and piano concertos by Haydn, in addition to symphonies by the Danish Buxtehude was expected to play at the beginning of the with Buxtehude from the large organ. composers J.E. Hartmann, F.L.A.E. Kunzen and G. Gerson. Lars Ulrik Mortensen has received a number of prizes service; he and the cantor were to provide instrumental Buxtehude inherited a tradition established by Franz and distinctions, among them the Danish Music Critics’ Award in 1984 and in 2007 Denmark’s most prestigious and vocal music for the church on feast days and at other Tunder of performing concerts from the large organ of music award, the Léonie Sonning Music Prize. times at the pastor’s request. St Mary’s at the request of the business community. The position of organist and Werkmeister at St Tunder had gradually added vocalists and Mary’s, Lübeck, became vacant upon the death of Franz instrumentalists to his organ performances, which are Tunder on 5th November 1667, and Dietrich Buxtehude said to have taken place on Thursdays prior to the

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Emma Kirkby opening of the stock exchange. Within a year of his states unambiguously that its purpose was to hear Emma Kirkby had originally no intention of becoming a professional singer. She read Classics at Oxford and was a arrival in Lübeck, Buxtehude had greatly expanded the Buxtehude play the organ, and in his report to the schoolteacher for a while, but after a period as a member of various choirs and small ensembles mainly specialising possibilities for the performance of concerted music Arnstadt consistory upon his return the following in Renaissance and Baroque music she joined The Taverner Choir, and two years later began her long-lasting from the large organ by having two new balconies February, Bach stated that he had made the trip “in order association with The Consort of Musicke. She took part in the early Florilegium recordings with The Consort of installed at the west end of the church, each paid for by to comprehend one thing and another about his art”. Musicke and The Academy of Ancient Music, and working here with original instruments became aware of the need a single donor. These new balconies, together with the Buxtehude died on 9th May 1707 and was succeeded by to develop a new kind of vocal tone; this problem she had to solve herself with the help of Jessica Cash in London four that were already there, could accommodate about Johann Christian Schieferdecker, who duly married and various early music specialists, including instrumentalists and conductors as well as fellow-singers. Emma forty singers and instrumentalists. Buxtehude called his Anna Margreta on 5th September 1707. Kirkby has more than a hundred recordings to her name. They range from the sequences of Hildegard of Bingen to concerts Abendmusiken and changed the time of their Although Buxtehude never held a position that Italian and English madrigals, Baroque cantatas and oratorios, and works by Mozart and Haydn. Her preferred presentation to Sundays after vespers. In time these required him to compose vocal music, he left over 120 platform is still in live performance with groups such as Britain’s London Baroque, the Orchestra of the Age of concerts took place regularly on the last two Sundays of vocal works in an extremely wide range of texts, Enlightenment, Fretwork, and Florilegium, Canada’s Tafelmusik, and continental colleagues, including Concerto Trinity and the second, third and fourth Sundays of scorings, genres, compositional styles, and length. Copenhagen, L’Orfeo of Linz, Freiburger Barockerchester. Advent each year. By 1678 he had introduced the Texts, almost entirely sacred, are found in four practice of presenting oratorios of his own composition languages, and performing forces range from one voice John Holloway in serial fashion on these Sundays. He also directed with one instrument and continuo to nine voices with John Holloway is one of the pioneers of the modern early music movement in England. He founded his first Baroque performances of concerted music from the large organ fifteen instruments and continuo, divided into six choirs. ensemble in 1975, and made the first complete recording of the chamber music of Handel. From 1977 to 1991 he during the regular church services, although this Few of these works can be considered liturgical music was concertmaster of Andrew Parrott’s Taverner Players, and from 1978 to 1992 concertmaster of Roger activity, like the presentation of the Abendmusiken, lay for the Lutheran church, which was in any event the Norrington’s London Classical Players. In addition to his concert schedule, John Holloway has an extensive and outside his official duties to the church. responsibility of the cantor. They were probably award-winning discography: in 1991 he won a Gramophone Award for his recording of Biber’s Mystery Sonatas, By 1703 Buxtehude had served for 35 years as performed under Buxtehude’s direction from the large and he has also recorded the violin sonatas of J.S. Bach, Corelli and Handel, as well as two versions of Vivaldi’s organist of St Mary’s; he was about 66 years old and, no organ at St Mary’s in Lübeck during the distribution of Four Seasons and many other solo and ensemble works from the seventeenth and eighteenth centuries. Recent doubt concerned about the future of his three unmarried communion at the morning service, during vespers, or recordings include a sequence for ECM New Series: Schmelzer’s Sonatae unarum fidium, two CDs featuring the daughters, began to look for a successor who would perhaps in concerts, such as the Abendmusiken. 1681 Sonatas by Biber, a CD of sonatas by Veracini and a double CD of the complete sonatas and partitas for solo marry Anna Margreta, the eldest, aged 28. The first Buxtehude inherited well-established traditions violin by J.S. Bach. Other recording projects include a CD of sonatas by Leclair, and the complete Paris Quartets prospective candidates of whom we know were Johann regarding the musical settings of the texts that he chose. by Telemann. John Holloway is Professor of Violin and String Chamber Music at the Hochschule für Musik in Mattheson and Georg Frideric Handel, both of whom German composers of the seventeenth century typically Dresden. were employed at the Hamburg opera at the time. They transformed biblical prose into sacred concertos and travelled to Lübeck together and listened to Buxtehude strophic poetry into songs or arias. If the poetry was a Manfredo Kraemer “with dignified attention,” but since neither of them was church hymn associated with a well-known melody, Manfredo Kraemer studied the violin at the music conservatory in Cologne and was one of the founders of Concerto at all interested in the marriage condition, they returned however, they usually incorporated this chorale melody Köln. From 1986 to 1991 he was a member of the famous chamber ensemble Musica Antiqua Köln. Since then to Hamburg the following day. Johann Sebastian Bach into a sacred concerto. Manfredo Kraemer has performed on a freelance basis with various ensembles, including engagements as principal made his famous trip to visit Buxtehude in the fall of With only two exceptions (BuxWV 76 and 105), all violinist in productions led by René Jacobs, Jordi Savall, and others. He has taught in Caen, France, and Hilversum, 1705, coinciding with the Abendmusik season, and he the works presented here are preserved in manuscripts Holland, as well as at summer institutes in the United States, France, and Spain. A Biber recording with his ensemble remained in Lübeck for nearly three months. Bach, too, that were copied at the Swedish royal court during the The Rare Fruits Council received the French Diapason d’Or prize and has been greeted with superlatives by the may have been interested in obtaining the succession to early 1680s and now form part of the Düben Collection international music press. Buxtehude’s position, but there is no evidence that this at the University Library in Uppsala. was the case. The account of the trip in Bach’s obituary 1 Buxtehude set his jubilant Easter aria O fröhliche

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Stunden, O fröhliche Zeit (BuxWV 84) to a sacred song phrase structure, and continuo accompaniment, it around the chorale, ending with a final “Alleluia” Buxtehude sonatas, its opening sonata contains a short that Johann Rist had published in 1655. Although its approaches the style found in numerous collections of section in three-part invertible counterpoint. fugue reminiscent of many in his instrumental works, through-composed form and many instrumental sacred songs, such as Ahasverus Fritzsch’s Himmels- 0 The sacred concerto Singet dem Herrn ein neues and the instruments enjoy expansive interludes within interjections suggest the concerto, its consistent 6/8 Lust und Welt-Unlust (1679), from which its text is Lied (BuxWV 98) is Buxtehude’s only vocal work the vocal portion. Only in the final two sections (“ut metre imbues it with a high degree of unity. Note the drawn. But its instrumental sinfonia and ritornello, the scored with solo violin. Lübeck was a centre for violin omnis qui credit” and “Amen”) do we hear the typical jubilant cries of exultation on the opening syllable “O” repetition of the last three lines of text, and its elegant playing in northern Germany, and this violin part was concertato exchange of short motives between voice and and the trumpet-like melodic style of the militaristic vocal line distinguish it as an aria, as it is designated in probably originally played either by Hans Iwe, a instruments. verse 3, “Es fand sich kein Krieger”. its manuscript source. Its simplicity does not indicate municipal musician who regularly performed from the # Based on its biblical text, scoring, texture, and 2 In O dulcis Jesu (BuxWV 83) Buxtehude that it is an early work; in fact it may be the latest work large organ in St Mary’s, or Peter Bruhns (uncle of the text-generated musical motives, Herr, wenn ich nur dich matches an emotionally-charged Latin devotional text, in this album. Its manuscript was probably copied in composer Nicolaus Bruhns), another municipal hab (BuxWV 38) can be considered a sacred concerto, enflamed with the love of Jesus, with equally affective Lübeck in 1692 and taken back to Stockholm by Anders musician who excelled at the violin. In his setting of this but Buxtehude might have called it a ciaccona, for he music. The text contains a fluid mixture of prose and Düben (Gustav’s son) after his visit with Buxtehude that most musical psalm text, Buxtehude seems in fact to be composed the entire piece over a simple three-measure poetry, and Buxtehude’s setting reflects it closely, with year. pointing to violin playing as one of the wonders of God; ostinato bass: g f# / e B / c d. Over this scaffold he the prose portions in recitative, arioso, or concertato 6 Buxtehude divides his sacred concerto Schaffe in he introduces a virtuosic interlude with the words “denn expounds the psalm text, rising to heaven, descending to style and the poetry in aria style. In this respect it mir, Gott (BuxWV 95) into two large and contrasting Er macht Wunder”. earth, and gently dancing to triplets at the thought of the resembles an Italian secular cantata, but in Germany it sections, each set to a verse or two of this familiar psalm @ Sicut Moses exaltavit serpentem (BuxWV 97) is comfort God offers to the heart. The two violins pick up would still have been considered a sacred concerto. text. In the first section, he employs typical concertato a sacred concerto based on the gospel reading appointed the voice’s motives with various imitative devices: Italian castrati made occasional guest appearances at St style, paying careful attention to each word of the text, for Trinity Sunday. It is particularly noteworthy for its canons, fugal entries, and strettos. Mary’s Church in Lübeck, and the combined virtuosity endowing verbal phrases with apt musical phrases that high degree of instrumental participation; the scoring - and Italianate style of this work suggest that Buxtehude are declaimed by the voice and then echoed by the two violins and viola da gamba - replicates that of three Kerala J. Snyder, 1996 might have composed it for a visiting castrato. instruments; this is particularly obvious with the words 3, 5, 7, 9 and ! Buxtehude published his Fried- “verwirf mich nicht” (cast me not away). In the second und Freudenreiche Hinfahrt (BuxWV 76) upon the section, comfort and joy appear not so much as occasion of his father’s death in 1674. It consists of two individual words but as keys to the affect conveyed by parts, an elaborate and learned instrumental setting of the entire section, with its dance-like triple metre. Martin Luther’s chorale Mit Fried und Freud ich fahr 8 The text of Gen Himmel zu dem Vater mein dahin in four-part invertible counterpoint, probably for (BuxWV 32) consists of the final two verses from organ, and a strophic song of mourning set for soprano. Martin Luther’s chorale Nun freut euch lieben Christen He had actually composed the chorale setting three years g’mein, which recounts the entire story of Jesus’s earlier for the funeral of the Lübeck church coming to earth. Buxtehude selected only the portion superintendent, Meno Hanneken. The “Klag-Lied” is describing Christ’s ascension and set it as a chorale new, however; its text, which Buxtehude most likely concerto, using the same melody that provided the wrote himself, is deeply personal in tone, and the material for one of his most famous chorale fantasias for sombre music reflects its grief. organ (BuxWV 210). This vocal concerto, with its 4 Was mich auf dieser Welt betrübt (BuxWV 105) extensive instrumental participation, is also reminiscent Language coach and organ tuning: Aloysia Assenbaum is one of Buxtehude’s simplest arias. With its pure of Buxtehude’s sonatas for violin, viola da gamba, and Harpsichord kindly provided by Thomas Mandru-Poulsen strophic form, syllabic text setting, absolutely regular harpsichord. He spins an intricate contrapuntal web Recording kindly sponsored by Gangstedfonden and Magister Jürgen Balzers Fond

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Dietrich BUXTEHUDE

Vocal Music • 1

Emma Kirkby, Soprano John Holloway and Manfred Kraemer, Violins Jaap ter Linden, Viola da gamba Lars Ulrik Mortensen, Harpsichord and Organ

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CMYK NAXOS NAXOS Dietrich Buxtehude was one of the chief figures in North German music of his time. Although Buxtehude never held a position that required him to compose vocal music, he left over 120 vocal works featuring an extremely wide range of texts, scorings, genres and compositional styles. This first volume of the Naxos re-issue edition of the complete vocal music recorded by Dacapo includes such masterpieces as the funeral music Fried– und freudenreiche Hinfahrt, 8.557251 BUXTEHUDE: BUXTEHUDE: music of the most profound grief expressed using the simplest of means, and the sacred concerto Singet dem Herrn, Buxtehude’s only vocal work scored with solo violin, in which DDD the composer seems to be pointing to violin playing as one of the wonders of God. Playing Time Dietrich 72:18 BUXTEHUDE (1637–1707) 1 O fröhliche Stunden, BuxWV 84 6:05 Vocal Music•1 Vocal Music • 1 2 O dulcis Jesu, BuxWV 83 11:52 3 Fried– und freudenreiche Hinfahrt, BuxWV 76: Contrapunctus I 1:29 4 Was mich auf dieser Welt betrübt, BuxWV 105 5:09 5 Fried– und freudenreiche Hinfahrt, BuxWV 76: Contrapunctus I (Evolutio) 1:32 6 Schaffe in mir, Gott, BuxWV 95 7:07 Made inCanada www.naxos.com/libretti/557251.htm Sung textsandEnglishtranslationsareavailableat: Booklet notesinEnglish Naxos RightsInternationalLtd. 7 Fried– und freudenreiche Hinfahrt, BuxWV 76, Teil II: Klag-Lied 7:11 www.naxos.com

8 Gen Himmel zu dem Vater mein, BuxVW 32 8:15 1997 Dacapo& 9 Fried– und freudenreiche Hinfahrt, BuxWV 76: Contrapunctus II 1:22 0 Singet dem Herrn, BuxVW 98 9:15 ! Fried– und freudenreiche Hinfahrt, BuxWV 76: Contrapunctus II (Evolutio) 1:25 @ Sicut Moses exaltavit serpentem, BuxWV 97 7:25 # Herr, wenn ich nur dich hab, BuxWV 38 4:12

Emma Kirkby, Soprano • John Holloway, Violin 2007 Manfredo Kraemer, Violin • Jaap ter Linden, Viola da gamba Lars Ulrik Mortensen, Harpsichord and Organ 8.557251 8.557251 Recorded at Stokkemarke Church, Denmark from 1st to 4th November, 1996 Producer and Engineer: Jesper Jørgensen • Booklet Notes: Kerala J. Snyder Previously released on Dacapo 8.224062 • Cover Picture: Adoration of the Shepherds by Hans Rottenhammer (1564–1625) (Vienna, Kunsthistorisches Museum / AKG Images)