Ich Bin Die Auferstehung Buxtehude and His

Ich bin die Auferstehung

Buxtehude and His Copenhagen Connections

Jakob Bloch Jespersen Concerto Copenhagen & Lars Ulrik Mortensen Dietrich Buxtehude · Johann B. Erben · Johann V. Meder · Matthias Weckmann Dietrich Buxtehude (1637-1707) Kaspar Förster (the Younger) · Anderas Kirchhoff · Nicolaus Bruhns Ich bin die Auferstehung und das Leben, BuxWV 44�� 6:03

Ich bin die Auferstehung – Buxtehude and His Copenhagen Connections Johann B. Erben (1626-1686) Sonata sopra ut, re, mi, fa, sol, la �� 6:50 Jakob Bloch Jespersen, bass-baritone Johann V. Meder (1649-1719) Concerto Copenhagen Gott hilf mir��10:29 Lars Ulrik Mortensen, organ, harpsichord and direction Matthias Weckmann (1619-1674) Toccata in A minor�� 5:22 Kommet her zu mir �� 8:11

Kaspar Förster (the Younger) (1616-1673) Jesu dulcis memoria *�� 8:02 Fredrik From, Hannah Tibell (violins); Antina Hugosson, Jesenka Balic Zunic (violas); Heidi Gröger (violone); Gawain Glenton, Josue Melendez (cornets); Robert Farley, Andreas Kirchhoff (d. 1691) Christopher Pigram (trumpets); Jane Gower (dulcian) Sonata á 6 * �� 6:00

Fredrik From, Hannah Tibell (violins) Nicolaus Bruhns (1665-1697) Fredrik From, Hannah Tibell, Antina Hugosson. Jesenka Balic Zunic (violins); Heidi Gröger (violone) Mein Herz ist bereit �� 9:24 Fredrik From, Hannah Tibell (violins); Hanna Thiel, Hanna Loftsdóttir, Heidi Gröger (viola da gamba) Kaspar Förster (the Younger) Antina Hugosson, Jesenka Balic Zunic (violins) Sonata á 7 * �� 6:23

Fredrik From, Hannah Tibell, Antina Hugosson (violins); Total: 66:44 Hanna Thiel, Hanna Loftsdóttir (viola da gamba); Heidi Gröger (violone) * World premiere recording Fredrik From (violin) Fredrik From, Hannah Tibell (violins); Antina Hugosson (viola); Heidi Gröger (violone) Gawain Glenton, Josue Melendez (cornets); Jane Gower (dulcian); Dacapo Records is supported by the Ich bin die Auferstehung und das Leben plenty of free scope to realise his prestige buildings in Copenhagen and to attract some of the Buxtehude and his Copenhagen Connections by Jakob Bloch Jespersen greatest international stars of the era to the capital, such as Heinrich Schütz, Johann Schop and John Dowland. With the dawning Atlantic trading, the Sound Dues developed over the years into an explosive political problem, since they restricted the access of the other Baltic Our choice of works for this release reflects an attempt to provide a glimpse of the richness countries to the oceans of the world. The dues were especially a thorn in the flesh to the represented by the music from the Baltic region in the latter half of the 17th century. The so- go-ahead, ambitious Swedish monarch, Karl X Gustav. With the Swedish conquests in Poland called early Baroque (Frühbarock) is normally overshadowed by both the breakthrough of the and Northern Germany, the power balance in the Baltic radically changed in the space of a few Baroque in Northern Italy around 1600 and the culmination of the style a century or so later, with years. In 1657, Denmark declared war on Sweden, which resulted in a catastrophic counter- the great German masters Telemann, Handel and Bach. As our selection of works confirms, the attack. It led to three years of war which, after the Swedish occupation of Kronborg Castle in music of the 17th century is indeed a difficult entity to define. It is a period deeply characterised Elsinore and the siege of Copenhagen, culminated in a large naval battle in the Sound between by fearless innovation, bubbling creativity, and an experimentation with form that only with the the Swedish fleet and the Dutch, who had come to the rescue for Denmark. In 1660, the war subsequent generation of composers develops into fixed conventions and a higher degree of finally ended, the result being that Denmark had to hand over Skåne, Halland and Blekinge to conformity. It is in the middle Baroque that the elements which we know consider as defini- Sweden. But the power balance in the Baltic was only consolidated for a short time. Inter tive for Baroque music are developed and consolidated. Actually, the music of this period can national alliances against Sweden led in 1700 to military conflicts known as The Great Northern be said both in a concrete and a metaphorical sense to form the very focal point or hub of War, which lasted right up until 1721. the Baroque. The Composers and Their Music The Baltic The historical events just mentioned and the commercial cities of the Baltic form a backdrop for The Thirty Years’ War (1618-1648), along with plague epidemics and starvation, reduced the lives of the present composers. Their professional careers and personal connections seem central and southern Europe to a traumatic torpor that lasted long after the cessation of the to be as closely knit as the trading network of the age. Weckmann, Förster, Erben, and Kirchhoff war. During all this time, the ports of the Baltic enjoyed economic growth, which is why many belong to the generation that immediately precedes Buxtehude. Their music and lives, in their musicians from the small princely courts of Mid-Germany moved northwards towards the Baltic distinctive ways, are typical of the Baltic composers of this period. One salient common feature and Scandinavia. The Baltic region was still strongly influenced by the formerly so dominant is the strong influence of Italian music. While Förster and Erben studied and worked in Italy Hanseatic League and its commercial network. Close trading ties linked the major commer- for certain periods, Weckmann in Hamburg industriously copied music from the climes further cial cities: Stockholm in the north, Tallinn and Riga in the east, Danzig and Lübeck in the east south. In the encounter between the still young Protestant Church and the musical inspiration and west North Germany, and in Denmark, they extended to Copenhagen and Elsinore. For from Italy a new type of church music emerged, one with its own distinct identity. The Italian decades, Denmark exploited the narrow strait between Elsinore and Helsingborg, imposing ‘blood transfusion’ became crucial to the development of the music of the Baltic composers. customs on cargoes being transported in and out of the Baltic, and Elsinore became a natural Buxtehude marks the culmination of this development, and his strong influence on the compos- place to take provisions on board and do business on one’s way out into the world. The Sound ers of the succeeding generation, such as Meder, Bruhns and J.S. Bach, places him as a key Dues were a lucrative source of income for the Danish state. They provided Christian IV with figure in the history of Protestant church music. 4 5 Matthias Weckmann (1616-1674) is an example of the brain-drain from south to north which direct knowledge of the virtuoso Italian singing. This is highly evident in Kommet her zu mir, took place during and after The Thirty Years’ War. Weckmann was born in southern Germany which in Monteverdian stile concitato displays by equilibristic leaps and bounds the full extent and from 1627 onwards was a pupil of Heinrich Schütz in Dresden. With the decimation of of the bass voice and the technical skill of the singer. The five-part string ensemble opens with cultural budgets in South Germany, Heinrich Schütz moved to the court of Christian IV in a longish Sonata, introducing the bass singer who portrays Jesus to the text from Matthew XI, Copenhagen – and took his pupil Weckmann along with him. Weckmann was loaned out to the vv. 28.30. For the section “So werdet ihr Ruhe finden für eure Seele” (And ye shall find rest unto royal Danish court for five years, where he served under Crown Prince Christian in Nykøbing your souls), Weckmann developed a unique harmonic sequence with a soothing treatment of Falster until 1647. He returned for a short while to Dresden, but the following years visited dissonance in the description of the rest which results from giving oneself up to Christ. Hamburg and Lübeck once more, where, with Franz Tunder as his best man, he married. After yet another period in Dresden, he moved definitively to the north in 1655 when he gained the Kaspar Förster (the Younger) (1616-1673) grew up in the Hanseatic city of Danzig, and lived appointment of organist at St. James’ Church in Hamburg. Here he established himself as for most of his career in the Baltic region. He spent several periods of his life in Italy, and his a trend-setting composer and became a close friend of Johann Adam Reincken, Christoph knowledge of the Italian style made him a man in great demand in northern Europe. Johann Bernhard and Dietrich Buxtehude. Mattheson, in his musical encyclopedia Grundlage einer Ehren-Pforte (1740) devotes a quite Weckmann never went to Italy. Nevertheless, his compositional style is to a great extent large section to Förster, revealing that he was considered to be an important figure in the influenced by the new tendencies coming from North Italy. In Toccata in A minor Weckmann musical life of his age. In the years 1633-36, Förster was in Rome – probably as a bass-singer displays his knowledge of Frescobaldi’s and Froberger’s harpsichord music, which indeed he with Giacomo Carissimi – after which he went to Venice. He spent two periods as kapellmeister copied for his comprehensive collection of Italian and French keyboard music. In the charac- in Copenhagen, where his assignment under Frederik III was to reorganise The Royal Danish teristically free and imaginative form of the toccata, Weckmann explores the timbres of the Orchestra according to the Italian fashion of the time. The first of the two periods, 1652-57, harpsichord in bold chord sequences. It was the normal practice, up to the time of Bach, to covers precisely the years when in all probability Buxtehude was being educated in Copen begin with a short praeambulum before the concertante music in the church. As such we have hagen, and it would be only natural for the young Buxtehude to have eagerly absorbed every- also chosen to use Weckmann’s Toccata in A minor as a transition to his ecclesiastical concerto thing he could from the city’s greatest international capacity. Förster’s life shows us a colourful Kommet her zu mir . and much-travelled person who was not only a singer and composer but also a captain in the During the 1640s, Weckmann copied several vocal works, mainly by northern Italian compos- Venetian army. In addition Johann Mattheson mentions the war against Sweden (1657-60) as the ers such as Fontana, Grandi, Merula and, in particular, Monteverdi, who is represented by no direct reason why Förster left the Danish court for a while and returned to Venice. less than 20 works in Weckmann’s Lüneburg Collection. A whole series of contemporary Italian Förster’s works display his close acquaintance with the North Italian instrumental sonata composers are also featured in the Bokemeyer Collection and the Düben Collection. Several as well as with Carissimi’s vocal music. His Sonata á 7 is written in the Venetian style, with works from Monteverdi’s collection Selva morale e spirituale, which was published in Venice sections alternating between fanfare motifs, contrapuntal developments and changing tempi in 1641, were copied by Weckman as early as 1647 for his own collection. This shows that the and time signatures. Conversely, his motet for two violins, bass singer and continuo Jesu dulcis composers of North Germany and Scandinavia had access to the very latest Italian music, with memoria shows evident traces of Förster’s stay with Carissimi in Rome. The return of the a time-lag of only a few years. In his appointments in both Dresden and Copenhagen, Weck- opening music at the conclusion of the motet creates an arch over the work and can be seen as mann worked side by side with Italian musicians and singers and through this contact gained a precursor of the da capo form that was to become a fixed convention later on in the Baroque. 6 7 The text of the motet is by the medieval monk Bernard de Clairvaux, whose mysticism appealed thread of the bass. As the piece develops, Erben varies not only the harmonics but also allows to the emotional basis of faith that became so central to the development of the prevailing the violins to form cadences on various notes in the scale, thereby shifting in a refined way the Protestant conception of faith. Not only Förster but other contemporary northern German harmonic structure from the rising and falling bass ostinato. composers such as Weckmann, Tunder and Buxtehude also set Bernard de Clairvaux’s Latin poetry to music. In the Düben Collection there are three works by an Andreas Kirchhoff (d. 1691): a Sonata á 4, a Suite á 4 and a Sonata á 6 . The Kirchhoff family branched from central Germany to Scan- Johann Balthasar Erben (1626-1686) is the only composer in this programme who does not dinavia during the 17th century with leading musical members in both Copenhagen and Stock- have any direct link to either Buxtehude or Copenhagen. Nevertheless, he belongs to this circle holm. The question, however, is which Andreas Kirchhoff is the composer of the instrumental of composers who lived and worked in the cities around the Baltic. Like Förster, the ten-year- works in the Düben Collection. All three works have been entered by an unknown hand in 1664. younger Erben was born in Danzig. In 1652, he applied for the post of kapellmeister at the city’s For a long time it was assumed that they were the work of the Stockholm court violinist Andreas St. Mary’s Church after the death of Förster the Elder. The city wished to appoint the son of Kirchhoff, who was employed by Gustav Düben himself. But he died in 1648 and it seems unlikely the former kapellmeister, Kaspar Förster the Younger, but since he was already engaged at the that they would have been added to the collection sixteen years after his death. Furthermore, court in Copenhagen, they had to offer an unusually high salary to Förster, who was persuaded the compositional style of the works suggests that they were written in the years just before by this and apparently held both positions for a transitional period. As a consolation, Erben was 1664. The Stockholm Andreas Kirchhoff’s son of the same name has also be mentioned, but he awarded a travelling scholarship, which according to his own account first brought him to Johann was only 17 years old in 1664 and must therefore be excluded. So it seems more likely that we Jakob Froberger (1616-67) in Regensburg and from there on a grand tour to South Germany, the are dealing with the Andreas Kirchhoff who became a civic musician in Copenhagen with royal Netherlands, England, France and Italy. In 1657, while in Rome, he heard that Förster had given up confirmation in 1679. He is mentioned in the encyclopedic part of Mathias Schacht’s Musicus his post to settle in Venice. Erben returned to Danzig and this time gained the position of kapell- Danicus (1687) as “Copenhagen’s excellent musicus instrumentalis, who has composed much meister. Weckmann copied several Erben’s dance pieces in the French style for harpsichord in which even is excellent, but unprinted.” That is, unfortunately, the only thing we know about the the so-called Hintze Manuscript alongside music by, among others, Froberger. Copenhagen Andreas Kirchhoff, so we can only guess at how his works have ended up in hof Sonata sopra ut, re, mi, fa, sol, la for two violins and basso continuo from the Düben Col- kapellmeister Düben’s comprehensive collection of music by his contemporaries. lection shows the Italian style which Erben acquired during his educational journey. The six notes Kirchhoff’s Sonata á 6 has several shared features with his other sonata from the Düben Ut (Do), Re, Mi, Fa, Sol, La comprise the recurring hexachord which forms the basis of the piece. Collection. But where the Sonata á 4 only has a single virtuoso violin part, accompanied by two The Ut, Re, Mi, Fa, Sol, La hexachord can be traced back to the Middle Ages and the Latin hymn violas and a continuo, Kirchhoff has enlarged the ensemble to three equally important violin to John the Baptist, the initial letters of each line of verse forming the scale: Ut queant laxis/ parts in the Sonata á 6. The three violin parts interact in certain sections, gesticulating with each Resonare fibris/Mira gestorum/Famuli tuorum/Solve polluti/Labii reatum/Sancte Iohannes! other, but in other sections, they enter into a close-knit harmonic texture with the ensemble as (Release the sinful link of the infected lip, let thy servant with a clear and pure throat praise thy a whole. The division into no less than nine sections each with its own character, results in the great wonders in song, Saint John!). The hexachord was used by several prominent composers, free and varied expression that is so characteristic of the stylus phantasticus of this period. The such as Palestrina, Byrd, Sweelinck, Frescobaldi and Erben’s own teacher Johann Jakob Frober formal alternation between concertante solo sections and homophonous tutti sections can also ger. In Erben’s Sonata the equilibristic runs of the two violins are interwoven with the shuttle be regarded as a precursor of the later Concerto Grosso. 8 9 Dietrich Buxtehude (1637-1707) was probably born in Helsingborg, where his father, Hans later refunded by the wealthy merchants of the city. The works that comprised Buxtehude’s Jensen Buxtehude, is thought to have been organist in the years in question. In 1642, Hans Abendmusiken have unfortunately been lost, but programmes, textbooks and descriptions bear Jensen Buxtehude took over the position of organist at St. Olaf’s Church in Elsinore, moving with witness to large-scale semi-theatrical oratorios, in which the young J.S. Bach also participated his family to the other side of the Sound. Here Buxtehude grew up in a cosmopolitan cultural during his three-month stay with Buxtehude in 1705. and commercial environment with a strong German influence. We do not know much about One can vividly imagine the musical spectacle of the Abendmusiken, as it finds expression here Buxtehude’s early years, but without a doubt some of his apprenticeship must have been spent in the bass cantata Ich bin die Auferstehung und das Leben . Here Jesus is portrayed in the in Copenhagen, which lies only 40 kilometres south of Elsinore. Kaspar Förster, who was Royal form of the bass singer in the St. John’s Gospel’s narrative of The Raising of Lazarus (Chap. XI, vv. Court Kapellmeister in Copenhagen during those years, had in all probability a considerable 25-26), which is the reading for the 16th Sunday after Trinity. Bearing in mind the Resurrection, this influence on Buxtehude’s musical development. In 1657-58, Buxtehude took over his father’s church concert may very well have been used to celebrate Christ’s victory over death on Easter former position in St. Mary’s Church in Helsingborg. As mentioned in the introductory section, Sunday, as Buxtehude’s use of the military instruments zink and trumpet could imply. Christ’s these were years during the war between Denmark and Sweden – a tumultuous period in the words about the believer’s life after death: “der wird leben, ob er gleich stürbe” (though he were history of Helsingborg and Skåne. The Swedish assumption of power in Skåne was probably the dead, yet shall he live) is delivered rhetorically as recitative, after which the contrast between direct reason why Buxtehude chose to return to Elsinore in 1660. Here he was given the position death and life is presented with imaginative dramatics in the following instrumental section. Ich bin of organist at St. Mary’s Church, the church in which he had sung as a boy, and he moved in with die Auferstehung und das Leben, like the great majority of Buxtehude’s vocal music, has been pre- his parents in his childhood home in Sct. Anna Gade. served in the Düben Collection, into which it was copied in 1683. It was via Lübeck merchants and At the age of 31, Buxtehude had behind him an education at the grammar school in Elsinore, Baltic traders that the Swedish court kapellmeister Gustav Düben was supplied with manuscripts had avidly absorbed all he could from the international musical life of Copenhagen and, for of music by, among others, Buxtehude to the court of Stockholm. twelve years, had experience from his positions as organist in Helsingborg and Elsinore. It is probably via the German traders in Elsinore that the rumour of the virtuoso young Danish Johann Valentin Meder (1649-1719) grew up in a musical family in Thüringen in Central Ger- organist had reached Lübeck. On 16 March 1668, St. Mary’s Church in Elsinore announced: many. He studied theology in Leipzig and Jena in the 1660s, but was soon hired as a bass singer “that we after the humblest application and request have graciously appointed and ordained at the courts of Gotha, Bremen and Hamburg. Meder’s autograph book reveals that he passed Johan Radeck to be organist in The German Church in our royal borough of Elsinore, to replace through Copenhagen in 1674; in it, the Copenhagen organists Martin Radeck and Michael the former organist, who has been called to Lübeck.” Zachaeus have both written their greetings and added a fugue and a canon on 4 and 13 June re- Buxtehude quickly established himself in Lübeck as one of the trend-setting composers of spectively. It was possibly Radeck who encouraged Meder to visit Buxtehude in Lübeck, where North Germany, and in particular, his concert series Abendmusiken in November and Decem- Meder stayed during the summer. Buxtehude inserted a canon (BuxWV 123) in Meder’s album ber attracted considerable attention at the time. Apart from the cantorei of St. Mary’s Church, on 25 June, with an appreciative greeting in Latin, and on the day of the Visitation of the Blessed Buxtehude included all 11 of the civic musicians, thereby creating a large ensemble at the highest Virgin on 2 July, Meder – according to the account books of St. Mary’s Church – was paid for level. At the evening concert festival, Buxtehude made use of all his qualities as both a composer singing from the organ. It is a fascinating thought that Meder could have sung Buxtehude’s Ich and an entrepreneur. It was Buxtehude himself who wrote the music, brought together and led bin die Auferstehung und das Leben if he had stayed in Lübeck right up until 18 September, which the musicians and singers, and laid out the money for financing the performances, which were was the day of the 16th Sunday after Trinity that year. From 1674 to 1680, Meder was a cantor at 10 11 the Swedish Gustav Adolf Gymnasium in Tallinn, followed by a period in Riga. In 1686, Meder took on Bruhns, Mattheson describes in his Grundlage einer Ehren-Pforte (1740) how he is said to over the position of kapellmeister at St. Mary’s Church in Danzig, after the deceased Johann amused others by playing both the violin and the organ pedals simultaneously: Balthasar Erben. In 1698, the city council in Danzig forbade a performance of Meder’s opera Die “In piano and composition, he especially tried to imitate the famous Dieterich Buxtehude, the wiederverehligte Coelia, and when he had it performed in the nearby town of Schottland, it led to Lübeck organist at St. Mary’s Church. He brought this to such perfection that he (Buxtehude) at his dismissal. After a short period as cantor in Königsberg (Kaliningrad), he was made cantor in his request recommended him to Copenhagen, where he stayed for several years, and after that, Riga in 1700, where he stayed until his death in 1719. Johann Mattheson asserts in his Grundlage he was appointed organist in the church in Husum. Because he was so proficient on the violin einer Ehren-Pforte (1740) that Meder was in line to take over the position of kapellmeister at and knew how to play double stoppings so that it sounded as if there were three or four, he had the Royal Swedish court, but that this was prevented by the conflicts that arose with The Great the habit from time to time to sit at the organ and for a change and all on his own, allow the Northern War (1700-1721). violin in the pleasantest way to be heard along with a suitable pedal accompaniment.” Apart from several operas and a St. Matthew’s Passion, Meder’s son notes in his list of Mein Herz ist bereit could very well be exactly the work that Mattheson is describing. Meder’s works no less than 37 pieces of vocal church music. Of these, only 13 have been pre- With the small fugettas and recurring double stoppings, a pedal bass could certainly be suf- served via the Düben Collection in Uppsala. Gott hilf mir was probably written for a Vesper, ficient to create a meaningful harmonic structure. The virtuoso violin part plays, in general, a where concertante arrangements of psalms were a common part of divine service. The eccle- bearing role in the work. The images from The Book of Psalms, Psalm 57, vv. 8.12, of harp and siastical concerto Gott hilf mir is based on Psalm 69, vv. 1-4 and vv. 13-18. Its image of a sinking cither and of the mercy of God that reaches the heavens are recreated in the extended prelude human desperately calling out for help has inspired Meder to produce one of his finest vocal and interludes on the violin. That Bruhns merely “imitated” Buxtehude, as Mattheson writes, is a works. Already in the introductory Sinfonia Meder sets the mood with a sequence of dissonant belittlement of Bruhns’ talent. Today, Bruhns is especially known for his organ works, which were suspensions in the four violins, which he indicates are to be played con affetto (with feeling and also greatly appreciated by the Bach family, but the ten or so ecclesiastical concerts that have tenderness). In his portrait of the anguished soul, Meder pushes the singer out into all the far survived until the present day testify to a unique talent for composition. Bruhns stayed in Copen- corners of the bass voice, and each piece of text is reflected in new, dramaticising musical ideas. hagen for three years. Here he earned a living as a violinist before returning to his home town of The unusual ensemble, made up of four violins who in several sections play in unison, it one of Husum in Schleswig, where he died at the young age of 32. We can therefore only guess at how the earliest examples of unison violin playing and as such a precursor of the tutti orchestra that this enormous talent could have developed had he lived longer. was to become common in music by the next generation of composers. Gott hilf mir also offers striking similarities with both Buxtehude’s cantata of the same name (BWV 34) and Johann Chorton Pitch – and the Italian Baroque Organ in Trinitatis Church Christoph Bach’s Lamentation Wie bist du denn, o Gott with its use of tremolo in the strings and Concert pitch has changed recurrently during the history of music, with many local variants . In semiquaver sextolets in the bass singer. North Germany and Scandinavia, two main tunings were used in the Baroque period: Chorton pitch A = approx. 465 Hz (also called cornet pitch or organ pitch) and concert pitch A = 415 Hz. Nicolaus Bruhns (1665-1697), along with J.S. Bach, is the most important of Buxtehude’s many This meant that concert pitch was precisely one tone below chorton pitch. Chorton pitch pupils who later had an important career. Bruhns came to Lübeck at the age of 16 to study was the pitch that organs were traditionally tuned in. As the name implies, it was linked to composition and organ-playing under Buxtehude, and violin and gamba under his uncle, the city ecclesiastical vocal music, just as cornets, trumpets and trombones were designed for the high musician Peter Bruhns, who for many years was Buxtehude’s permanent violinist. In his section tuning. Concert pitch, on the other hand, was linked to chamber music, i.e. the concertante 12 13 music played by string ensembles at court. With the entrance of concertante music into the churches, a way had to be found in which the two different tunings, chorton pitch and concert pitch, could become harmonious bedfellows. In the period after Buxtehude, it became normal to transpose the organ part one tone down, so it fitted the concert pitch of the other instruments. But in the period we are dealing with here, the practice was the opposite, i.e. for the strings to adapt themselves to the instruments of the church, and tune one tone higher, from concert pitch to chorton pitch. So there is no doubt whatsoever that this repertoire was conceived to be performed in chorton pitch A = approx. 465 Hz. For this purpose, it was natural to make use of the original Baroque organ from Lombardy which was acquired in 2013 by Trinitatis Church in Copenhagen and placed in the eastern organ loft of the church. The Baroque organ was bought as an antique in Italy in 1970 by the organ-builder Gerald Woehl from Marburg, and since stood in storage in his workshop. It is in its original state and a very fine representative of an arche- type of Italian organs that were retained from the end of the 16th century until the Romantic period in the mid-19th century. So even though the organ was built in 1770, it is perfect for the 17th-century repertoire.

Performers The bass-baritone Jakob Bloch Jespersen received his basic musical education at Sankt Annæ Gymnasium as a member of the Copenhagen Royal Chapel Choir. He took his Advanced Postgraduate Diploma at the Royal Danish Academy of Music in 2004 and completed his further As a concert singer, Jakob Bloch Jespersen is in demand throughout Europe, with a reper studies at the Opera Academy in 2007. In 2013, Jakob Bloch Jespersen was awarded the Music toire ranging from the 17th to the 21st century. He has especially concentrated on German Reviewers’ Artist Prize, and in 2014 the Aksel Schiøtz Prize. Baroque music in collaboration with such ensembles as Lautten Compagney Berlin, Norwe- Jakob Bloch Jespersen made his stage debut in the Holland House performance Stalingrad gian Barokksolistene and Barokkanerne, Concerto Copenhagen, Arte dei Suonatori, Scottish in the Turbine Halls, and in 2006 he made his debut at the Royal Danish Theatre as Angelotti in Chamber Orchestra, Nieuwe Philharmonie Utrecht, Australian Brandenburg Orchestra, and in Puccini’s Tosca, where he has subsequently also taken part in Kasper Holten’s DVD production the modern repertoire with ensembles such as Theatre of Voices, Kammerensemble Neue Musik of Carl Nielsen’s Maskarade and Henry Purcell’s The Fairy Queen with Concerto Copenhagen, Berlin, London Sinfonietta and Athelas Sinfonietta Copenhagen. under the leadership of Lars Ulrik Mortensen. Also worth mentioning is his role as Leporello in Jakob Bloch Jespersen has featured on numerous CD releases. For Dacapo Records as Mozart’s Don Giovanni at the Norwegian National Opera, as well as a large number of roles in Jesus in Heinrich Schütz’s four passions, a series with Buxtehude’s vocal music with Theatre of modern music theatre and opera. Voices, and his productions of Thomas Kingo’s Åndelige Siungekoor (Spiritual Song-Choir) and 14 15 H.A. Brorson’s Troens rare Klenodie (The Rare Jewel of Faith). One might also mention Handel’s Brockes Passion with Concerto Copenhagen for CPO and recordings of such composers as Luciano Berio, David Lang and Kurt Weill for Harmonia Mundi and Glossa.

Lars Ulrik Mortensen studied at the Royal Academy of Music in Copenhagen (harpsichord with Karen Englund, figured bass with Jesper Bøje Christensen) and with Trevor Pinnock in London. He works extensively as a soloist and chamber musician in Europe, the United States, Mexico, South America, China, Japan and Australia. Between 1996 and 1999 Lars Ulrik Mortensen was professor for harpsichord and performance practice at the Hochschule für Musik in Munich, and he now teaches regularly at several impor- Danish National Baroque Orchestra Concerto Copenhagen played its first concerts in 1991 tant Early Music institutions throughout the world, among them the Mozarteum Salzburg, the and has since developed into Scandinavia’s leading baroque orchestra, joining the league of the Sibelius Academy in Helsinki and the Juilliard School of Music in New York. For the last 25 years world’s most exciting and innovative baroque orchestras. Original interpretations and a strong Lars Ulrik Mortensen has also been active as a conductor, and in 2003 he made the decision to ability to communicate with the audience are among Concerto Copenhagen’s hallmarks – work exclusively with period instrument ensembles. Since 1999 he has been the artistic director making early music vital, relevant and contemporary. of the Danish National Baroque Orchestra Concerto Copenhagen, and in 2004 he succeeded Since 1999, the collaboration between Concerto Copenhagen and Lars Ulrik Mortensen Roy Goodman as the musical director of the European Union Baroque Orchestra. Additionally, has proved to be an exciting artistic and musical journey, appreciated and praised by audiences Mortensen is increasingly working with several distinguished foreign ensembles like Holland and critics worldwide, combining a repertoire of well-known European music with less familiar Baroque Society, Irish Baroque Orchestra, Nederlandse Bachvereiniging and Collegium 1704. As works of Scandinavian origin, including contemporary music. Now approaching its 30th anniver- a harpsichordist, chamber musician and conductor Lars Ulrik Mortensen has recorded exten- sary, the orchestra continues to stay relevant, further exploring the possibilities of early music sively for numerous labels including DGG-Archiv, ECM, EMI and CPO, and in 2007 he received and energizing audiences worldwide with its sonic storytelling. Denmark’s most prestigious music award, the Léonie Sonning Music Prize. 16 17 Ich bin die Auferstehung und das Leben den hæmmede de øvrige Østersølandes tilgang til verdenshavene. Tolden var ikke mindst en Buxtehude og hans københavnske forbindelser af Jakob Bloch Jespersen torn i øjet på den frembrusende svenske konge Karl X Gustav. Med de svenske erobringer i Polen og Nordtyskland ændredes magtforholdet i Østersøen på få år radikalt. I 1657 erklærede Danmark krig mod Sverige med et katastrofalt modangreb til følge. Det førte til tre års krig, som Med vores valg af værker til denne udgivelse har vi forsøgt at give et blik ind i den rigdom, efter svensk besættelse af Kronborg Slot i Helsingør og belejring af København kulminerede musikken fra Østersøregionen i anden halvdel af 1600-tallet repræsenterer. Den såkaldte früh- i et stort søslag i Øresund mellem den svenske flåde og den hollandske, der i mellemtiden var barok står generelt i skyggen af både barokkens nybrud i Norditalien omkring 1600 og stilartens kommet Danmark til undsætning. I 1660 sluttede krigen endelig med det resultat, at Danmark højdepunkt godt hundrede år senere med de store tyske mestre Telemann, Händel og Bach. måtte afstå områderne Skåne, Halland og Blekinge til Sverige. Men magtforholdet i Østersøen Som vores udvalg af værker bekræfter, er 1600-tallets musik da også en svært definerbar stør- var kun midlertidigt konsolideret. Internationale alliancer imod Sverige førte i 1700 til de årelange relse. Det er en periode præget af frygtløs innovation og boblende kreativitet og kendetegnet militære konflikter kendt som Den store nordiske krig, som varede helt frem til 1721. ved en formmæssig eksperimenteren, som først med den følgende generation af komponister udvikles til faste konventioner og en højere grad af konformitet. Det er i frühbarokken, at de Komponisterne og deres musik elementer, vi i dag betragter som definerende for barokmusikken, udvikles og konsolideres. Som De ovenstående historiske begivenheder og Østersøens handelsbyer danner bagtæppe for de sådan er denne periodes musik både konkret og i overført betydning selve barokkens midtpunkt. nærværende komponisters livsforløb. Deres professionelle karrierer og personlige forbindelser synes lige så tætte som datidens handelsnetværk. Weckmann, Förster, Erben og Kirchhoff hører Østersøen til generationen umiddelbart før Buxtehude. Deres musik og livsforløb er på hver sin måde karak Trediveårskrigen (1618-1648) henlagde sammen med pestepidemier og hungersnød det centrale teristiske for Østersø-komponisterne i denne periode. Især er den stærke indflydelse fra den og sydlige Tyskland i en traumatisk dvaletilstand, som holdt ved længe efter krigens ophør. Alt italienske musik et fællestræk. Mens både Förster og Erben i perioder studerede og arbejdede imens oplevede Østersøens havnebyer økonomisk fremgang, hvorfor mange musikere fra de i Italien, kopierede Weckmann i Hamburg flittigt musik fra de sydligere himmelstrøg. I mødet små fyrstelige hoffer i Midttyskland i løbet af 1600-tallet søgte nordpå mod Østersøen og Skan- mellem den endnu unge protestantiske kirke og den musikalske inspiration fra Italien voksede dinavien. Østersøregionen var endnu præget af de tidligere så dominerende Hanse-forbunds en ny kirkemusik frem med sit eget særpræg. Den italienske ‘blodtransfusion’ blev helt essentiel handelsnetværk. De tætte handelsforbindelser strakte sig mellem Østersøens store handelsbyer: for udviklingen af Østersø-komponisternes musik. Buxtehude står som kulminationen på den ud- Stockholm i nord, Tallinn og Riga i øst, Danzig og Lübeck i det østlige og vestlige Nordtyskland, vikling, og hans stærke indflydelse på den følgende generations komponister som Meder, Bruhns og i Danmark til København og Helsingør. Gennem årtier udnyttede Danmark det smalle stræde og J.S. Bach placerer ham som en helt central figur i den protestantiske kirkemusikhistorie. mellem Helsingør og Helsingborg til at inddrive told på skibsfragt ind og ud af Østersøen, og Helsingør blev et naturligt sted at proviantere og gøre forretninger på vej ud i verden. Øresunds Matthias Weckmann (1616-1674) er et eksempel på den hjerneflugt, som pågik fra syd mod tolden var en lukrativ indtægt for den danske stat. Den gav Christian IV økonomisk råderum til nord under og efter Trediveårskrigen. Weckmann blev født i det sydlige Tyskland og blev sine prestigebyggerier i København og til at trække nogle af tidens største internationale stjerner fra 1627 elev af Heinrich Schütz i Dresden. Med krigens udsultning af kulturbudgetterne i som Heinrich Schütz, Johann Schop og John Dowland til byen. Med den gryende Atlanterhavs- Sydtyskland søgte Heinrich Schütz i 1642 til Christian IVs hof i København – og tog sin elev handel udviklede Øresundstolden sig med årene til at blive et brandfarligt politisk problem, da Weckmann med sig. Weckmann blev i fem år udlånt til det kongelige danske hof, hvor han tjente 18 19 under kronprins Christian i Nykøbing Falster frem til 1647. Han vendte kort tilbage til Dresden, Kaspar Förster d.y. (1616-1673) voksede op i Hansestaden Danzig og størstedelen af hans men besøgte året efter i 1648 atter Hamborg og Lübeck, hvor han, med Franz Tunder som sin karriere udfoldede sig i Østersøregionen. Förster tilbragte flere perioder af sit liv i Italien, og forlover, blev gift. Efter endnu en periode i Dresden drog han i 1655 endegyldigt nordpå, da hans kendskab til den italienske stil gjorde ham til en eftertragtet herre i Nordeuropa. Johann han vandt stillingen som organist ved Jacobi Kirke i Hamborg. Her etablerede han sig som en Mattheson afsætter i sit musikleksikon Grundlage einer Ehren-Pforte (1740) et længere afsnit til toneangivende komponist og blev en nær ven af Johann Adam Reincken, Christoph Bernhard og Förster, hvoraf det fremgår, at han blev betragtet som en væsentlig skikkelse i sin tids musikliv. Dietrich Buxtehude. I årene 1633-36 var Förster i Rom – sandsynligvis som bassanger hos Giacomo Carissimi – og Weckmann kom aldrig til Italien. Ikke desto mindre er hans kompositoriske stil i høj grad præ- siden kom han til Venedig. Han tilbragte to perioder som kapelmester i København, hvor han get af de nye strømninger fra Norditalien. I Toccata i a-mol viser Weckmann sit kendskab til under Frederik III havde til opgave at reorganisere Det Kgl. Kapel efter tidens italienske mode. Frescobaldis og Frobergers musik for cembalo, som han da kopierede til sin omfattende samling Den første af de to perioder, 1652-57, er netop de år, hvor Buxtehude med al sandsynlighed var af italiensk og fransk tastemusik. I toccataens karakteristiske frit fabulerende form udforsker under uddannelse i København, og det er oplagt, at den unge Buxtehude har suget til sig fra Weckmann cembaloets klangfarver i dristige akkordsekvenser. Det var almindelig praksis helt byens største internationale kapacitet. Försters levnedsforløb giver et billede af en farverig og op til Bachs tid at intonere med et kort praeambulum forud for den koncertante musik i kirken. vidt berejst person, der var både sanger, komponist og kaptajn i den venetianske hær. Johann Således har vi også valgt at bruge Weckmanns Toccata i a-mol som en overledning til hans Mattheson angiver desuden krigen mod Sverige (1657-1660) som den direkte årsag til, at Förster gejstlige koncert Kommet her zu mir . i en periode forlod det danske hof og atter søgte til Venedig. I løbet af 1640’erne kopierede Weckmann en række vokalværker af hovedsagelig norditalien- I Försters værker skinner hans berøringsflade med den norditalienske instrumentalsonate ske komponister som Fontana, Grandi, Merula og ikke mindst Monteverdi, som er repræsenteret så vel som med Carissimis vokalmusik igennem. Hans Sonata á 7 er skrevet i venetiansk med ikke færre end 20 værker i Weckmanns Lüneburg-samling. Også i Bokemeyer-samlingen og stil med afsnit vekslende mellem fanfaremotiver, kontrapunktiske udviklinger og skiftende Düben-samlingen er en lang række af tidens italienske komponister repræsenteret. Flere værker tempi og taktarter. Omvendt bærer motetten for to violiner, bassanger og continuo Jesu dulcis fra Monteverdis samling Selva morale e spirituale, som blev udgivet i Venedig i 1641, kopierede memoria tydeligt præg af Försters ophold hos Carissimi i Rom. Åbningsmusikkens tilbage- Weckmann allerede i 1647 til sin samling. Det vidner om, at komponisterne i Nordtyskland og venden i slutningen af motetten skaber en bue over værket og kan betragtes som en forløber Skandinavien havde adgang til den nyeste italienske musik med blot få års forsinkelse. Ved for dacapo-formen, der skulle blive en fast konvention senere i barokken. Motettens tekst er Weckmanns ansættelser i både Dresden og København arbejdede han side om side med itali- af middelaldermunken Bernhard af Clairvaux, hvis mysticisme talte til det følelsesmæssige enske musikere og sangere og har derigennem haft direkte kendskab til den virtuose italienske fundament i troen, der blev så centralt i udviklingen af datidens protestantiske trosopfattelse. solosang. Det høres i udpræget grad i Kommet her zu mir, som i monteverdisk stile concitato med Ikke blot Förster, men også andre af tidens nordtyske komponister som Weckmann, Tunder og ekvilibristiske løb og spring fremviser basstemmens fulde omfang og sangerens tekniske formåen. Buxtehude satte Bernhard af Clairvauxs latinske digtning i musik. Det 5-stemmige strygerensemble indleder med en længere Sonata, før bassangeren gestalter Jesus til teksten fra Matthæus 11, 28-30. Til afsnittet ”So werdet ihr Ruhe finden für eure Seele” Johann Balthasar Erben (1626-1686) er den eneste af komponisterne i dette program, som (Så skal I finde hvile for jeres sjæle) udfolder Weckmann et enestående harmonisk forløb med en ikke har direkte forbindelse til hverken Buxtehude eller København. Ikke desto mindre hører han vederkvægende dissonansbehandling i beskrivelsen af den ro, som følger hengivelsen til Jesus. hjemme i denne kreds af komponister, som levede og arbejdede i byerne omkring Østersøen. Ligesom Förster blev den ti år yngre Erben født i Danzig. I 1652 søgte han stillingen som 20 21 kapelmester ved byens Mariakirke efter Kaspar Förster d. Æ.’s død. Byen ønskede at ansætte var ansat under Gustav Düben selv. Men han døde i 1648 og det virker ikke sandsynligt, at de den forrige kapelmesters søn Kaspar Förster d. Y. i stillingen, men da han allerede var engageret skulle være indført i samlingen seksten år efter hans død. Desuden peger værkernes komposi- ved hoffet i København, måtte de tilbyde en usædvanligt høj gage til Förster, som dermed lod toriske stil i retning af, at de er skrevet i årene umiddelbart før 1664. Den stockholmske Andreas sig overbevise og tilsyneladende i en overgang bestred begge stillinger. Som plaster på såret fik Kirchhoffs søn af samme navn har også været på tale, men han var blot 17 år gammel i 1664 Erben tildelt et rejsestipendiat, hvilket ifølge hans eget udsagn bragte ham først til Johann Jakob og må derfor udelukkes. Der er derfor snarere tale om den Andreas Kirchhoff, som i 1675 blev Froberger (1616-67) i Regensburg og derfra videre på en grand tour til Sydtyskland, Holland, stadsmusikant i København med kongelig konfirmation i 1679. Han omtales i leksikondelen af England, Frankrig og Italien. I 1657 fik han i Rom nys om, at Förster havde forladt sin post for at Mathias Schachts Musicus Danicus (1687) som ”Københavns fortræffelige musicus instrumen- bosætte sig i Venedig. Erben vendte tilbage til Danzig og vandt denne gang stilingen som kapel- talis, der har komponeret meget, som oven i købet er udmærket, men utrykt.” Det er desværre mester. Weckmann kopierede flere af Erbens dansesatser i fransk stil for cembalo i det såkaldte det eneste, vi ved om den københavnske Andreas Kirchhoff, og hvordan hans værker er havnet i Hintze-manuskript ved siden af musik af blandt andre Froberger. hofkapelmester Dübens omfattende samling af sin samtids musik, kan vi kun gisne om. Sonata sopra ut, re, mi, fa, sol, la for to violiner og basso continuo fra Düben-samlingen Kirchhoffs Sonata á 6 har flere fællestræk med hans anden sonate fra Düben-samlingen. viser den italienske stil, som Erben tilegnede sig på sin dannelsesrejse. De seks toner Ut, Re, Mi, Men hvor Sonata á 4 kun har en enkelt virtuos violinstemme ledsaget af to violaer og continuo, Fa, Sol, La udgør tilsammen det gennemgående hexachord, som danner fundament for satsen. har Kirchhoff i Sonata á 6 udvidet ensemblet til tre sidestillede solovioliner. De tre violinstemmer Hexachordet Ut, Re, Mi, Fa, Sol, La kan føres tilbage til middelalderen og den latinske hymne til interagerer i nogle afsnit gestikulerende med hinanden, for i andre at indgå i en tæt harmonisk Johannes Døber, hvis begyndelsesbogstaver til hver verselinje udgør skalaen: Ut queant laxis/ tekstur med ensemblet som helhed. Inddelingen i hele ni afsnit med hver sin karakter resulterer i Resonare fibris/Mira gestorum/Famuli tuorum/Solve polluti/Labii reatum/Sancte Iohannes! det frie og varierede udtryk, som er så kendetegnende for denne periodes Stylus Phantatsicus. (Løs den besmittede læbes syndelænke, lad dine tjenere med klar og ren strube prise i sang Den formmæssige veksling mellem concertante soli-afsnit og homofone tutti-afsnit kan i øvrigt dine store underværker, Sankte Johannes!). Hexachordet blev benyttet af en række fremtræ- betragtes som en forløber for den senere Concerto Grosso. dende komponister som Palestrina, Byrd, Sweelink, Frescobaldi og Erbens egen læremester Johann Jakob Froberger. I Erbens Sonata væves de to violiners ekvilibristiske løb sammen Dietrich Buxtehude (1637-1707) blev sandsynligvis født i Helsingborg, hvor hans far Hans omkring bassens undertråd. Som satsen udvikler sig, varierer Erben ikke blot harmonikken, men Jensen Buxtehude menes at have været organist i de pågældende år. I 1642 overtog Hans lader også violinerne kadencere på forskellige trin i skalaen, og forskyder dermed på raffineret Jensen Buxtehude stillingen som organist ved Skt. Olai Kirke i Helsingør og flyttede med sin vis den harmoniske struktur fra det op- og nedadgående bas-ostinat. familie over til den anden side af Øresund. Her voksede Buxtehude op i et kosmopolitisk kultur- og handelsmiljø med stærk tysk indflydelse. Vi ved ikke meget om Buxtehudes unge år, men Der findes i Düben-samlingen tre værker af en Andreas Kirchhoff (d. 1691): en Sonata á 4, en utvivlsom har en del af hans læretid været tilbragt i København, som ligger blot 40 km syd for Suite á 4 samt en Sonata á 6 . Den musikalske Kirchhoff-familie forgrenede sig i løbet af Helsingør. Kaspar Förster, som var Kgl. Hofkapelmester i København i de år, har med overve- 1600-tallet fra Midttyskland til Skandinavien med toneangivende medlemmer i både København jende sandsynlighed haft betydelig indflydelse på Buxtehudes musikalske udvikling. I 1657-58 og Stockholm. Spørgsmålet er imidlertid, hvilken Andreas Kirchhoff, der står bag instrumental- overtog Buxtehude sin fars tidligere stilling ved Mariakirken i Helsingborg. Som beskrevet i værkerne i Düben-samlingen. Alle tre værker er indført i samlingen af ukendt hånd i 1664. Det det indledende afsnit var årene under svenskekrigene, som Buxtehude tilbragte i Helsingborg, har længe været formodet, at der var tale den stockholmske hofviolinist Andreas Kirchhoff, som en tumultarisk periode i Helsingborgs og Skånes historie. Det er sandsynligt, at den svenske 22 23 magtovertagelse i Skåne var direkte årsag til, at Buxtehude i 1660 valgte at søge tilbage til Hel- ligesom størstedelen af Buxtehudes vokalmusik overleveret i Düben-samlingen, hvortil den blev singør. Her fik han stillingen som organist ved Mariakirken, som han havde sunget i som dreng, kopieret 1683. Det var gennem Lübecks købmænd og Østersøens handlende, at den svenske og flyttede ind hos sine forældre i barndomshjemmet i Sct. Anna Gade. hofkapelmester Gustav Düben fik leveret manuskripter af blandt andet Buxtehudes musik til Som 31-årig havde Buxtehude en uddannelse bag sig fra latinskolen i Helsingør, havde suget hoffet i Stockholm. til sig fra det internationale musikliv i København og havde igennem 12 år gjort sig erfaringer med sine organistembeder i Helsingborg og Helsingør. Det har sikkert været gennem Helsingørs Johann Valentin Meder (1649-1719) voksede op i en musikfamilie i Thüringen i det centrale tyske handelsfolk, at rygtet om den virtuose unge danske organist har nået Lübeck. D. 16. marts Tyskland. Han studerede teologi i Leipzig og Jena i 1660’erne, men blev snart hyret som bas- 1668 bekendtgjorde Mariakirken i Helsingør, ”at vi efter underdanigste ansøgning og begæring sanger ved hofkapellerne i Gotha, Bremen og Hamburg. Meders stambog viser, at han var på nådigst har beskikket og forordnet Johan Radeck til at være organist til Den tyske kirke i vor gennemrejse i København i 1674, hvor københavnerorganisterne Martin Radeck og Michael købstad Helsingør i forrige, til Lübeck kaldede, organists sted.” Zachaeus begge har skrevet deres hilsener med henholdsvis en fuga og en kanon d. 4. og I Lübeck etablerede Buxtehude sig hurtigt som en af Nordtysklands toneangivende d. 13. juni. Det har muligvis været Radeck, som opfordrede Meder til at besøge Buxtehude i komponister og særligt hans koncertserie Abendmusiken i november og december tiltrak sig Lübeck, hvor Meder blev hen over sommeren. Buxtehude indførte en kanon (BuxWV 123) i stor opmærksomhed i samtiden. Udover Mariakirkens kantori inddrog Buxtehude her også Meders stambog d. 25. juni med en anderkendende hilsen på latin, og på Maria Besøgelsesdag Lübecks i alt elleve stadsmusikanter og skabte dermed et stort ensemble på højeste niveau. d. 2. juli blev Meder ifølge Mariakirkens regnskabsbøger betalt for at synge fra orglet. Det er en Ved Abendmusik-festivalen udnyttede Buxtehude alle sine egenskaber som både komponist besnærende tanke, at Meder kan have sunget Buxtehudes Ich bin die Auferstehung und das og entreprenør. Det var Buxtehude selv, som skrev musikken, samlede og ledte musikkere og Leben, hvis han er blevet i Lübeck helt frem til 18. september, hvor 16. søndag efter Trinitats sangere, og han lagde personligt penge ud for udgifterne til opførelserne, som så senere blev faldt det år. Fra 1674 til 1680 fungerede Meder som kantor ved det svenske Gustav Adolf godtgjort af byens velstående handelsfolk. De værker, som udgjorde Buxtehudes Abendmusiken, Gymnasium i Tallinn, efterfulgt af en periode i Riga. I 1686 overtog Meder kapelmesterstillingen er desværre gået tabt, men programmer, teksthæfter og beskrivelser vidner om stort anlagte ved Mariakirken i Danzig efter den nu afdøde Johann Balthasar Erben. I 1698 forbød byrådet i semi-teatralske oratorier, som bl.a. den unge J.S. Bach medvirkede i under sit tre næsten 3 Danzig en opførelse af Meders opera Die wiederverehligte Coelia, og da han i stedet lod den måneder lange ophold hos Buxtehude i 1705. opføre den nærliggende by Schottland, førte det det Meders afskedigelse. Efter en kort periode Man kan levende forestille sig Abendmusikens musikalske spektakel, som det også kommer til som kantor i Königsberg (Kaliningrad) blev han i 1700 kantor i Riga, hvor han blev frem til sin død udtryk i baskantaten Ich bin die Auferstehung und das Leben . Her portrætteres Jesus i skik- i 1719. Johann Mattheson hævder i sin Grundlage einer Ehren-Pforte (1740), at Meder stod til at kelse af bassangeren i Johannesevangeliets fortælling om Opvækkelsen af Lazarus (11, 25‑26), skulle overtage kapelmesterstillingen ved det Kgl. svenske hof, men at dette blev forhindret af som er læsning til 16. søndag efter Trinitatis. Med opstandelsen for øje kan den gejstlige koncert konflikterne, som fulgte med Den store nordiske krig (1700-1721). dog meget vel være blevet benyttet til fejringen af Jesus’ sejr over døden Påskemorgen, hvilket Foruden flere operaer og en Matthæuspassion noterer Meders søn i sin opgørelse over Buxtehudes brug af militærets instrumenter zinker og trompeter kunne antyde. Jesu ord om Meders værker hele 37 stykker kirkelige vokalmusik. Af disse er blot 13 overlevet gennem den troendes liv efter døden ”der wird leben, ob er gleich stürbe” (han skal leve, om han end Düben-samlingen i Uppsala. Gott hilf mir er sandsynligvis skrevet til en Vesper, hvor koncer dør) leveres retorisk som recitativ, hvorefter kontrasten mellem døden og livet med fantasifuld tante udsættelser af Salmernes bog var en almindelig del af gudstjenesten. Den gejstlige kon- dramatik fremstilles i det følgende instrumentalafsnit. Ich bin die Auferstehung und das Leben er cert Gott hilf mir har Salme 69, 1-4 og 13-18 som forlæg. Dens billede af et synkende menneske, 24 25 som desperat råber om hjælp, har inspireret Meder til et af hans stærkeste vokalværker. Alle i dag især kendt for sine værker for orgel, som også var højt skattet af Bach-familien, men også rede i den indledende Sinfonia sætter Meder stemningen an med en sekvens af dissonerende den halve snes gejstlige koncerter, som er overlevet til i dag, vidner om et enestående kompo- forudhold i de fire violiner, som han markerer skal spilles med affetto (affekt). I sit portræt af den sitorisk talent. Bruhns blev i København i tre år. Her ernærede han sig som violinist, inden han plagede sjæl driver Meder sangeren ud i alle stemmens afkroge, og hvert tekstled afspejles i nye vendte tilbage til sin hjemby Husum i Slesvig, hvor han døde blot 32 år gammel. Vi kan derfor kun dramatiserende musikalske idéer. Den usædvanlige besætning for fire violiner, som i flere afsnit forestille os, hvordan dette enorme talent kunne have udviklet sig, hvis han havde levet længere. spiller unisont, er et af de tidligste eksempler på unisont violinspil og som sådan en forløber for det tutti-orkester, som skulle blive almindeligt hos den følgende generations komponister. Kortone – og det italienske barokorgel i Trinitatis Kirke Gott hilf mir har desuden påfaldende ligheder med både Buxtehudes kantate af sammen navn Kammertonen har løbende ændret sig gennem musikhistorien med mange lokale varianter. (BWV 34) og Johann Christoph Bachs Lamentation Wie bist du denn, o Gott med dens brug af I Nordtyskland og Skandinavien opererede man i barokken hovedsagligt med to stemninger: tremolo i strygerne og sekstendedelssekstoler hos bassangeren. Kortone A= ca. 465 Hz (også kaldet cornet-tone eller orgeltone) og kammertone A=415 Hz. Dermed klang kammertonen præcis en tone under kortonen. Kortonen var den stemning, som Nicolaus Bruhns (1665-1697) er sammen med J.S. Bach den vigtigste af Buxtehudes mange orglerne traditionelt var stemt i. Den knyttede sig, som navnet antyder, til kirkens kormusik, elever, som senere fik betydelige karrierer. Bruhns kom til Lübeck som sekstenårig for at studere ligesom både zinker, trompeter og basuner blev udformet til den høje stemning. Kammertonen, komposition og orgelspil hos Buxtehude og violin- og gambespil hos sin onkel, stadsmusikanten derimod, knyttede sig til kammermusikken – altså hoffernes koncertante musik båret af stryger Peter Bruhns, som gennem mange år var Buxtehudes faste violinist. I sit afsnit om Bruhns beskri- ensemble. Med den koncertante musiks indtog i kirkerne skulle man finde en måde, hvorpå ver Mattheson i sin Grundlage einer Ehren-Pforte (1740), hvordan han skulle have diverteret med de to forskellige stemninger, kortone og kammertone, kunne fungere i et harmonisk samliv. I at spille både violin og orgel-pedal samtidig: perioden efter Buxtehude blev det almindeligt at transponere orgelstemmen en tone ned, så ”I klaver og komposition forsøgte han især at efterligne den berømte Dieterich Buxtehude, den passede til de øvrige instrumenters kammertone. Men i den periode vi beskæftiger os med Lübecker-organisten ved St. Maria kirke. Han bragte det til sådan fuldkommenhed, at han her, var praksis omvendt – altså, at strygerne indrettede sig efter kirkens instrumenter og stemte (Buxtehude) på hans forlangende anbefalede ham til København, hvor han opholdt sig i flere en tone op, fra kammertone til kortone. Der hersker altså ingen tvivl om, at dette repertoire er år og derefter blev udnævnt til organist i kirken i Husum. Fordi har var så dygtig på violinen og tiltænkt at blive opført i kortone A= ca. 465 Hz. Til dette formål var det oplagt at udnytte det vidste, hvordan han skulle spille med dobbeltgreb, så det lød, som var der tre eller fire, så havde originale barokorgel fra Lombardiet, som i 2013 blev erhvervet af Trinitatis Kirke i København og han den vane af og til ved orglet at gøre sig den foranderlighed, at han helt alene, på behagelig- opstillet på kirkens østlige pulpitur. Barokorgelet blev købt antikvarisk i Italien i 1970 af orgel ste vis, lod violinen høre sammen med en passende pedalstemme.” bygger Gerald Woehl fra Marburg, og stod siden opmagasineret i han værksted. Det er i original Mein Herz ist bereit kunne meget vel være præcis det værk, Mattheson beskriver. Med stand og en ypperlig repræsentant for en arketype af italienske orgler, som blev bibeholdt fra violinens små fugettaer og gennemgående dobbeltgreb kunne en pedal-bas sagtens være nok slutningen af 1500-tallet og frem til romantikken i midten af 1800-tallet. Så selvom orglet er til at skabe en meningsfuld harmonisk struktur. Den virtuose violinstemme spiller i det hele taget bygget i 1770, passer det perfekt til 1600-tallets repertoire. en bærende rolle i værket. Billederne fra Salmernes Bog Salme 57, 8-12 af harpe og citer og af Guds nåde, som når himlen genskabes i violinens udstrakte for- og mellemspil. At Bruhns blot ”efterlignede” Buxtehude, som Mattheson skriver, er en forklejnelse af Bruhns talent. Bruhns er 26 27 Medvirkende i cembalo og opførelsespraksis på Hochschule für Musik i München, og han underviser regel- Basbaryton Jakob Bloch Jespersen fik sin musikalske grunduddannelse på Sankt Annæ mæssigt på flere vigtige Early Music-institutioner overalt i verden, bl.a. Mozarteum Salzburg, Gymnasium som medlem af Københavns Drengekor. Han tog diplomeksamen fra Det Kongelige Sibelius-akademiet i Helsinki og Juilliard School of Music i New York. Lars Ulrik Mortensen har i Danske Musikkonservatorium i 2004 og afsluttede sine videregaende studier pa Operaakade- de sidste 25 år også været aktiv som dirigent, og i 2003 besluttede han at arbejde udelukkende miet i 2007. I 2013 modtog Jakob Bloch Jespersen Musikanmelderringens Kunstnerpris og i 2014 med periodeinstrument-ensembler. Siden 1999 har han været kunstnerisk leder af Danmarks Aksel Schiøtz Prisen. barokorkester Concerto Copenhagen, og i 2004 efterfulgte han Roy Goodman som musikalsk Jakob Bloch Jespersen debuterede i 2002 på scenen i Holland House-forestillingen Stalin leder af European Union Baroque Orchestra. Desuden arbejder Mortensen i stigende grad med grad i Turbinehallerne, og i 2006 havde han sin debut på Det Kongelige Teater som Angelotti i adskillige fremtrædende udenlandske ensembler som Holland Baroque Society, Irish Baroque Puccinis Tosca, hvor han siden bland andet har medvirket i Kasper Holtens DVD-produktion af Orchestra, Nederlandse Bachvereiniging og Collegium 1704. Som cembalist, kammermusiker og Carl Nielsens Maskarade og i Henry Purcells The Fairy Queen med Concerto Copenhagen under dirigent har Lars Ulrik Mortensen i stort omfang indspillet for mange pladeselskaber, herunder ledelse af Lars Ulrik Mortensen. Desuden kan nævnes rollen som Leporello i Mozarts Don Gio- DGG-Archiv, ECM, EMI og CPO, og i 2007 modtog han Danmarks mest prestigefyldte musikpris, vanni på Den Norske Opera i Oslo, foruden en lang række roller i moderne musikteater og opera. Léonie Sonnings Musikpris. Som koncertsanger er Jakob Bloch Jespersen efterspurgt i hele Europa med et repertoire strækkende sig fra det 17. til det 21. århundrede. Især har han beskæftiget sig med den tyske Danmarks barokorkester Concerto Copenhagen spillede sine første koncerter i 1991 og har barokmusik i samarbejde med ensembler som Lautten Compagney Berlin, norske Barokk siden udviklet sig til Skandinaviens førende ensemble inden for tidlig musik og et af de mest solistene og Barokkanerne, Concerto Copenhagen, Arte dei Suonatori, Scottish Chamber spændende og innovative barokorkestre i verden. Originale fortolkninger og en stærk evne til at Orchestra, Nieuwe Philharmonie Utrecht, Australian Brandenburg Orchestra, og i det moderne kommunikere med publikum er blandt Concerto Copenhagens kendetegn – den gamle musik repertoire med ensembler som Theatre of Voices, Kammerensemble Neue Musik Berlin, London gøres vital, relevant og nutidig. Sinfonietta og Athelas Sinfonietta Copenhagen. Siden 1999 har samarbejdet mellem Concerto Copenhagen og Lars Ulrik Mortensen ført til Jakob Bloch Jespersen har medvirket på talrige CD-udgivelser. For Dacapo Records bland en spændende kunstnerisk og musikalsk rejse – værdsat og rost af publikum og kritikere verden andet som Jesus i Heinrich Schütz’ fire passioner, en serie med Buxtehudes vokalmusik med over – der kombinerer et repertoire bestående af velkendt europæisk musik med mindre kendte Theatre of Voices, samt egne produktioner af Thomas Kingos Åndelige Siungekoor og H.A. værker af skandinavisk oprindelse samt helt nyskreven musik. Med sin 30-års fødselsdag i sigte Brorsons Troens rare Klenodie. Desuden kan nævnes Händels Brockes Passion med Concerto holder orkestret sig fortsat levende og relevant i udforskningen af den tidlige musiks muligheder Copenhagen for CPO og indspilninger af blandet andre Luciano Berio, David Lang og Kurt Weill og engagerer sit internationale publikum med sine vitale fortællinger i lyd. for Harmonia Mundi og Glossa.

Lars Ulrik Mortensen studerede på Det Kongelige Danske Musikkonservatorium (cembalo hos Karen Englund, generalbas hos Jesper Bøje Christensen) og herefter hos Trevor Pinnock i London. Han arbejder i stor udstrækning som solist og kammermusiker i Europa, USA, Mexico, Sydamerika, Kina, Japan og Australien. Mellem 1996 og 1999 var Lars Ulrik Mortensen professor 28 29 Dietrich Buxtehude Dietrich Buxtehude Dietrich Buxtehude Ich bin die Auferstehung und das Leben I Am the Resurrection and the Life Jeg er opstandelsen og livet Ich bin die Auferstehung und das Leben, I am the resurrection and the life. Jeg er opstandelsen og livet; wer an mich gläubet, der wird leben, The one who believes in me will live, den der tror på mig, skal leve, ob er gleich stürbe, even though they die; they? om han end dør, und wer da lebet und gläubet an mich, and whoever lives by believing in me og den, som lever og tror på mig, der wird nemmer mehr sterben. will never die. han skal aldrig nogensinde dø. Alleluia. Alleluia. Alleluia.

Johannes 11: 25-26 John 11: 25-26 Johannesevangeliet 11, 25-26 Oversat fra tysk af Jakob Bloch Jespersen

Johann Valentin Meder Johann Valentin Meder Johann Valentin Meder Gott hilf mir Save me, O God Frels mig, Gud Gott hilf mir, denn das Wasser gehet mir bis an Save me, O God, for the waters have come up to Frels mig, Gud, for vandet når mig til halsen. die Kehle. my neck.

Ich versinke in tiefen Schlamm, da kein Grund ist; I sink in the miry depths, where there is no foothold. Jeg synker i den dybe dynd, hvor der ingen bund er. ich bin in tiefen Wassern, I have come into the deep waters; Jeg er i de dybe vande, und die Flut will mich ersäufen, the floods engulf me. og strømmen vil drukne mig. ich habe mich müd geschrieen, I am worn out calling for help; Jeg har råbt mig træt, und mein Hals ist heisch, my throat is parched. og min hals er hæs, das Gesicht vergehet mir, My eyes fail, mit syn forgår, daß ich so lang muß harren auf meinen Gott. looking for my God. fordi jeg må vente så længe på min Gud.

Die mich ohn Ursach hassen Those who hate me without reason De, der hader mig uden grund, sind mehr denn ich Haar auf dem Haupte habe. outnumber the hairs of my head; er flere end hårene på mit hoved. Die mir unbillig sind und mich verderben, many are my enemies without cause, De, som gør mig uret og vil ødelægge mig, sind mächtig. those who seek to destroy me. er mægtige.

Die im Tor sitzen, schwatzen von mir, Those who sit at the gate mock me, De, der sidder i porten, snakker om mig, und in den Zechen singet man von mir. and I am the song of the drunkards. og ved drikkelagene synger man om mig.

30 31 Ich aber bete, Herr, zu dir, But I pray to you, Lord, Jeg beder dog til dig Herre, zur angenehmen Zeit; in the time of your favor; i nådens tid; Gott, durch deine große Güte in your great love, O God, answer me with your Gud, i din store godhed, erhöre mich mit deiner treuen Hilfe. sure salvation svar mig med din trofaste hjælp.

Errette mich aus der Not, daß ich nicht versinke, Rescue me from the mire, do not let me sink; Red mig ud af nøden, så jeg ikke synker, daß ich errettet werde von meinen Hassern deliver me from those who hate me, at jeg bliver reddet fra dem, der hader mig, und aus den tiefen Wassern; from the deep waters. og fra de dybe vande; daß mich die Wasserflut nicht ersäufe, Do not let the floodwaters engulf me så vandstrømmen ikke drukner mig, und die Tiefe nicht verschlinge, or the depths swallow me up og dybet ikke opsluger mig, und das Loch der Grube nicht über mir zusammen gehe. or the pit close its mouth over me. og brøndens hul ikke styrter sammen over mig.

Erhöre mich, Herr, denn deine Güte ist tröstlich; Answer me, Lord, out of the goodness of your love; Hør mig, Herre, for din godhed er trøstende, wende dich zu mir nach deiner großen Barmherzigkeit in your great mercy turn to me. vend dig til mig i din store barmhjertighed, und verbirge dein Angesicht nicht vor deinem Knechte, Do not hide your face from your servant; og skjul ikke dit ansigt for din tjener, denn mir ist angst; erhöre mich eilends. answer me quickly, for I am in trouble. for jeg er bange; svar mig i hast! Psalm 69; 1-4, 13-18 Psalm 69; 1-4, 13-18 Salmernes Bog 69, 1-4, 13-18 Oversat fra tysk af Jakob Bloch Jespersen

Matthias Weckmann Matthias Weckmann Matthias Weckmann Kommet her zu mir Come to Me Kom til mig Kommet her zu mir Come to me, Kom til mig, alle, die ihr mühselig und beladen seid. all you who are weary and burdened, alle I, som er møjsommelige og bærer tunge byrder. Ich will euch erquicken. I will refresh you. Jeg vil opkvikke jer. Nehmet auf euch mein Joch und lernet von mir, Take my yoke upon you and learn from me, Tag mit åg på jer, og lær af mig, denn ich bin sanftmütig und von Herzen demütig, for I am gentle and humble in heart, for jeg er sagtmodig og ydmyg af hjertet, So werdet ihr Ruhe finden für eure Seele. and you will find rest for your souls. så skal I finde hvile for jeres sjæle. Denn mein Joch ist sanft und meine Last ist leicht. For my yoke is easy and my burden is light. For mit åg er blødt, og min byrde er let. Matthäus 11: 28-30 Matt 11: 28-30 Matthæusevangeliet 11, 28-30 Oversat fra tysk af Jakob Bloch Jespersen

32 33 KASPAR FÖRSTER the Younger KASPAR FÖRSTER the Younger KASPAR FÖRSTER d.y. Jesu dulcis memoria The Sweet Memory of Jesus At komme Jesus sødt i hu Jesu dulcis memoria The sweet memory of Jesus At komme Jesus sødt i hu dans vera cordis gaudia: Fills the heart with true joy: til hjertet skænker glæde sand, sed super mel et omnia But sweeter than honey and all else men mere end honnings smag og alt ejus dulcis praesentia. Is his presence. hans egen nærvær er os sødt.

Nil canitur suavius, Nothing more delightful to sing, Ej lyder mere liflig sang, nil auditur jucundius, Nothing more pleasant to hear, ej høres dejligere en lyd, nil cogitatur dulcius, Nothing more sweet to ponder ej tænkes noget mere sødt quam Jesus Dei Filius. Than Jesus, son of God. end Jesus vor Guds egen søn.

Nec lingua valet dicere, Jesus, hope of those who repent, Men ej kan tungen sige det, nec littera exprimere: How kind you are to those who beg! ej nogen bog beskrive det, expertus potest credere, How good to those who seek you first kun i erfaring ved vor tro, quid sit Jesum diligere. And then do find you. hvad kærlighed til Jesus er.

Jesu, Rex admirabilis Jesus, King most wonderful; Jesus, beundringsværdige konge et triumphator nobilis thou conqueror renowned, og ædle sejrherre, dulcedo ineffabilis. thou sweetness most ineffable. uudsigelig sød er han.

Saint Bernard of Clairvaux (1090-1153) English rendition: Svend Ravnkilde Oversat til dansk af Jørgen Pedersen (vers 1-3) og Jakob Bloch Jespersen (vers 4)

34 35 NICOLAUS BRUHNS NICOLAUS BRUHNS NICOLAUS BRUHNS Mein Herz ist bereit My Heart is Steadfast Mit hjerte er beredt Mein Herz ist bereit, Gott, My heart is steadfast, O God, Mit hjerte er beredt, Gud, dass ich singe und lobe. I will sing and make music. jeg vil synge og lovprise.

Wache auf, meine Ehre, wache auf. Awake, my soul! Vågn op, min ære, vågn op. Wohlauf, Psalter und Harfen Awake, harp and lyre! Stå op, harpe og citer, Früh will ich aufwachen. I will awaken the dawn. tidligt vil jeg vågne.

Herr, ich will dir danken unter den Völkern, I will praise you, O Lord, among the nations; Herre, jeg vil takke dig blandt folkeslagene, ich will dir lobsingen unter den Leuten. I will sing of you among the peoples. jeg vil lovsynge dig blandt folkene.

Denn deine Gnade reichet so weit der Himmel ist For great is your love, reaching to the heavens; For din godhed når helt op til himlen, und deine Wahrheit, so weit die Wolken gehen. your faithfulness reaches to the skies. og din sandhed helt op til skyerne.

Erhebe dich, Gott, über den Himmel Be exalted, O God, above the heavens; Løft dig, Gud, over himlen, und deine Ehre über alle Welt. let your glory be over all the earth og lad din herlighed komme over hele jorden. Alleluia. Alleluia. Alleluia. Psalm 57: 7-11 Psalm 57: 7-11 Salmernes Bog 57, 8-12 Oversat fra tysk af Jakob Bloch Jespersen

36 37 d Recorded at the Trinitatis Church, on 19 November 2018 (Sonata á 7; Ich bin der Auferstehung und das Leben, and Mein Herz ist bereit) and at the Garrison Church, on 20-22 November 2018 (Sonata ut, re, mi, fa, sol, la; Gott hilf mir; Toccata in A minor; Kommet her zu mir; Jesu dulcis memoria, and Sonata á 6) Recording producer: Preben Iwan Sound engineer: Preben Iwan Editing: Preben Iwan & Mette Due Mix and mastering: Preben Iwan ℗ & © 2020 Dacapo Records, Copenhagen Liner notes: Jakob Bloch Jespersen English translation of liner notes: John Irons Proofreader: Svend Ravnkilde Photos: p. 15: © Reinhard Wilting; p. 16 © Helge Hansen; p. 17 © Mathias Løvgreen Cover art: Map of Copenhagen bastions, 1684, by L. Grove, Lange, and Hansson With support from KODA Culture Concerto Copenhagen is supported by the Danish Arts Foundation Committee for Music Concerto Copenhagen wish to thank the Trinitatis Church and the Garrison Church and their staff Concerto Copenhagen, www.concertocopenhagen.com General manager: Nikolaj de Fine Licht Orchestra manager: Benedicte B. Balslev Project manager: Frode Andersen Production assistant: Kirsten B. Larsen

Manuscript page in tablature of Dietrich Buxtehude: Ich bin der Auferstehung (1683) , found in the Düben Collection Database Catalogue at Uppsala Universitet, Department of Musicology. SACD 6.220651

Dacapo Records, Denmark’s national record label, was founded in 1989 with the purpose of releasing the best of Danish music past and present. The majority of our recordings are world 38 premieres, and we are dedicated to producing music of the highest international standards.