DOCSLIB.ORG

Devotion & Contemplation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Devotion & Contemplation WASHINGTON BACH CONSORT Dana Marsh, Artistic Director Devotion & Contemplation Membra Jesu nostri, BuxWV 75—Dieterich Buxtehude (c.1637-1707) Thursday, May 20, 2021 8:00 p.m. on YouTube Recorded at Franciscan Monastery of the Holy Land in America 1400 Quincy St NE, Washington, DC 20017 Margot Rood & Sara MacKimmie, sopranos Reginald Mobley, countertenor Jacob Perry, Jr., tenor Jonathan Woody, bass SPRING 2021 We bring to you the final program in our Spring 2021 season. The North German composer Dieterich Buxtehude (c.1637/39–1707) was held in such high reverence by the 20-year-old Johann Sebastian Bach that he walked 250 miles from Arnstadt to Lübeck to hear the great organist/composer. Membra Jesu nostri is an exquisite cycle of seven short concerti, each a contemplation of a different part of the body of Christ. Derived from a thirteenth-century poem, the work evinces a vast spectrum of inspired reflection and introspective beauty. Through the generosity of our patrons, we were able to virtually present the 2020-2021 season cost-free. From Bach Interactions to our spring virtual program filmed at three iconic Washington churches: St. Mark’s Episcopal Church, Saint Sophia’s Greek Orthodox Cathedral, and the Franciscan Monastery of the Holy Land in America, we continue to survive this pandemic and look forward to holding in-person performances again this coming fall. CLICK HERE To Subscribe to YouTube Past Performances Bach’s Cello Suites Polyphonic Splendors of the Iberian Renaissance Performed by Wade Davis Michael McCarthy, Guest Conductor Thursday, March 25, 2021 on YouTube Thursday, April 22, 2021 on YouTube OUR MISSION The Washington Bach Consort shares the transformative power of music with the works of J.S. Bach at the core. Our professional artists inspire audiences with the highest levels of artistic excellence, enrich the cultural life through historically-informed performances, and provide educational programs in the Washington, DC community and beyond. CLICK HERE To Donate Online Now PROGRAM Membra Jesu nostri patientis sanctissima, BuxWV 75 Dieterich Buxtehude (c.1637-1707) VOCALISTS SOPRANO COUNTERTENOR TENOR BASS Margot Rood Reginald Mobley Jacob Perry, Jr. Jonathan Woody Sara MacKimmie INSTRUMENTALISTS VIOLIN VIOLONE VIOLAS DA GAMBA ORGAN Julie Andrijeski Jessica Powell Eig John Moran Adam Pearl David McCormick Amy Domingues Leslie Nero Niccolo Seligmann DR. DANA T. MARSH, CONDUCTOR TEXTS & TRANSLATIONS 1. AD PEDES (TO THE FEET) Ecce super montes pedes evangelizantis et annunciantis Behold on the mountains the feet of him who brings pacem. good tidings and proclaims peace. Aria Aria Salve mundi salutare, Hail, salvation of the world, salve, salve Jesu care! Hail, hail, beloved Jesus. Cruci tuae me aptare I would take up your cross, vellem vere, tu scis quare, Truly; you know why; da mihi tui copiam. Give me your abundance. Clavos pedum, plagas duras, The nails in your feet, the hard blows, et tam graves impressuras And those equally deep stripes circumplector cum affectu, I embrace with feeling, tuo pavens in aspectu, Awestruck at your sight tuorum memor vulnerum. Mindful of Your wounds. Dulcis Jesu, pie Deus, Sweet Jesus, merciful God ad te clamo licet reus, I cry to You, if a guilty one may, praebe mihi te benignum, Show me Your grace, ne repellas me indignum Do not turn me away unworthy de tuis sanctis pedibus. From Your sacred feet. Ecce super montes pedes evangelizantis et annunciantis Behold on the mountains the feet of him who brings pacem. good tidings and proclaims peace. 3 TEXTS & TRANSLATION (cont’d.) 2. AD GENUA (TO THE KNEES) Ad ubera portabimini, et super genua blandientur vobis. You will be brought to the breast and dandled on the knees. Aria Aria Salve Jesu, rex sanctorum, Hail Jesus, King of Saints spes votiva peccatorum, Hope of sinners’ prayers, crucis ligno tanquam reus, On the wood of the cross like one accused, pendens homo verus Deus, A man hanging, true God, caducis nutans genibus. Bending on falling knees. Quid sum tibi responsurus, What shall I answer you, actu vilis corde durus? Vile in deed, hard of heart? Quid rependam amatori, How shall I repay your love, qui elegit pro me mori, Who chose to die for me ne dupla morte morerer. Without whom I die a second death. Ut te quaeram mente pura, That I seek you with pure mind, sit haec mea prima cura, This is my first care. non est labor et gravabor, It is not a labor, nor a load, sed sanabor et mundabor, But I shall be healed and cleansed cum te complexus fuero. When I embrace you. Ad ubera portabimini, et super genua blandientur vobis. You will be brought to the breast and dandled on the knees. 3. AD MANUS (TO THE HANDS) Quid sunt plagae istae in medio manuum tuarum? What are those wounds in the midst of Your hands? Aria Aria Salve Jesu, pastor bone, Hail, Jesus, good shepherd, fatigatus in agone, Wearied in combat, qui per lignum es distractus Lacerated on the cross, et ad lignum es compactus Nailed to the cross, expansis sanctis manibus. Your sacred hands stretched out. Manus sanctae, vos amplector, Holy hands, I embrace you, et gemendo condelector, And, lamenting, rejoice in you, grates ago plagis tantis, I give thanks for such blows, clavis duris guttis sanctis The hard nails, the holy drops, dans lacrymas cum osculis. Shedding tears and kisses. In cruore tuo lotum Washed in your blood me commendo tibi totum, I entrust myself to you entirely; tuae sanctae manus istae Yea these holy hands me defendant, Jesu Christe, Defend me, Jesus Christ, extremis in periculis. In the final dangers. Quid sunt plagae istae in medio manuum tuarum? What are those wounds in the midst of Your hands? 4 TEXTS & TRANSLATION (cont’d.) 4. AD LATUS (TO THE SIDES) Surge, amica mea, speciosa mea, et veni, columba mea in Arise, my love, my beautiful one, and come, my dove in foraminibus petrae, in caverna maceriae. the clefts of the rock, in the hollow of the cliff. Aria Aria Salve latus salvatoris, Hail, side of the savior, in quo latet mel dulcoris, In which sweet honey lies, in quo patet vis amoris, In which the power of love shows, ex quo scatet fons cruoris, From which the spring of blood bubbles, qui corda lavat sordida. That cleanses the soiled heart. Ecce tibi appropinquo, Behold, I approach you, parce, Jesu, si delinquo, Pardon, Jesus, if I err, verecunda quidem fronte, With reverent countenance ad te tamen veni sponte I come freely to you scrutari tua vulnera. To examine your wounds. Hora mortis meus flatus In the hour of death, let my soul intret Jesu, tuum latus, Enter your side, Jesus. hinc expirans in te vadat, Dying may it enter you, ne hunc leo trux invadat, Lest the cruel lion seize it, sed apud te permaneat. But stay with you forever. Surge, amica mea, speciosa mea, et veni, columba mea in Arise, my love, my beautiful one, and come, my dove in foraminibus petrae, in caverna maceriae. the clefts of the rock, in the hollow of the cliff. 5. AD PECTUS (TO THE BREAST) Sicut modo geniti infantes rationabiles, et sine dolo Like newborn infants, crave pure spiritual milk, so that by it concupiscite, ut in eo crescatis in salutem. Si tamen you may grow up in your salvation, if indeed you have gustatis, quoniam dulcis est Dominus. tasted that the Lord is good. Aria Aria Salve, salus mea, Deus, Hail God, my salvation, Jesu dulcis, amor meus, Sweet Jesus, my beloved, salve, pectus reverendum, Hail, revered breast, cum tremore contingendum, To be touched with trembling, amoris domicilium. Dwelling of love. Pectus mihi confer mundum, Give me a clean breast, ardens, pium, gemebundum, Ardent, pious, moaning, voluntatem abnegatam, A denied will, tibi semper conformatam, Always conforming to you, juncta virtutum copia. Full of virtues. Ave, verum templum Dei, Hail, true temple of God, precor miserere mei, I pray, have mercy on me, tu totius arca boni, You, the ark of all good, fac electis me apponi, Make me be one of the chosen, vas dives Deus omnium. Rich vessel, God of all. Sicut modo geniti infantes rationabiles, et sine dolo Like newborn infants, crave pure spiritual milk, so that by it concupiscite, ut in eo crescatis in salutem. Si tamen you may grow up in your salvation, if indeed you have gustatis, quoniam dulcis est Dominus. tasted that the Lord is good. 5 TEXTS & TRANSLATION (cont’d.) 6. AD COR (TO THE HEART) Vulnerasti cor meum, soror mea, sponsa, vulnerasti cor You have wounded my heart, my sister, my bride, you have meum. wounded my heart. Aria Aria Summi regis cor, aveto, Hail, heart of the highest king, te saluto corde laeto, I greet you with a joyous heart, te complecti me delectat To embrace you delights me et hoc meum cor affectat, And my heart aspires to this: ut ad te loquar, animes. That you move me to speak to you. Per medullam cordis mei, Through the marrow of my heart, peccatoris atque rei, Of a sinner and guilty one, tuus amor transferatur, May Your love be conveyed quo cor tuum rapiatur One seized by your heart, languens amoris vulnere. Languishing through love’s wound. Viva cordis voce clamo, With the living voice of the heart I call, dulce cor, te namque amo, Sweet heart, for I love you, ad cor meum inclinare, To incline to my heart, ut se possit applicare So that it may attach itself to you devoto tibi pectore. With devoted breast. Vulnerasti cor meum, soror mea, sponsa, vulnerasti cor You have wounded my heart, my sister, my bride, you have meum. wounded my heart.
Load more

Recommended publications
  • Membra Jesu Nostri
    Diskothek: Dietrich Buxtehude: Membra Jesu Nostri Montag, 26. März 2018 20.00 - 22.00 Uhr, SRF 2 Kultur Samstag, 31. März 2018 14.00 - 16.00 Uhr, SRF 2 Kultur (Zweitsendung) Gäste im Studio: Julia Schröder (Geigerin) und Jean-Christophe Groffe (Sänger). Gastgeberin: Jenny Berg Das Resultat Aufnahmen mit Werken aus der Barockzeit zeigen oft grosse Unterschiede, da die Barockmusik den Interpretinnen und Interpreten viele Freiheiten lässt. So ist es auch bei Dietrich Buxtehudes «Membra Jesu nostri»: Es gibt chorische und solistische Besetzungen, unterschiedlich gestimmte Instrumente, italienische und lateinische Textaussprache bei diesen fünf Aufnahmen – und es gibt noch etliche weitere Interpretationen auf dem CD-Markt. In Runde eins wird die Tempowahl zum Ausschlusskriterium: René Jacobs mit dem Concerto Vocale Gent (A3) geht die Beschreibung der Körperteile Jesu zu sportlich an, das Bach Collegium Japan mit Dirigent Masaaki Suzuki (A4) schwankt zu stark im Tempo – eine vergleichsweise gute, aber auch gewöhnliche Interpretation, fanden die beiden Gäste. In der zweiten Runde scheidet das Purcell Quartett (A5) aus – eine Aufnahme mit ausgezeichneten Sängern, dafür aber mit einer recht schlichten Gestaltung des Basso continuo. Am Schluss gibt es einen klaren Sieger: Obwohl Cantus Cölln mit Konrad Junghänel (A1) immer wieder für Gänsehaut sorgt, den Text bewusst ausgestaltet und sehr rhythmisch agiert, überzeugt über alle drei Runden die Aufnahme mit Ton Koopmann und dem Amsterdam Baroque Orchestra & Choir) am meisten (A2). Er hat das Werk mehrfach aufgenommen, dies hier ist die zweite Einspielung: Eine sehr lebendige Aufnahme, die ins Innere geht, die die Stimmungen bewusst einsetzt, um die harmonischen Bewegungen zu schärfen, und dabei elegant und historisch informiert verziert.
    [Show full text]
  • Dietrich Buxtehude (1637-1707) Membra Jesu Nostri
    Dietrich Buxtehude (1637-1707) Membra Jesu Nostri Tanya Aspelmeier, Stéphanie Révidat, Salomé Haller, sopranos Rolf Ehlers, haute-contre Julian Prégardien, ténor Benoît Arnould, basse LA CHAPE ll E RHÉNANE LA MAÎT R ISE DE GA R ÇONS DE CO lm A R DIRECTION : ARLETTE STEYER DIRECTION : BENOÎT HA LLER 1 Dietrich Buxtehude (1637-1707) Membra Jesu Nostri 1 Ad pedes - Ecce super montes 7’40 2 Ad genua - Ad ubera portabimini 9’50 3 Ad manus - Quid sunt plagae istae 9’06 4 Ad latus - Surge amica mea 9’13 5 Ad pectus - Sicut modo geniti infantes 9’27 6 Ad cor - Vulnerasti cor meum 9’03 7 Ad faciem - Illustra faciem tuam 6’16 > minutage total : 60’35 2 LA CHAPE ll E RHÉNANE Tanya Aspelmeier(6), Stéphanie Révidat(1,7), Salomé Haller(1,5,7) Sopranos Rolf Ehlers Haute-contre Julian Prégardien Ténor Benoît Arnould Basse Cosimo Stawiarski, Isabel Schau Violons Sergio Alvarez, Barbara Leitherer, François-Joubert Caillet, Anne-Garance Fabre-Garrus Violes de gambe Armin Bereuter Violone en sol Élodie Peudepièce Violone en ré Jennifer Harris Basson Thomas Boysen Théorbe Marie Bournisien Harpe Sébastien Wonner Orgue et Clavecin LA MAÎT R ISE DE GA R ÇONS DE CO lm A R DIRECTION : ARLETTE STEYER DI R E C TION : BENOÎT HA ll E R 3 Pour le présent enregistrement La Maîtrise de Garçons de Colmar était composée de : Les garçons Sopranos : ARMSPACH-YOUNG Thomas - BARTH François - DIESEL Noé - DROTHIERE Valentin - PAULUS Loïc SCHIELE Jean-Baptiste - SCHMITT Elliott - WEYMANN Vincent Mezzo-sopranos : BUCHER Romain - DECHRISTE Gauthier - GLEYZE Tom - GRAVRAND Dorian
    [Show full text]
  • Figurenlehre and Affektenlehre in Buxtehude's Membra Jesu Nostri
    Figurenlehre and Affektenlehre in Buxtehude’s Membra Jesu ostri © 2006 Helen K. H. Wong Per medullam cordis mei, Into the depths of my heart, Peccatoris atque rei, Sinful and wicked, Tuus amor transferatur, Let thy love be transported, Quo cor tuum rapiatur This love bereft of thy heart, Languens amoris vulnere. Languishing with love’s wounds. Viva cordis voce clamo, With my heart’s own voice I beseech thee, Dulce cor, te namque amo, Sweet heart, for I love thee, Ad cor meum inclinare, To incline thyself upon my heart, Ut se posit applicare That it may cleave Devoto tibi pectore. To thy venerated breast. (Buxtehude, Membra Jesu Nostri, “Ad Pectus”) Like many of his sacred vocal works, Buxtehude’s Membra Jesu ostri , a cycle of seven cantatas, has been associated by writers on music with its Pietist qualities for its choice of text. 1 A composite of Latin blibical texts and medieval poems of a subjective religious tone, each of the seven cantatas represents a spiritual contemplation on one of the parts of Christ’s crucified body: feet, knees, hands, side, breast, heart and face. 2 While the poems indeed 1 The intense personal and subjective language of the poem can be compared to an analogy made by Abraham Calovius (1612-86), the German Lutheran theologian of the 17 th century on the relationship between Christ and the Pietist believers: “ The espousal (marriage) of Christ with belivers is that which He eternally marries Himself to believers through faith, so that they become one spirit, and by His power communicates to them, as to His spiritual bride, intimate and enduring love, all His blessings and all His glory, so as to finally lead them to Him home, and dwell with them in His celestial and eternal kingdom.”Explains a bit about Pietism and music.
    [Show full text]
  • Membra Jesu Nostri&Quo
    [敎科敎育硏究, 제35권 제1호(2014.6), pp.45~70] Studies in Educational Research 합창 음악지도를 위한 북스데후데의 음악연구 김연주 (아주사 퍼시픽 대학교) A Study on Buxtehude’s Choral Music "Membra Jesu Nostri" Youn-Ju Kim (Azusa Pacific University, USA) Abstract: Dieterich Buxtehude (ca. 1637-1707) is known for his many organ works. However, no significant portion of his choral music is in the standard performing repertoire. Buxtehude’s large-scale choral work Membra Jesu Nostri should be considered a seminal “passion” composition in part because of its historic position in early German Lutheran church music. It also serves as an example of the heightened levels of affect in a seventeenth century devotional passion. To better understand Buxtehude and his music, an overview of his life, career and religious beliefs are discussed, including the incorporation of pietism and mysticism in his cantata, Membra Jesu Nostri. Details of the composition’s structure, unifying thematic elements and text sources with translations are included. Through these observations, it will be shown that Buxtehude’s Membra Jesu Nostri is one of the most well-conceived and well-constructed choral works of the early Baroque era. Key words : Buxtehude, choral music, passion, Membra Jesu Nostri I. Introduction A prolific composer of sacred vocal and instrumental ensemble music, Dietrich Buxtehude’s (ca. 1637-1707) fame as a composer mainly derives from works that he composed during his tenure as organist at Marienkirche (St. Mary’s Church) in Lübeck. He also composed vocal cantatas, concertos, and oratorios, though his position did not require him to do so. In actuality, his surviving vocal music outnumbers his keyboard and ensemble pieces, totaling - 45 - 敎科敎育硏究, 제35권 제1호(2014.6) more than 120 vocal and choral works, 120 keyboard pieces, and twenty-one instrumental sonatas.
    [Show full text]
  • A 16Th-Century Meeting of England & Spain
    A 16th-Century Meeting of England & Spain Blue Heron with special guest Ensemble Plus Ultra Saturday, October 15, 2011 · 8 pm | First Church in Cambridge, Congregational Sunday, October 16, 2011 · 4 pm | St. Ignatius of Antioch Episcopal Church, New York City A 16th-Century Meeting of England & Spain Blue Heron with special guest Ensemble Plus Ultra Saturday, October 15, 2011 · 8 pm | First Church in Cambridge, Congregational Sunday, October 16, 2011 · 4 pm | St. Ignatius of Antioch Episcopal Church, New York City Program Blue Heron & Ensemble Plus Ultra John Browne (fl. c. 1500) O Maria salvatoris mater a 8 Blue Heron Richard Pygott (c. 1485–1549) Salve regina a 5 intermission Ensemble Plus Ultra Tomás Luis de Victoria (1548–1611) Ave Maria a 8 Ave regina caelorum a 8 Victoria Vidi speciosam a 6 Vadam et circuibo civitatem a 6 Nigra sum sed formosa a 6 Ensemble Plus Ultra & Blue Heron Victoria Laetatus sum a 12 Francisco Guerrero (1528–99) Duo seraphim a 12 Blue Heron treble Julia Steinbok Teresa Wakim Shari Wilson mean Jennifer Ashe Pamela Dellal Martin Near contratenor Owen McIntosh Jason McStoots tenor Michael Barrett Sumner Thompson bass Paul Guttry Ulysses Thomas Peter Walker Scott etcalfe,M director Ensemble Plus Ultra Amy Moore, soprano Katie Trethewey, soprano Clare Wilkinson, mezzo-soprano David Martin, alto William Balkwill, tenor Tom Phillips, tenor Simon Gallear, baritone Jimmy Holliday, bass Michael Noone, director Blue Heron · 45 Ash Street, Auburndale MA 02466 (617) 960-7956 · [email protected] · www.blueheronchoir.org Blue Heron Renaissance Choir, Inc. is a 501(c)(3) tax-exempt entity.
    [Show full text]
  • Membra Jesu Nostri (1680)
    30 VAN DEN BERG Dissecting Jesus The Spiritual Role of the Senses in Buxtehude’s Cantata Cycle Membra Jesu Nostri (1680) Clemens van den Berg ABSTRACT The influence of German Pietism, a Protestant spiritual movement emphasizing the corporeal and the sensorial, on baroque composer Dieterich Buxtehude (ca. 1637-1707) has long been discussed among historians and musicologists of the seventeenth century like Martin Geck and Isabella van Elferen. However, current scholarship lacks detailed analyses of the composer’s individual works to assess how and to what extent this influence occurred. This paper, therefore, examines the contents of Membra Jesu Nostri, a peculiar composition by Buxtehude in which adoration of the limbs of Christ’s crucified body happens both textually and musically. This paper expands on the recent attention for the role of the senses in religious contexts and uses concepts from material religion to scrutinize the choices the composer made in his libretto and musical framework, thus tackling the issue of corporeal spirituality in Membra. It concludes that this specific compositional cycle does reflect Pietist inspiration, with a particularly striking role of the union of the senses: all co-operate to ensure a total immersion in the veneration of Christ’s body. KEYWORDS Dieterich Buxtehude, Baroque Music, German Pietism, History of Religion (17th Century), Sensorial Religion, Corporeal Religion. INTRODUCTION In 1680, the Northern German composer Dieterich (alternative spellings Dietrich and Diderich) Buxtehude (ca. 1637-1707) dedicated a cycle6 of seven Latin cantatas to his Swedish colleague Gustav Düben (1628-1690). The work categorized as BuxWV 757 is fully titled Membra Jesu nostri patientis sanctissima (Latin: “The Most Holy Limbs of Our Suffering Lord Jesus”), but better Junctions: Graduate Journal of the Humanities Clemens van den Berg.
    [Show full text]
  • Dieterich Buxtehude's Membra Jesu Nostri: an Historical Overview, Analysis and Conducting Guide by Youn Ju Kim a Research Pa
    Dieterich Buxtehude’s Membra Jesu Nostri: An historical overview, analysis and conducting guide by Youn Ju Kim A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved March 2012 by the Graduate Supervisory Committee: Gregory Gentry, Chair Gary Hill William Reber Rodney Rogers Timothy Russell ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Dieterich Buxtehude (ca. 1637-1707) is known for his many organ works. However, no significant portion of his choral music is in the standard performing repertoire. Buxtehude’s large-scale choral work Membra Jesu Nostri should be considered a seminal “passion” composition in part because of its historic position in early German Lutheran church music. It also serves as an example of the heightened levels of affect in a seventeenth century devotional passion. To better understand Buxtehude and his music, an overview of his life, career and religious beliefs are discussed, including the incorporation of pietism and mysticism in his cantata, Membra Jesu Nostri. Details of the composition’s structure, unifying thematic elements and text sources with translations are included. Historical performance practices are discussed, including the composer’s probable intent of having one of the seven cantatas performed every day before Easter. This research study also provides conductors with a variety of practical performance considerations. Through these observations, it will be shown that Buxtehude’s Membra Jesu Nostri is one of the most well-conceived and well-constructed choral works of the early Baroque era. i DEDICATION In nomine Jesu, Soli Deo Gloria (In the name of Jesus, to God alone be the glory) And to my parents Kim, Ha Sub and Lee, Jung Ji My love and respect will always be with you.
    [Show full text]
  • Membra Jesu Nostri
    CORO The Sixteen Edition CORO The Sixteen Edition Victoria Heinrich Schütz The Mystery of the Cross Musikalische Exequien Dietrich Victoria: “The sombre colours the most outstanding of Schütz's moving Buxtehude composer of the funeral music are Renaissance finely brought out in this collection.” “Music Christophers was the guardian born to conduct.” bbc radio 3, Membra cd review cor16021 cor16036 Handel J. S. Bach Jesu Messiah 3 CDs (Special Edition) Cantatas 34, 50, 147 Carolyn Sampson “…a pleasure to listen Catherine Wyn-Rogers to when played and Nostri Mark Padmore sung as well as this.” Christopher Purves the independent “…this inspiriting new performance becomes a first choice.” The Sixteen HARRY CHRISTOPHERS the sunday times cor16062 cor16039 To find out more about The Sixteen, concert tours, and to buy CDs visit www.thesixteen.com cor16082 or some people, the cyclic title Fof these cantatas by Buxtehude might conjure up a rather morbid JANE COE (1953–2007) picture. However, this meditation on Jane Coe was principal cellist the Passion, in which each of the of The Sixteen for twenty years seven cantatas contemplates parts of and we are fortunate enough Christ’s body on the cross (feet, knees, Borggreve Marco Photograph: to have recorded many CDs hands, side, breast, heart and head), is full of beauty, hope and invention. on which you can hear Jane’s exquisite playing. This disc, It is very much a chamber work and which she loved dearly, is requires a certain intimacy between performers. In the year 2000 I was very fortunate to have five choir members dedicated to her memory.
    [Show full text]
  • Dietrich Buxtehude (1637-1707) Was a Student of Heinrich Scheidemann, Organist in Hamburg and a Student of Sweelinck
    Buxtehudebookletnw 26/1/06 11:21 Pagina 1 CHANNEL CLASSICS CCS SA 24006 d.buxtehude Membra Jethesu netherlandsNostri bach society Jos van Veldhoven conductor Buxtehudebookletnw 26/1/06 11:21 Pagina 2 The Netherlands Bach Society Jos van Veldhoven conductor Anne Grimm soprano 1 Johannette Zomer soprano 2 Peter de Groot alto Andrew Tortise tenor Bas Ramselaar bass Antoinette Lohmann violin Pieter Affourtit violin Mieneke van der Velden viola da gamba (also continuo) Eva Reiter viola da gamba Josh Cheatham viola da gamba Ricardo Rodriguez Miranda viola da gamba (also continuo) Nick Milne viola da gamba Lucia Swarts violoncello Dane Roberts double bass Pieter Dirksen organ & clavicord Mike Fentross theorbo Illustration 1: Title page of Membra Jesu Nostri (Uppsala, University Library) 2 Buxtehudebookletnw 26/1/06 11:21 Pagina 3 t is now fairly certain that Dietrich Buxtehude (1637-1707) was a student of Heinrich Scheidemann, organist in Hamburg and a student of Sweelinck. Buxtehude’s studies would have occurred around I 1655. At this time his fellow student was Johann Adamsz Reincken of Deventer, who would become his lifelong friend. Thanks to this friendship, he became one of that impressive group of organist- composers from the Baltic area, known collectively as the ‘Sweelinck school’. Their elevated, ‘learned’ composing style and virtuosity as performers and improvisers amounted to a carefully guarded ‘secret’ which could only be transmitted among the members of this guild, from teacher to student. While the first generation of Sweelinck’s students, the most important of whom was Scheidemann, confined themselves primarily to organ playing and composing for the organ, their students, in turn, went a step further.
    [Show full text]
  • Membra Jesu Nostri Buxwv 75
    Dieterich BUXTEHUDE Membra Jesu nostri BuxWV 75 Kantatenzyklus für Soli (SSATB), Chor (SSATB) 2 Violinen, 5 Viole da gamba (2 Vl, 2 Vga [2 Va], Vc/Cb) Violone und Basso continuo herausgegeben von Thomas Schlage Cantata cycle for soli (SSATB), choir (SSATB) 2 violins, 5 viole da gamba (2 vl, 2 vga [2 va], vc/cb) violone and basso continuo edited by Thomas Schlage Stuttgarter Buxtehude-Ausgaben Eine praktische Ausgabe nach den Quellen neu herausgegeben von Günter Graulich unter Mitarbeit von Paul Horn Partitur/Full score C Carus 36.013 Inhalt Vorwort / Foreword / Avant-propos III V. Ad pectus Text X 18. Sonata 53 Faksimiles XIV 19. Voci (ATB) 54 I. Ad pedes Sicut modo geniti infantes 1. Sonata 1 20. Aria 2. Tutti (Coro SSATB) 2 a) Salve, salus mea, Deus (A) 58 Ecce super montes b) Pectus mihi confer mundum (T) 59 c) Ave, verum templum Dei (B) 61 3. Aria a) Salve mundi salutare (SI) 5 21. Voci (ATB) 63 b) Clavos pedum (SII) 6 Sicut modo geniti infantes c) Dulcis Jesu (B) 8 4. Tutti (Coro) 10 VI. Ad Cor Ecce super montes 22. Sonata 67 5. Tutti (Coro) 12 23. Doi Soprani è Basso (SSB) 69 Salve mundi salutare Vulnerasti cor meum II. Ad genua 24. Aria 6. Sonata in tremulo 14 a) Summi regis cor, aveto (SI) 72 b) Per medulam cordis mei (SII) 73 7. Tutti (Coro) 15 c) Viva cordis voce clamo 74 Ad ubera portabimini 25. Doi Soprani è Basso (SSB) 76 8. Aria Vulnerasti cor meum a) Salve Jesu, rex sanctorum (T) 19 b) Quid sum tibi responsurus (A) 20 c) Ut te quaeram mente pura (SI, SII, B) 21 VII.
    [Show full text]
  • Buxtehude Membra Jesu Nostri
    Buxtehude Membra Jesu nostri Emma Kirkby soprano The Purcell Quartet Elin Manahan Thomas soprano Michael Chance counter-tenor Charles Daniels tenor Peter Harvey bass Fretwork CHANDOS early music Autograph title page of Buxtehude’s ‘Membra Jesu nostri’ Dietrich Buxtehude (c. 1637–1707) Membra Jesu nostri, BuxWV 75* 65:15 I. Ad pedes 1 1 Sonata 0:45 2 2 Tutti. Ecce super montes 1:14 3 3 Aria. Salve mundi salutare 4:59 4 4 Tutti. Ecce super montes 1:16 5 5 Tutti. Salve mundi salutare 0:59 II. Ad genua 6 6 Sonata in tremulo 1:04 7 7 Tutti. Ad ubera portabimini 1:34 8 8 Aria. Salve Jesu, rex sanctorum 3:44 9 9 Tutti. Ad ubera portabimini 1:39 III. Ad manus 10 10 Sonata 0:56 11 11 Tutti. Quid sunt plagae istae 1:58 12 12 Aria. Salve Jesu, pastor bone 5:07 13 13 Tutti. Quid sunt plagae istae 2:15 IV. Ad latus 14 14 Sonata 0:26 15 15 Tutti. Surge, amica mea, speciosa mea 1:44 16 16 Aria. Salve latus salvatoris 4:40 17 17 Tutti. Surge, amica mea, speciosa mea 1:58 3 V. Ad pectus 18 18 Sonata 0:40 19 19 Voci. Sicut modo geniti infantes rationabiles 2:20 20 20 Aria. Salve, salus mea, Deus 5:21 21 21 Voci. Sicut modo geniti infantes rationabiles 2:40 VI. Ad cor 22 22 Sonata 1:48 23 23 Doi Soprani è Basso. Vulnerasti cor meum 2:21 24 24 Aria. Summi Regis cor, aveto 3:04 25 25 Doi Soprani è Basso.
    [Show full text]
  • 4860739-3D7bc9-809478090236.Pdf
    Title page of Buxtehude’s 1680 manuscript of Membra Jesu nostri Dieterich Buxtehude c.1637 –1707 Membra Jesu nostri BuxWV75 15 15. Tutti: Surge, amica mea, speciosa mea 1.44 I. Ad pedes 16 16. Aria: Salve latus salvatoris 4.12 1 1. Sonata 0.44 17 17. Tutti: Surge, amica mea, speciosa mea 1.50 2 2. Tutti: Ecce super montes 1.13 V. Ad pectus 3 3. Aria: Salve mundi salutare 4.31 18 18. Sonata 0.39 4 4. Tutti. Ecce super montes 1.12 19 19. Voci: Sicut modo geniti infantes rationabiles 2.43 5 5. Tutti: Salve mundi salutare 0.55 20 20. Aria: Salve, salus mea, Deus 4.08 II. Ad genua 21 21. Voci: Sicut modo geniti infantes rationabiles 2.53 6 6. Sonata in tremulo 1.16 VI. Ad cor 7 7. Tutti: Ad ubera portabimini 1.34 22 22. Sonata 1.40 8 8. Aria: Salve Jesu, rex sanctorum 3.44 23 23. Doi Soprani è Basso: Vulnerasti cor meum 2.11 9 9. Tutti: Ad ubera portabimini 1.40 24 24. Aria: Summi Regis cor, aveto 3.00 III. Ad manus 25 25. Doi Soprani è Basso: Vulnerasti cor meum 2.15 10 10. Sonata 0.56 VII. Ad faciem 11 11. Tutti: Quid sunt plagae istae 2.03 26 26. Sonata 0.37 12 12. Aria: Salve Jesu, pastor bone 4.47 27 27. Tutti: Illustra faciem tuam super 1.20 13 13. Tutti: Quid sunt plagae istae 2.03 servum tuum IV. Ad latus 28 28. Aria: Salve, caput cruentatum 3.43 14 14.
    [Show full text]