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MEMBRA JESU NOSTRI PATIENTIS SANCTISSIMA Genom Den S.K

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MEMBRA JESU NOSTRI PATIENTIS SANCTISSIMA Genom Den S.K BY DIETRICH BUXTEHUDE VOX SCANIENSIS PETER WALLIN MEMBRA JESU NOSTRI PATIENTIS SANCTISSIMA genom den s.k. Dübensamling, en av de största Buxtehude gör till varje kantat ett tillägg till den och mest anslående samlingarna vokalmusik ursprungliga texten genom ett bibelcitat som på KANTATCYKEL ÖVER DEN LIDANDE JESU HELIGA KROPPSDELAR från 1600-talet. Gustav Düben var hovkapell- ett enkelt och genialt sätt sätter in den enskilda mästare och organist i tyska kyrkan i Stockholm. kroppsdelen i ett religiöst sammanhang. Bibelci- Under resor i Europa samlade han in musik från tatet upprepas i slutet av varje kantat. över 200 tonsättare, och Dübensamlingen har De sju kantaterna bildar en enhet. Varje del har blivit en av de viktigaste källorna till vokalmusik en enkelt uppbyggd form och sista delen avslutas frå 1600-talet, däribland ett stort antal verk av med ett anslående «Amen»! Före första kantaten Det är inte svårt att föreställa sig Dietrich Bux- övriga delar av nordeuropa och 1668 kallades Buxtehude. skriver Buxtehude «In nomine Jesu» och efter tehudes entusiasm när han i sin hand fick texten han till provspelning för den lediga tjänsten som den sista kantaten skriver han «Soli Deo Gloria», till Membra Jesu nostri, tillskriven Bernard av organist i Lübeck efter Frans Tunder som avlidit I förordet till Membra Jesu nostri benämner han som om han anbefallde sitt arbete i Guds händer. Clairvaux (c. 1090-1153). Texten är en genom- samma år. Düben inte bara som respekterad kunglig hov- gång av den korsfäste Jesu olika lemmar (fötter, kapellmästare utan även som vördnadsvärd vän. Membra Jesu nostri har blivit känt som Buxtehu- knän, händer, sida, bröst, hjärta och ansikte) och Buxtehude vann provspelningen och tillträdde De måste alltså i något sammanhang ha träffats. des kanske främsta vokalverk. Det är inte kon- den känslosamma stilen anknöt starkt till 16- en tjänst som väl närmast liknade det vi i Sverige stigt. Här förenas stor innerlighet med virtuos och 1700-talens pietism, där känslor och starka tidigare kallade klockare, dvs. förutom att vara Membra Jesu nostri är en kantatcykel i sju delar. röstbehandling i en högst tilltalande form. uttryck var centrala. Man frossade i blodsmystik organist vid veckans gudstjänster skulle inneha- Alla kantaterna utom en är för åtta stämmor och och beskrev utförligt Jesu sargade kropp och hur varen även vara administratör och ekonomiskt basso continuo, fem sångstämmor och tre instru- / PETER WALLIN människan ödmjukt faller ned i tillbedjan inför ansvarig för kyrkans olika aktiviteter. Dessutom mentalstämmor. Den femte kantaten (Ad pec- det oerhörda lidandet Jesus genomgick på korset. ingick det att ansvara för den s.k. Abendmusi- tus) är för tre sångstämmor och tre instrumen- ken, kvällskonserter med fri entré som hölls på talstämmor. Den kantat som skiljer sig från de Dietrich Buxtehude (1637-1707) föddes i Hel- adventssöndagarna varje år. Här fick Buxtehude övriga är den sjätte (Ad cor) där sångstämmorna singborg, vid den tiden en del av Danmark. tillfälle att förutom att framträda med orgelmu- bara är tre och de båda violinerna och violonen är Han växte upp i Helsingör men återvände så sik även framföra vokal- och instrumentalmusik ersatta av fem viola da gamba, en gambaconsort. småningom till Helsinborg där han innehade med varierande storlek och besättning. En del av Kanske ville han på ett särskilt sätt markera in- tjänsten som organist i Mariakyrkan. Vid fre- hans mer än 150 vokalverk kan tänkas har fram- nerligheten och kärlekshandlingen i Jesu kors- den i Roskilde 1658 blev Helsingborg en del av förts vid dessa konserter. död. Sverige och Buxtehude valde att återvända till sitt hemland där han 1660 tilldelades tjänsten i Tyvärr finns det inga källor som bekräftar vad Varje kantat inleds med en instrumental sonata. S:t Nicolai kyrka i Helsingör. Ryktet om honom som framfördes vid Abendmusiken i Lübeck utan Och alla solopartier avslutas med en, likaledes in- som musiker (fr.a. som organist) spreds snart till Buxtehudes vokalmusik känner vi till framförallt strumentell, ritornell. MEMBRA JESU NOSTRI PATIENTIS SANCTISSIMA and musicians. Some of his more than 150 vo- are replaced by five viola de gambas, i.e. a Gamba cal compositions might have been performed at Consort. Perhaps Buxtehude wanted to specifi- A CYCLE OF CANTATAS ON THE HOLY LIMBS OF THE SUFFERING JESUS CHRIST these concerts. cally emphasise the ardour and loving act that the death of Christ on the cross constitutes. Unfortunately, there are no sources that can confirm what was performed at the Abendmusik Each cantata starts with an instrumental sonata and concerts in Lübeck. Instead, Buxtehude’s vocal all solo parts end with an instrumental ritornell. compositions are primarily known from the It is easy to imagine Dietrich Buxtehude’s enthu- native country where in 1660 he was offered a so-called Düben collection which is one of the For each cantata, Buxtehude adds to the origi- siasm when he received into his hands the text position in the Church of St Nicolai in Helsingör. largest and most impressive collections of vocal nal text a quotation from the Bible, which sim- to Membra Jesu Nostri, which has been ascribed His reputation as a musician (and primarily as music from the 1600s. Gustav Düben was Master ply but skillfully relates individual body parts to Bernard of Clairvaux (c. 1090-1153). The text an organist) soon spread across many parts of of the King’s music and an organist in the Ger- to religious contexts. The biblical quotations are forms an account of the crucified limbs of Christ northern Europe and in 1668 he was offered an man Church in Stockholm and during his travels repeated at the end of each cantata. The seven (feet, knees, hands, side, chest, heart and face) audition for the vacant position as organist in in Europe he collected music from more than cantatas form a unit and each part has a sim- and its sensitive style relates strongly to sixteenth Lübeck after Frans Tunder who had passed away 200 composers. Hence, the Düben collection ply constructed form and the last part ends by and seventeenth century Pietism, the central fo- the same year. has become one of the most important sources an impressive “Amen”. Above the first cantata cus of which is emotion and passionate expres- for vocal music from the 1600s and contains a Buxtehude writes “In nomine Jesu” and below sion. Phenomena such as blood mysticism and Buxtehude’s audition was successful and he soon great deal of Buxtehude’s compositions. In the the last cantata he writes “Soli Deo Gloria”, as if descriptions of the wounded body of Christ were took up his new duties in Lübeck, which much preface to Membra Jesu Nostri, Buxtehude refers he were commending his work into God’s hands. revelled in as well as accounts of human kind’s resembled those that in Sweden would be the to Düben as a well-respected Master of the King’s humble worship in the face of the horrific pain duties of a parish clerk. In other words, besides music as well as a venerable friend. Thus, the two Membra Jesu Nostri has come to be known as Bux- that Christ suffered on the cross. being the organist for weekly services, the posi- men must have met at some point. tehude’s possibly best vocal compilation, which tion he held comprised duties such as adminis- is not surprising as it combines great intensity Dietrich Buxtehude (1637-1707) was born in tration and financial responsibilities for church Membra Jesu Nostri is a cantata cycle in seven and fervour with his masterly ability to achieve Helsingborg, which at the time belonged to Den- activities. Additionally, he was responsible for parts. Apart from one, all cantatas are for eight vocal equilibrium in the most pleasing form. mark. He grew up in Helsingör, but eventually the so-called Abendmusik, which were admis- parts and basso continuo, i.e. five vocal parts returned to Helsingborg where he held the po- sion free, evening concerts that were performed and three instrumental parts. The fifth canta- / PETER WALLIN sition as organist in the Church of Mary. By the on Advent Sundays every year. These concerts ta (Ad pectus) is for three vocal parts and three terms drawn in the Treaty of Roskilde in 1658, gave Buxtehude opportunity to perform not only instrumental parts. The sixth cantata (Ad cor) Helsingborg became part of Sweden and Bux- organ music but also vocals and instrumental differs from the others in that it is for three vo- tehude, as a consequence, chose to return to his music with various complements of instruments cal parts and the two violins and the violoncello Cantata I Cantata I Cantata II Cantata II AD PEDES TO THE FEET A D G E N UA TO THE KNEES Ecce super montes pedes Lo, upon the mountains come the feet Ad ubera portabimini, They will bear Thee on their breast evangelizantis of one bringing good tidings et super genua blandicentur vobis. and do Thee honour on bended knee. et annunciantis pacem. and speaking a message of peace. Salve Jesu, rex sanctorum, Hail, O Jesus, King of Saints, Salve mundi salutare Hail, O Saviour of the world Spes Votiva peccatorum. earnest hope of sinful men. Salve, salve Jesu care. Hail, beloved Jesu, Hail. Crucis ligno tanquam reus As now Thou hangest on the Cross Cruci tuae me aptare I would truly take up Thy cross, Pendens homo, veres Deus, Like Man condemned, yet Very God, Vellem vere, tu scis quare; Surely Thou knowest why; Caducis nutans genibus. Thy Knees bent in death’s weariness. Da mihi tui copiam. Give me then Thy mighty help. Quid sum tibi responsurus; What answer shall I make Thee here; Clavos pedum, plagas duras With what ardour I embrace Actu vilis, corde durus? I, base in deed and hard of heart? Et tam graves impressuras Those nails which pierce Thy blessed Feet.
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